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The Sonatas are in the Italian 'church sonata' form: slow, fast, slow, fast.

Bach probably continued work on the Sonatas and Partitas after entering the service of Prince Leopold of Anhalt-Cöthen, a period without church duties in which he completed much of his celebrated chamber and instrumental music. Scholars believe he began writing these pieces during the end of his service to the Duke of Weimar, possibly during his brief imprisonment in November of 1717 for seeking to leave the Duke's employ. The autograph manuscript of the Six Sonatas and Partitas by Johann Sebastian Bach (1685-1750) is dated 1720. It is in a binary form and maintains a consistent sixteenth-note rhythm in 3/8 time with the only exceptions being the cadences that conclude each section of the movement. Finally, the last movement takes on a presto tempo. The third movement is a siciliana, a slow dance in compound meter and often with an emphasis on dotted rhythms. This fugue was later reworked for organ as part of the Prelude and Fugue in D minor, BWV 539 as well as for lute in the Fugue, BWV 1000. The following fugue will no doubt seem familiar to anyone acquainted with Bach’s organ music. The prelude of the first sonata in G minor, like its successor in A minor, is highly ornamental with three- and four-note chords turning into sweeping runs and an abundance of arpeggio figures. Furthermore, each sonata’s first two movements are paired as a prelude and fugue. Each of the sonatas contain four movements in the slow-fast-slow-fast pattern of the Baroque sonata da chiesa, while the partitas are set in the dance suite form.

The set contains three sonatas and three partitas.

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