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1845 – Robert Schumann: Sechs Fugen über den Namen: Bach, for organ, pedal piano, or harmonium, Op.A few mid-19th century works that feature the motif prominently are: The motif's wide popularity came only after the start of the Bach Revival in the first half of the 19th century. It also appears in a work by Georg Philipp Telemann. The motif was used as a fugue subject by Bach's son Johann Christian, and by his pupil Johann Ludwig Krebs. 28, tone row, composed of three tetrachords: P I RI, with P = the BACH motif, I = it inverted, and RI = it inverted and backwards. The BACH motif from The Art of Fugue Contrapunctus XIXc is the '1st Theme'/fugue subject' of Ives' combined sonata-allegro and fugal procedures. Charles Ives, 3-Page Sonata (1905), first mvt., first fugal complex The motif may be used in different ways: here it is only the beginning of an extended melody. Note that C and H are transposed down, leaving the spelling unaffected but changing the melodic contour. Other composers BACH motif followed by transposed version from Schumann's Sechs Fugen über den Namen B–A–C–H, Op. I am in need of salvation I am certain in the hope of salvation, and have been saved by grace,' through his use of the motif rather than a standard changing tone figure (B ♭–A–C–B ♭) in the final measures of the fourth fugue of The Art of Fugue. Hans Heinrich Eggebrecht goes as far as to reconstruct Bach's putative intentions as an expression of Lutheran thought, imagining Bach to be saying, 'I am identified with the tonic and it is my desire to reach it . As first four notes of the third and last subject of the final unfinished fugue of The Art of Fugue: ī–A–C–H opening the third and last subject of the unfinished fugue of The Art of Fugue.Near the end of Contrapunctus IV of The Art of Fugue: ī–A–C–H in the tenor part of the last bars of Contrapunctus IV of The Art of Fugue.Near the end of the Augmentation Canon of Bach's Canonic Variations on 'Vom Himmel hoch da komm' ich her', BWV 769: ī–A–C–H (and its inversion) in the last bars of the Augmentation Canon of BWV 769.His arrangement of a motet for SSATB singersĮxcerpt of the Tristis est anima mea motet attributed to Kuhnau ( F minor) Bach's E minor arrangement of the same passage: B–A–C–H appears in the alto voice.Eventually, in measure 17, the piece makes its way to a passage in which the five-note version of the motif starts on B ♭: as B–A–(rest)–A–C–H. This five-note version appears transposed: a ♭'–g' (rest) g'–b ♭'–a'. The subject of the Sinfonia in F minor BWV 795 'incorporates' a version of the motif.

2, BWV 1047 (the continuo part at bar 109) Instances of B–A–C–H appearing in Johann Sebastian Bach's compositions and arrangements: Later commentators wrote: 'The figure occurs so often in Bach's bass lines that it cannot have been accidental.' Johann Sebastian Bach used the motif in a number of works, most famously as a fugue subject in the last Contrapunctus of The Art of Fugue.

A similar list is available in Malcolm Boyd's volume on Bach: it also contains some 400 works.

In a comprehensive study published in the catalogue for the 1985 exhibition '300 Jahre Johann Sebastian Bach' ('300 years of Johann Sebastian Bach') in Stuttgart, Germany, Ulrich Prinz lists 409 works by 330 composers from the 17th to the 20th century using the BACH motif. This reference work thus indicates Bach as the inventor of the motif. all those who carried the name were as far as known committed to music, which may be explained by the fact that even the letters b a c h in this order form a melody. Johann Gottfried Walther's Musicalisches Lexikon (1732) contains the only biographical sketch of Johann Sebastian Bach published during the composer's lifetime. One of the most frequently occurring examples of a musical cryptogram, the motif has been used by countless composers, especially after the Bach Revival in the first half of the 19th century. In German musical nomenclature, in which the note B natural is named H and the B flat named B, it forms Johann Sebastian Bach's family name.

In music, the BACH motif is the motif, a succession of notes important or characteristic to a piece, B flat, A, C, B natural. The BACH motif 'b–a–c–h is beginning and end of all music' ( Max Reger 1912)

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