Movements: Prelude, Entrée, Minuet, Bourrée, Gigue

Contained in the Andreas Bach Book (for source information, refer to Fantasia and Fugue in A minor, BWV 944). It originated very early in Bach's compositional history. The exact period is unknown, but it is likely a work from before his appointment in Weimar, and it appears to have been rarely used for lessons or performances thereafter.

All the music contained in this suite appears to be entirely different from the style of Bach's later keyboard suites. Imitations are extremely simple and do not form long coherent sections. Harmonic progressions are simple, even schematic. Furthermore, the overall sound seems to imitate French orchestral suites, leading some theories to suspect it might be a keyboard arrangement of an orchestral work. However, with the exception of the Minuet's trio, it generally maintains a concise two-part texture, making it almost certain that it was originally written for keyboard. While it is true that the melodies are light and gallant in the French style, typically German techniques can be observed, particularly in the middle cadences and near the final measures of faster movements. In the Prelude, Bourrée, and Gigue, the endings are abruptly concise, concluding with a definitive striking of chords. This is in line with the tradition of German organ music, and the effect would be enhanced by utilizing the instrument's reverberation without employing a ritardando.

It should be noted that the only source transmitting this work, the Andreas Bach Book, includes ornamentation. While this is reflected in both old and new complete editions, it is not necessarily directly indicated by Bach. Nevertheless, ornamentation is indispensable for this type of composition, so performers should thoroughly study it in any case.