Page Overview (low tech scroll down;) See also Personal Reflections, “Schubert and the Lure of Suicide” and “Brahms and the Tendency to Depression”
- Summary
- Does music release dopamine? From my Parkinsons Blog #6 Parkinson, Dopamine and Music (updated 2023-01-12)
- The Importance of Being in Tune, Basic Principles of Music Therapy (copy of Parkinsons Blog #4)
- Colors, Sound Frequencies, Connections? A broadly generalized look at some alternative healing methods with a focus on music therapy – a bit of a rant and some facts (updated 2022-12-20)
- Vowel Resonances (Updated 2023-08-20)
- A Therapeutic Bach Cantata (2023-02-27)
1) Summary
In November 2020, I found out that I was coming down with Parkinson’s. By mid December I had lost about 60% of my playing ability (based on my own subjective estimate). I immediately engaged my music therapy skills, booked myself in for Acupuncture treatment, adjusted my diet and added supplements.
After less than three months I regained about 40% of my abilities to play, feeling I have about 80% back.
The details, how it went and what I did is documented in the blog under the heading Parkinsons.
I suggest to new visitors who wish to get a good idea to scroll down to the first entry.
Important!
While sound can heal, it can also injure. The same goes for music. Documenting my self-therapy does not mean that it will work for everyone. I share my experience to encourage or maybe even inspire other musicians/therapists in similar situations to find a way to help themselves or others. One rule however, applies to everyone: Instruments must be well tuned and produce good sound quality. More on this in an upcoming post.
I welcome constructive questions and critical questions.
2) Does music release dopamine?
Parkinson, Dopamine and Music, (copy of Pakinsons #6) updated 2023-01-12
In my last post I considered symptoms and causes. Today it clicked. We know that the cause of Parkinson’s is in simple terms a deterioration in the nerve cells which hinders transmission of dopamine needed for fluent motion of the limbs etc. I figured that if dopamine is released by music, making music should ease the symptoms of Parkinson’s. My latest literature on music therapy is from 2008. So I googled my question and found various articles. A report in BBC news from January 9, 2011 about the first study on this question done by researchers at McGill University in Montreal had tested dopamine production in response to music. This gave me a clue when the research was done. Scanning through other articles that reported on this brought me to the conclusion that the focus of research was on how listeners to music can achieve the feel-good experience with music.
For me this confirms that there is a connection between dopamine release and music. The gist is that dopamine is released depending how much we like the music. So it is not music per se. The links below give you (very basic) information
https://www.ucf.edu/pegasus/your-brain-on-music/
Robert Jourdain in his book Music, the Brain, and Ecstasy in chapter 9 also describes how music affects people differently depending on their background.
My caveat is that while working to ease Parkinson’s symptoms this basic information can be helpful, it is not necessarily applicable to other health challenges. In my experience, illnesses like mood disorders may have to be tackled quite differently. I will address this in detail in a future blog about depression.
The information is very useful for anyone who likes to plan for the eventuality of dementia. Making up a playlist of favorite music and songs can be helpful to maintain long term memory for some time. It is also very helpful for caregivers and family of people with dementia. The list of songs (and hymns) should also be complemented with printed versions (or saved downloads) that can be sung for, or with the patient. Songs that were popular seven or more decades ago, are now often forgotten and difficult to find. There are many stories out there about people who appeared to be in a vegetative state that were ‘woken up’ upon hearing their songs and began moving to the rhythm or even ‘sang’ along.
To give another perspective on Dopamine have a look at (from Parkinson’s #20
Resetting Your Brain’s Dopamine Balance – Dr. Anna Lembke (on youtube)
and from Parkinson’s # 18
Serotonin vs. Dopamine – 7 Key Differences Between Pleasure and Happiness
3) The importance of being in tune
(copy of Parkinsons #4)
Basic Principles of Music Therapy
It can be observed that while listening to a person speaking with a hoarse voice can cause one’s own throat to feel sore. It appears that when we listen, our vocal chords ‘try’ to vibrate in ‘tune’ with what we hear. When I practiced the violin, and produced a scratchy sound for a few minutes, I would get a sore throat. The same happens when my clavichord gets out of tune, esp. when the string pairs that make up one note are slightly out. This produces a kind of grinding sound. To me, this is an indication that we do not listen with the ears alone. Already five decades ago scientists began measuring by means of EEG, EKG, breathing patterns and capillary contraction and expansion how our body reacts to different sounds and music. Some generalized conclusions can be drawn from the result of these tests, which by today are becoming increasingly more sophisticated.
It is clear that if you want an army to march to war, that you won’t play a lullaby; the Marseillaise will hardly put anyone to sleep either. However, the choice of music has to be relative to the recipient’s background. While I observe many people falling asleep when hearing Bach (perhaps because it is too complex to follow, and/or because it is unfamiliar). Bach wakes me up and makes it difficult to go to sleep with. Therefore the choice of music in therapy is a delicate balancing between what the therapist can competently produce and stand behind, and how the client can relate to it.
The choice of instrument can also be important for achieving particular outcomes of the therapy. There are many suggestions out there. However, (I use this word quite frequently;) If a therapist is competent on a wind instrument, it would not be wise for him/her to use a stringed instrument that is indicated for a particular treatment, if competence thereon is lacking.
2021-05-15 from Parkinsons #11
Another thing I (re-)discovered the importance of tuning. I used to tune the clavichord with the help of a tuning app. The clavichord is very quiet and the pitch unstable. The mic does not easily pick up the sound, so I play the pitch and tune by ear each note of the central octave. I find it very difficult to hear the exact pitch the app plays and I found out that when I turn up the volume, the pitch in my head changes. 5-6 Years ago, my hearing got quite distorted. I heard high notes flat and low notes sharp. I could not trust my hearing anymore. So I retrained my ears (comes in handy to have written the first master thesis on ear training:).
It seems that I can’t rely on hearing sinus tones (electronically produced without overtones, like the telephone tone) accurately. I pulled out my pythagorean tuning forks. My original tuning was a-440 Hz Werkmeister III temperament. The tuning forks (Icall them pitch forks) are C 256 Hz, which would have the a at 427.6 Hz From the set I can use The F and B (exact) and the e-flat and e, almost exact, the rest I do by ear. With this I get a much better tuning, because simple electronic instruments can’t hear what makes the best harmonic blend for each particular instrument. Once I nailed the tuning and started playing I went on playing for more than three hours without getting tired. Usually I have to take brakes every 40 minutes. See the importance of being in tune (Parkinsons #4).
4) Colours, Sound Frequencies, Connections?
A broadly generalized look at some alternative healing methods with a focus on music therapy – a bit of a rant and some facts
In alternative therapy methods we find many references to connections with various frequencies such as color or sound to particular points in our organism as well as chakras. As long as these connections are drawn based on intuition of the individual therapist and/or client, using these insights can be beneficial to a positive outcome of a treatment plan. Intention and focus often can be instrumental to initiate a healing process. This is confirmed in outcomes that show healing by placebo. When people get healed by receiving “sugar pills” while believing they are real pharmaceuticals, particularly when the administering practitioner also does not know that it is a placebo, we may conclude that there is such a thing as faith healing.
In both, the so called traditional medicine and the alternative healing methods we find ourselves confronted with many unanswered questions. Medications are often prescribed “off label” that is for symptoms or disorders they were not developed for. Lithium is the go-to pharmaceutical to treat bi-polar disorder, however it was until ca 1950 used only to treat gout, epilepsy and cancer. Apparently, how lithium works against manic disorders is not yet clearly known, but the evidence is there that it works. Just because it is approved by FDAs, does not mean that it is based on a scientific process (except for the statistical part). There are some speculative explanations. These should be to any dyed in the wool sceptic as questionable as the “scientific” explanations of alternative healing methods such as chakra healing. I am not qualified to lecture about questionable allopathic treatments. My personal experience is about 50/50 when it comes to successful vs botched treatments from both sides.
For those who are interested in finding out more about some alternative methods discussed in this essay, the book Eastern Body, Western Mind, Psychology and the Chakra System as a Path to the Self by Anodea Judith (1996/2004 Ten Speed Press, Berkeley, www.tenspeed.com) is a solid introduction into an ancient tradition of alternative thinking (alternative at least to the western mind). I find the explanations solid, free from fantastic claims and good to work with. I do however, for my own work translate the eastern system to the – for me – more familiar western tradition (i.e. 5 vs 4 elements etc.).
I endeavor to give one example of misinformation that is spread about frequency correlations between chakras, sound- and color frequencies to raise awareness for alternative practitioners who are serious enough to at least question whatever is presented as “facts”.
There is a possible negative side effect to reading this information. As practitioners we should be clear of what we know and how we use this information. We should also be clear of what we do not know. If a successful intuitive practitioner begins to doubt the methods used because of my questioning the “science” behind those methods, the focus can get lost and the effectiveness of the treatment can get diminished. They say the town I live in has wall-to-wall therapists. I asked my Chiropractor once if he is using the chakra system to treat his clients. He said no. So I asked him if he has any concerns about all these practitioners in town who base their work on such systems. He said no again, because “they can do the right thing for the wrong reason”.
While there is credible anecdotal evidence of successful outcomes of such alternative treatments, the “scientific” explanations of connections between treatment and result are more often than not questionable, if not outright wrong. Below is an example that can be followed by doing the math (which I did with the help of my mathematician son):
The most popular parallels between color and sound frequencies are made by taking the C-major scale and fitting it to the colors of the rainbow. A second parallel is often added to the scientifically more evasive chakras. In this widespread urban myth we usually get:
C…..red…………..root chakra
D…..orange……sacral chakra
E…..yellow…….solar plexus
F…..green………heart chakra
G…..blue………..throat chakra
A…..indigo…….brow chakra
B…..violet……..crown chakra
The color assignments for the chakras I can not discuss, because I can not see the chakras, and I would not know how to calculate them (if anyone can). So let us look at the color frequencies and compare them to the sound frequencies.
The sound frequencies can be relatively easily understood because we can feel them and calculate them. They are measured in Hertz (Hz), that is how many vibrations or impulses are happening in one second. We can compare this to the RPMs in the car which are (engine) Rotations Per Minute. At about 1,000 RPMs we can hear a very low sound (approx the lowest C we can hear, one octave lower than the lowest C on the piano) When we push the gas pedal to 2,000 RPMs we hear the same note one octave higher (C1 on the piano). When we rev up the motor to 4,000 RPMs we will hear another octave higher, approx. the C2. (these Cs are about ¼ tone sharp). So, by doubling the frequency we hear one octave higher.
Throughout the old cultures of the world, notes – octaves apart- have been, and still today are experienced as the same note. It does not appear to be something we got conditioned to over a longer period of time, just because it was simple to calculate. The ratio 1:2 is very simple. On the About Music pages I will in a later post explain the harmonic scale our musical experience is based on. (see About Music posts #2 and #8)
To find if there is a 2:1 ratio calculating down from the color frequencies to the audible sound frequencies I calculated (with the help of my son ) the color frequencies down 40 octaves. With 40 octaves down we end up in the sound range of the middle of the piano. The higher the frequencies are, the more Hz it takes to notice a difference. In the “Pythagorean” system C below C1 is the lowest note we can hear at 16 Hz. If we increase the frequency by 12 Hz we get a G below C1.This is one fifth higher. Four octaves higher we end up at C4, the “middle C” (512Hz) Adding 12 Hz gets us at 524 Hz which is only ~¼ tone higher (C4 in contemporary calibration of A 440Hz is 523.2Hz). Depending on our level of ear training,we won’t be able to hear a difference of 12 Hz one or two octaves higher. After this basic introduction of measuring what we experience when hearing sounds, I can now present the frequencies of colours compared to those of sound. Here are the results: THz stands for terahertz (=1 trillion Hz)
Red………..430THz-480THz
Orange….480THz-510THz
Yellow……510THz-540THz
Green……. 540THz-610THz
Blue………..610THz-670THz
Violet……..670THz-750THz
The first column of the following table lists the colors and their frequencies (as close as was easy to calculate to contemporary tuning calibrated to A4=440Hz).
The second column lists the same frequency exactly 40 octaves down
The third column contains the corresponding note name with (Hz) calibrated to A 440 (BTW, C4 is the middle C on the piano)
The numbers are rounded to the next full number.
Red…………430THz……..391Hz………G4 (392Hz)
Red…………455THz………413Hz……..G# (415Hz)
Orange…..480THz……..436Hz………A (440Hz)
Orange…..595THZ……..450Hz………A~¼ sharp
Yellow……510THz………464Hz……….A# (464Hz)
Yellow……525THz………477Hz……….A#~¼ sharp
Green…….540THz………491Hz………..B (493Hz)
Green…….575THz………523Hz………..C5 (523Hz)
Blue……….610THz………555Hz…………C# (554Hz)
Blue………640THz………582Hz…………D (587Hz)
Violet……682 THz……..622Hz…………D# (622Hz)
Violet……726 THz……..660Hz…………E (660Hz)
Violet……750 THz……..682Hz…………E~¼ sharp (660Hz)
If there is a connection to perceive colors equally to tones in their respective octaves then our scale would start at G with red and C would be light green. As we can see, the range of visible color frequencies is not a major seventh (C to B or G to F# respectively) as the usual tables suggest but only a natural seventh which is ¼ tone sharp of the major sixth resp. ¼ tone flat of the minor seventh.
I found only a few books that correspond with “my” calculations. I have not yet found one in English. I attended the 2014 World Congress of Music Therapy in Krems, Austria where I met a music therapist from Taiwan who successfully applied a combination of sound/color therapy (with G being red) in a high security prison for extremely violent individuals, designing tracks specifically for each individual prisoner. He made his calculations based on the findings of Traditional Chinese Medicine. To hear these soundtracks is very disturbing for a healthy individual. There was not the slightest “new age” or hippie aspect to them. His success rate to heal these prisoners to a functional level is 85%.
In the usual literature on music therapy I could find in North America, as well as in most of the literature in Europe, Red is connected to C and the root chakra. Many of their authors claim a mathematical connection to “prove” that this is not just a “new age” or spiritualist myth. Most of them just quote other books that make these claims. However, there must be a reason how this came to pass and why “western” people actually feel what is taught.
One possible origin in western culture would be the “Affektenlehre” of the renaissance and particularly the baroque epoch in music history. Effects of different keys on the listener were observed. This happened before the equal temperament was established. Even in Bach’s time, the “Well Tempered Clavier” was not exactly equal 12 half-tone steps in an octave. This resulted in each key having its own character. C-major was perceived as energetic, strong etc. The colour red is strongly connected to this “mindset”. F-major is found often in Pastoral music and feels green. G-major is often playful (and should feel orange;) E-flat major is often majestic. These are the most commonly found attributes. Johann Mattheson (1681-1764) wrote an extensive treatise on the “Affektenlehre”.
The Idea of musical affects was already explored by Plato looking at the Greek modes, and Pythagoras. The latter provided a “recipe” to calm down a raging man using the “Spondeion Melos” (G – E flat – D). The same apparently was done during the Middle Ages with the Gregorian chant modes, although I have no sources to confirm this.
The attributes or “affects” as described by Mattheson et al have nothing to do with the absolute frequency of the note C, F or G. We find pipe organs of Bach’s time where A in his region is varying from A415Hz to A 495Hz (i.e. from today’s G# to B). On each of these organs with the old temperaments (mean tone, Kirnberger or Werkmeister etc) the relative C-, F-, or G-majors had these martial, pastoral or playful characteristics. These characteristics were often applied to the corresponding keys until the 19th century. It therefore does not surprise that we still react the same way to certain keys, because they became ingrained in our musical imagination like archetypes. To use these “archetypes” in the application of music therapy is therefore not wrong at all, and good film score writers build on these principles as well. But there is absolutely no mathematically scientific reason behind it. There is also nothing wrong when one creates an inspiring and relaxing environment for a therapy setting with candles and crystals and all. Placebo is a great healer. A meal in a nice restaurant “tastes” better than the same meal served in an ugly cantine.
Now to another myth: I worked a lot with Tibetan singing bowls. On my music page you can find recordings of Gregorian Chant with singing bowl accompaniment. I just like the sound of these instruments and the effect it has on the listener. In therapeutic settings one has to be aware that what can heal, can also hurt. Some clients with a tendency to psychosis can be pushed over the edge listening to singing bowls. Others react with nausea or headaches to the sounds, often depending on the quality of the instruments used.The waves and vibrations can cause a psychotic episode just like flickering light can cause an epileptic episode to vulnerable people. On top of all this, music therapists must take into consideration what kind of personal memories might be triggered in their clients with the sounds, songs and music styles they plan to apply.
Singing bowls both metal and crystal, are often sold as chakra or planetary tones. I often find bowls in stores that claim to be a certain tone belonging to a certain planet, chakra etc while they are actually sometimes more than a semitone out from what they are claimed to be. This alone should make one skeptical. They also claim to have seven (or or whatever mystical number) “sacred” healing metals, and alchemistic crystal bowls are “infused” with certain elements corresponding to chakras. There seems to be no limit to these (great marketing) claims. Metallurgists have ground up a few of these bowls and could not find the metals they claimed to contain. But again, placebo works. I have a few really nice sounding mixing bowls in my kitchen, and when I buy pottery, I make sure it sounds nice (see also the importance of tuning on this page). There is nothing wrong with beautiful sounds regardless of the producing instrument.
Some of the planetary tones are based on the archetypes of Greek myths and their new age derivatives. The “scientific justifications” are based on calculations by Hans Cousto and Winfied Otto Schumann who calculated the frequency of the planetary day and/or year enough octaves up to reach our audible frequencies. If it works for colors, why not for planets? But can we get an exact frequency after a few hundred octaves up, if we consider the fluctuation of their orbits etc? What followed these calculations (which by themselves might be correct) was to synchronize them with the assigned myth based elements (sun=gold, moon=silver, venus=copper and so on) and lo, they happen to exactly correspond. When things miraculously add up (as they often do as well in Anthroposophy) I get skeptical. Why not just work intuitively with the sounds and get the job done?
We live in a time where “science” has become a new “god”. And some intuitive “hippies” can’t trust their intuition and have to boost their self confidence with pseudo science. This should not be necessary. When things work, do it. We need Hans Coustos and Rudolf Steiners as little as we need the FDAs to justify what we are doing, as long as we follow the principles of Best Practice. If science comes closer to finding out why acupuncture works, great. And it seems we are getting there. If Coustos’ and Schumann’s calculations could be proven to be correct, even better. In the meantime do it anyway. Intuitive healers generally agree that focus and intent are crucial for a successful outcome. Getting lost in alchemistical formulas can distract from focus and possibly even from intent.
Of course it does not hurt to know what we are doing. Knowing takes a lot of work. The more we know, the more we also know what we don’t know. Once we can accept that we don’t know we can be freed from the stress of thinking that we have to be perfect. Could knowledge ever be perfect?
5 Vowel Resonances (2022-12-21)
It is interesting how I can rant about the “Perfect Pitch” (Music Therapy #4) from a therapeutic point of view and not come to the answer that was literally ringing in my ears for years! In the last weeks I was singing Gregorian chants, where the most comfortable pitch for the “tenor” or “recitation” tone is around the F# (at 185 Hz, relating to the concert pitch of A at 440 Hz). The concert pitch G is 196 Hz, the Pythagorean G is 192 Hz in my voice range. This makes about a difference of 32 cents, or a bit less than ⅓ tone (½ tone step is 100 cent). In my experiments I get consonant resonances anywhere between 185 Hz and 192 Hz. In order to sing the vowels, the shades of them automatically change to be consonant in that range. Beyond it dissonances appear unless we get to a pitch close by in the circle of fifths, where the harmonic proportions are favorable again.
Southern hemisphere accents like in South Africa or Australia/New Zealand might resonate up to a concert G at 196 Hz (womens’ voices are an octave higher and therefore twice the frequency). Accents as in Newfoundland or Ireland might resonate down to the F at 175 Hz (see also in “About Music #2 and #8 and in “Music Therapy” #4). However, I have no idea where or how much higher a “comfortable” recitation pitch would be in languages that sound to me like Turkish or Finnish.
Anyway, by using the Pythagorean G at 192 Hz (an octave lower) I get the vowel resonances as listed below.
In my latest rant I came quite close to a hypothetical answer when I concluded that if there is any tuning pitch with any relation to nature, it would be based on C-0 (an octave below the lowest C on the Piano) at 16 Hz, which is the lowest frequency people can hear because our reaction time is 1/15th of a second (which means that at 15 Hz we hear each individual vibration).
I had the fortune to take acoustics classes from a leading acoustical engineer of the 20th century Max Adam (up to the advent of personal computers). There we learned about the fixed vowel resonances. These are sounding like overtones. Overtones, or harmonics, resonate to the pitch we sing or play and are always in the same Pythagorean proportions: 1:2:4:5:6:7:8 etc. 1:2 is an octave i.e. C-0 at 16 Hz the first harmonic. C-1 at 32 Hz is the second harmonic, also known as the first overtone. Because of the Pythagorean proportions, it is easier to calculate the harmonics. (see in “About Music #2 and #8)
In contrast, the fixed vowel resonances, which sound like overtones do not resonate to the first harmonic, they resonate to the vowel we sing, or, as in the use of a didgeridoo and a jaw-harp, how we shape our mouth, when we play those instruments. Regardless of the basic pitch or size of these instruments, the pitches we shape with our mouth will always be the same. With my “accent” the vowel resonances are as follows:
I use the basic Latin vowel names for clarity. Double vowels are the “closed” or long vowels, single vowels are the “open” or short vowels. The numbers given are based when singing the vowels on the Pythagorean G at 192 Hz.
The octave, G-5 at 768 Hz I get with U as in put, and OO as in pole
The octave, G-6 at 1536 Hz I get with Ö as in stuff
The fifth, D-5 at 576 Hz I get when singing UU as in school
The fifth, D-6 at 1152 Hz I get when singing AA as in father
The fifth, D-7 at 2304 Hz I get when singing EE as in way and ii as in tree
The major third, B-5 at 960 Hz I get when singing O as in spot
The major third, B-6 at 1920 Hz I get when singing ÜÜ as in (bien) sure (French;)
and Ä as in fat.
The minor third, B-flat at 1824 Hz I get when singing Ü as in first (kind of) and ÖÖ as in schöhn (German)
There is one dissonance, the tritone C# at 2176 Hz I get when singing i as in it, however, since this is never sung on a sustained or long note in this context, the dissonance won’t be too disturbing. Of course, it is unavoidable when singing all the other tones in a song that there will be dissonances. This is one of the reasons why in some songs, choirs, or singers will always go out of pitch, unless they know what is happening.
What was “ringing in my ears” was that if there is a tuning that relates to “physical laws”, then it would be (at least for some Middle European Cultures) based on A-4 at ca 425 Hz to 432 Hz depending on temperament.
See link to youtube video on related topic on the Links for discussion page
6. A Therapeutic Bach Cantata
A Roller Coaster Cruising Between Despair and Consolation, Skillfully Engineered By Johann Sebastian Bach
Dealing with Depression has been an unsteady part of my bi-polar existence. Today, I crashed once again, quite unexpectedly, into a whopper of a depression. Synchronicity had it that the almighty algorithm of YouTube suggested Bach’s Cantata BWV 138, produced by the J.S. Bach Foundation of St. Gallen, Switzerland.
Under the direction of Rudolf Lutz, every month a Cantata is performed, usually in Trogen, where I had my first organist job after graduating in 1970. Together with theologian Max Graf, Lutz introduces the Cantata in a 50 minute workshop. Then people gather for a time by wine and cheese in a nearby inn, after which they return to hear the Cantata performed in the church. A reflection by a selected cultural personality follows,about the music and text, after which the Cantata is performed once more. This practice allows the listeners to immerse themselves deeply into the beauty and complexity of Bach’s musical and theological work.
The hymn Warum betrübst du mich, mein Herz (Why do you grieve my heart) is at the center of this Cantata. The main thrust of the text is a reasonable reflection of how I felt. I did, however, not yet reach the “solution” or consolation that is offered at the conclusion of the Cantata. That takes more than 30 minutes. What I got out of it, in a nutshell, is that one can reasonably blame the almighty for one’s misery rather than blaming oneself. In my theological musings you can find how I think about the concept of god.
I find this Cantata quite suitable for a course of therapy against depression. The music gets you where you are, and leads you where you wish to be. The theology in this Cantata can, under the guidance of a good pastoral theologian like Graf, also be helpful to navigate through a depression. We do have to remember that in Bach’s time there were no psychotherapists. To help people in crisis was the responsibility of the pastors, whose general job description in German is Seelsorger, carer of the soul. Occasionally, like psychotherapy, pastoral care can be quite helpful.
I invite you to listen to the workshop and Cantata to get an idea how music (and word) can be therapeutic. The workshop has English subtitles, so it is easy to follow.
The link to the workshop is https://youtu.be/J1vVwuDpsog
The link to the Cantata is https://youtu.be/zAIgsGodzxo
The link to the Cantata text (lyrics) side by side German and English is
Cantata BWV 138 – English Translation [Parallel Format
Reflections 