A work for which no autograph manuscript exists, and which is transmitted fragmentarily in multiple sources. From a stylistic perspective, it has been suggested that it might be a work by Telemann rather than Bach, but in very recent years, it has come to be regarded as a genuine work. This is because the first two movements of this work are transmitted in the highly reliable “Möller Manuscript” (for details, see the section on Fugue in A major, BWV 949). The titles also differ among the sources. In the “Möller Manuscript,” it is titled “Suite”; in a source formerly owned by Fétis, it is “Partie”; and there are also untitled copies. However, all of them attribute the work to Bach.

The opening movement is a typical Allemande with a gentle contrapuntal texture. From the fourth to the fifth measure of the second half, C-sharp minor is established, adding color.

This is followed by an “Air for Trumpet.” The alternating pattern of triplets and duplets is characteristic, but it is almost impossible to play on an actual trumpet. Furthermore, even if it were an organ stop, it would be impractical to play only the voice with this pattern on a separately adjusted keyboard. Ultimately, it might be correct to view “Trumpet” as being drawn into the title as a character piece. Moreover, an unusual figure for Bach's keyboard works appears in the left hand of measure 21; such repeated notes including octaves imitate horn idiom.

The Sarabande appears at first glance to be a succession of triads, but it is intended to be played ornamentally with trills and arpeggios. In the second half, it passes through C-sharp minor and F-sharp minor, leading to the appearance of a Neapolitan sixth (B natural on the last beat of measure 14). Even in a slow piece where the same rhythm continues monotonously, such harmonic transitions prevent it from feeling tedious.

The Bourrée consists of a consistent two voices with only simple rhythms and motives, but both voices exchange motives and proceed by inversion, which is the simplest form of counterpoint. The Bourrée's rhythm is heard alternately from right to left, creating a light, chasing atmosphere.

The Gigue is in a style somewhat divergent from Bach's typical manner, and imitation does not appear. The basis for suspecting that this entire suite might be by Telemann also stems from this. However, the opening figure in the left hand is not merely an arpeggiated accompaniment but one of the contrapuntal subjects. In the second half, the motives in both hands are inverted, and a cadence is formed while the right hand continues to play arpeggios.