His arrangement of Ein feste Burg est unser Gott shows stylistic similarities to both of these composers. Buxtehude’s arrangement had a lot of ornamentation, similar to Bach’s. Even though Bach had no intention to write ornamentation that had a vocal quality, the ornamentation influence is still apparent. Bach’s ornamentation is far more instrumental with the amount of scalar passages used as well as leaps. Pachelbel’s influence is shown by Bach’s use of the bass voice towards the middle of his work (at measure twenty-one). Half way through Pachelbel’s arrangement, he uses the melody of the chorale as a cantus-firmus. Bach uses this idea, even if it is only for a small portion of his arrangement. However, Bach’s arrangement still holds true to his style. He uses ornamentation to capture the listener to create a grand sound. His blending of Pachelbel and Buxtehude’s influence creates a unique listening experience, but still holds true to his own
His arrangement of Ein feste Burg est unser Gott shows stylistic similarities to both of these composers. Buxtehude’s arrangement had a lot of ornamentation, similar to Bach’s. Even though Bach had no intention to write ornamentation that had a vocal quality, the ornamentation influence is still apparent. Bach’s ornamentation is far more instrumental with the amount of scalar passages used as well as leaps. Pachelbel’s influence is shown by Bach’s use of the bass voice towards the middle of his work (at measure twenty-one). Half way through Pachelbel’s arrangement, he uses the melody of the chorale as a cantus-firmus. Bach uses this idea, even if it is only for a small portion of his arrangement. However, Bach’s arrangement still holds true to his style. He uses ornamentation to capture the listener to create a grand sound. His blending of Pachelbel and Buxtehude’s influence creates a unique listening experience, but still holds true to his own