This work is doubted to be authentic because its sole source is the music notebook of J. P. Kellner, a contemporary organist and admirer of Bach. However, it has not yet been proven to be the work of another composer. Furthermore, considering its musical content, there is a strong possibility that it is an authentic work by Bach. It is not considered a particularly early work by Bach; the prevailing theory places it in the mid-Weimar period, before 1714 (the year he became Kapellmeister).

Nevertheless, it is certain that these three movements are fragments of a suite. This is because the combination of Prelude – Sarabande – Gigue does not conform to any standard suite form of the period, nor to any of Bach's typical suite structures.

The Prelude is a rondo with the first eight measures serving as the theme (refrain). The three episodes (couplets) share the same bass progression (F-E-D-C). Each time, the intricate figuration gradually increases, accelerating the tempo, until the third episode becomes a perpetual motion-like passage consisting solely of 32nd notes.

The Sarabande unfolds through a dialogue between the upper and lower voices. This is not an imitation or a motivic development, but a highly expressive dialogue, where the left hand consistently murmurs a descending figure in response to the right hand's ascending query. Furthermore, a Sarabande in da capo form, like this one, is otherwise unprecedented in Bach's oeuvre.

The Gigue is extremely simple, with the right hand solely responsible for the dance rhythm and melody, while the left hand provides a harmonic foundation with single notes. The basis for doubting this suite's authenticity as Bach's work lies in this overly modest Gigue, which is entirely devoid of counterpoint. Indeed, for this movement alone, one cannot confidently assert that it possesses a characteristic Bachian sound.