HOW TO USE: The below index is organized thus: There are two tables corresponding to major mode and minor mode. Each table is sorted first by whether the chorale begins with a pick–up (anacrusis). Then, the table is sorted by the melodic head of the chorale tune using numbers to denote scale–degrees (where "1" refers to tonic).

PICK–UP: Indicates whether the first line begins with a pickup or not. Index is categorized by mode first, then pickup, then melodic head/first line.
HEAD: First four notes of the chorale tune harmonized. Numbers are used to refer to scale–degrees. In both the "HEAD" and "FIRST LINE" columns, tones that are typically treated as passing non–chord tones are omitted. (For example, the first phrase of "O Welt, ich muss dich lassen" is rendered "3|123543" even though a "4" usually appears as a passing tone: 3|1234543.) A bolded italicized numeral indicates a chromatically raised pitch. A bolded underlined numeral indicates a chromatically lowered pitch. In minor, the subtonic is indicated in normal font type (7), the leading–tone is indicated in bold italics (7).
FIRST LINE: First full line of the chorale tune. At times, continuation beyond the first phrase is given in parentheses, particularly with instances of a short first phrase or a first phrase that matches that of another chorale tune. In instances of tonal/modal ambiguity, chorale tunes may be cross–listed in multiple locations. When this is the case, a note is given in parentheses. The same rules as stated above (see "HEAD" section) for chromatically altered pitches apply. For larger leaps and in instances where beneficial, a "/" indicates an ascending leap while a "\" indicates a descending leap.
TUNE TITLE: The chorale tune’s title is given. When no name is associated with a chorale tune, the title of the hymn text that the particular listed chorale tune sets is given in brackets. In the case of multiple hymn texts being used for a single entry, all hymn titles are given in brackets.
COMPOSER: "Anon." indicates a melody whose authorship is considered anonymous by other sources. A question mark (?) denotes a lack of information (no sources found stating an "anonymous" authorship).
BWV: Starred numbers (*) denotes chorales not found in the Riemenschneider edition. Large scale works with multiple sections (e.g. Christmas Oratorio, BWV 248) are listed with sectional location included in parentheses. Thus, "248(5).53(11)" refers to Number 53 of BWV248 or Number 11 of Section 5 of BWV 248. An equals sign (=) connecting two numbers indicates duplicate chorales.
BWV 1–200: Sacred Cantatas
BWV 201–216, 224: Secular Cantatas (217–223 are no longer considered to be by Bach)
BWV 223–230: Motets
BWV 232–243: Masses, Mass movements, and Magnificats
BWV 244: St. Matthew Passion (Matthäuspassion)
BWV 245: St. John Passion (Johannespassion)
BWV 248: Christmas Oratorio (Weihnachts–Oratorium)
BWV 249: Easter Oratorio (Oster–Oratorium)
BWV 250–438: Individual Chorales
RIEMEN.: Chorale numbers in the Riemenschneider edition. Starred numbers (*) denotes chorales not found in the entire BGA catalogue—neither in the cantatas, nor in other large choral works, nor among the individual chorales (BWV250–438). An equals sign (=) connecting two numbers indicates duplicate chorales. Italicized numbers denote chorales that have been transposed in the Riemenschneider edition (relative to their appearance in the BGA and to corresponding Riemenschneider duplicates).