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The remaining three, along with a short two-bar fragment, were added in 1726 or later, after Bach's appointment as cantor at the Thomasschule in Leipzig.
The collection was originally planned as a set of 164 chorale preludes spanning the whole liturgical year.
During his time as organist at Arnstadt, Bach was upbraided in 1706 by the Arnstadt Consistory "for having hitherto introduced sundry curious embellishments in the chorales and mingled many strange notes in them, with the result that the congregation has been confused." The type of chorale prelude to which this refers, often called the "Arnstadt type", were used to accompany the congregation with modulating improvisatory sections between the verses: examples that are presumed to be of this form include BWV 715, 722, 726, 729, 732 and 738.
Nowhere is the Dürer-like character of his musical style so evident as in these small chorale preludes. Manuscripts in Bach's hand recently discovered in Weimar by the Bach scholars Peter Wollny and Michael Maul show that while in Lüneburg he studied the organ with Georg Böhm, composer and organist at the Johanniskirche.Many of the chorale preludes are short and in four parts, requiring only a single keyboard and pedal, with an unadorned cantus firmus.Others involve two keyboards and pedal: these include several canons, four ornamental four-part preludes, with elaborately decorated chorale lines, and a single chorale prelude in trio sonata form.The suspirans is made up of intervals of a rising second, a falling fourth following by yet another rising second.It is derived from the first line of the melody of the cantus firmus and often shared out freely between voices in the accompaniment.