"Meine Sel' ist still zu Gott" (#236)

I played one note (the last in the seventh measure in the bass clef) as an F natural even though it's not indicated as such.  To me, it sounded better this way, but an F natural there also creates a pair of sequential half steps (F# to G and E to F).

16' only

"Meine Sele erhebet den Herren" (#235)

If I understand correctly, the square notes (which I tried my best to duplicate in my notation) are chanting tones, but I played them just as regular whole notes.

16', 8', 4'

"Laßet uns den Herren preisen" (#234)

If I'm not mistaken, the G in the penultimate measure of alternate notes is the highest note in the Lieder-Buch so far.

16' + 8'

"Kyrie! Gott Vater in Ewigkeit" (#233)

Because this is a longer tune, I split the notation roughly in half.  It was still a bit crowded, so I didn't put an "alternate notes" label for the alternate notes.  The small lines above and below the staff at the end of the third line indicate where two sections of alternate notes abut.

8' only

"Kommt, ihr schnöden Adams-Kinder" (#232)

16' + 8'

"In allen meinen Thaten" (#231)

16' only

"Jesu, wollt uns weisen" (#230)

I used a relatively higher registration than normal to avoid any muddiness with the chords near the end.

8', 4', 2'

"Jesus Christus, wahr Gottes Sohn" (#229)

16' + 8'

"Hör', liebe Sel', dir ruft der" (#228)

"Hört auf mit Trauren" (#227)

16' + 8'

"Gott hat seine Seligkeit" (#226)

16' + 8'

"Gott, der du selber bist das Licht" (#225)

16', 8', 4'

"Freuet euch, ihr Christen alle" (#224)

16' + 8'

"Jesaia, dem Propheten, das geschah" (#223)

Because this is a longer tune, I split the notation into two sections, and because these were still pretty dense, I didn't add the usual "alternate notes" and "second set of alternate notes" labels.

"Unrein ist mein' Gebuhrt" (#222)

8' only

"Du liebe Unschuld, du" (#221b)

16', 8', 4'

"Du liebe Unschuld, du" (#221a)

16', 8', 4'

"Du Friede-Fürst, Herr Jesu" (#220)

Part of the title ("Friede-Fürst" "Prince of Peace") seems to come from Isaiah 9:6.

"Diß ist der Tag der Fröhlichkeit" (#219)

"Daß walte Gott, der uns" (#218)

16', 8', 4'

"Christe, du Lamm Gottes" (#217)

I'm not sure if what I did with the repeat signs is the best way to indicate that those measures should be played three times, but I basically just followed what the original notation looks like.

8'

"Also heilig ist der Tag" (#216b)

8'

"Also heilig ist der Tag" (#216a)

8'

"Allein auf Gott setz' dein Vertrau'n" (#215)

16' and 8'

"Ach, mein Gott, verlaß mich nicht" (#214)

The title for this tune is missing from the Register, but I think I've correctly deciphered the hand-written title above the notation.

I played the second eighth note in the penultimate measure of the bass clef as a D natural, although in the original notation, there's no indication to do this.  It sounded wrong as a D#, though.

"Mein Jesus ist des Herzens" (#213)

16', 8', 4'

"Der lieben Sonnen Licht und" (#212)

"Schließet euch, ihr Wolken, auf" (#211)

16' and 8'

"Es ist genug" (#210)

"Kein Stündlein geht dahin" (#209)

It's a bit odd that the last note in the bass clef lasts two beats longer than the one in the treble clef, but this is what's in the notation, so I followed it.

8' only

"O Ewigkeit, du Donner Wort" (#208b)

8' only

"O Ewigkeit, du Donner-Wort" (#208a)

"Die Nacht ist vor der Thür" (#207)

8' only

"Jerusalem" (#206)

I played the second eighth note in the tenth measure of the bass clef as a D natural, although in the original notation, there's no indication to do this.  It sounded wrong as a D#, though.

8' and 4'