Georg Schübler published the Six Chorales by Bach ca. 1748. Originally titled "The Six Chorales of Various Kinds To Be Performed on an Organ With Two Manuals and Pedal," they are now commonly called the Schübler Chorales. They are unique in Bach's organ compositions in that five out of the six chorales are transcriptions from his cantatas rather than original compositions. In each chorale the melody is easily heard, because it is assigned to its own keyboard throughout the piece.

Below is a description of each chorale that lists the cantata of origin and describes a few compositional highlights.

Wachet auf, ruft uns die Stimme, BWV 645, is from Cantata 140 of the same name, composed in 1731. Listen for the melody in the tenor, accompanied by a figurative line in the soprano and an ornamented bass.

Wo soll ich fliehen hin or Auf meinen lieben Gott, BWV 646, is the controversial chorale from this group. There is not an existing cantata to prove it is a transcription, and it is difficult to prove that it is an original composition. Listen for the melody in the alto, played with a 4' stop in the pedal. With this registration, the melody is able to shine through the complex interplay between the soprano and the bass.

Wer nur den lieben Gott lässt walten, BWV 647, is from Cantata 93 of the same name, composed in 1728. This chorale is the first four-part arrangement. Listen for the melody in the tenor, played with a 4' stop in the pedal.

Meine Seele erhebt den Herren, BWV 648, is from Cantata 10 of the same name, composed in 1736. Like the third chorale, Bach set this piece in a four-part arrangement, but for the first time places the melody in the soprano. Listen also for the duet between the tenor and alto.

Ach bleib bei uns, Herr Jesu Christ, BWV 649, is from Cantata 6, Bleibe hei uns, denn es will Abend werden (Bide with us, for now is night approaching), composed ca. 1736. In the three-part arrangement of this chorale, Bach placed the melody in the soprano, accompanied by a figurative alto, and a more traditional bass.

Kommst du nun, Jesu, vom Himmel herunter?, BWV 650, is from Cantata 137, Lobe den Herren, den mächtigen König der Ehren, (Praise to the Lord! the Almighty, the King of Creation!), composed in 1732. Listen for the melody in the alto, played with a reed stop in the pedal, accompanied by a florid soprano and a rhythmic bass.