The Art of Fugue, or The Art of the Fugue (German: Die Kunst der Fuge), BWV 1080, is an incomplete musical work of unspecified instrumentation by Johann Sebastian Bach. Written in the last decade of his life, The Art of Fugue is the culmination of Bach's experimentation with monothematic instrumental works. This work consists of fourteen fugues and four canons in D minor, each using some variation of a single principal subject, and generally ordered to increase in complexity. "The governing idea of the work", as put by Bach specialist Christoph Wolff, "was an exploration in depth of the contrapuntal possibilities inherent in a single musical subject." The word "contrapunctus" is often used for each fugue.

Johann Sebastian Bach's vocal music includes cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, songs and arias. His instrumental music includes concertos, suites, sonatas, fugues, and other works for organ, harpsichord, lute, violin, viola da gamba, cello, flute, chamber ensemble, and orchestra. There are over 1,000 known compositions by Bach. Almost all are listed in the Bach-Werke-Verzeichnis (BWV), which is the best known and most widely used catalogue of Bach's compositions.

Johann Sebastian Bach's vocal music includes cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, songs and arias. His instrumental music includes concertos, suites, sonatas, fugues, and other works for organ, harpsichord, lute, violin, viola da gamba, cello, flute, chamber ensemble, and orchestra. There are over 1,000 known compositions by Bach. Almost all are listed in the Bach-Werke-Verzeichnis (BWV), which is the best known and most widely used catalogue of Bach's compositions.

This article lists the fugal works of Johann Sebastian Bach, defined here as the fugues, fughettas, and canons, as well as other works containing fugal expositions but not denoted as fugues, such as some choral sections of the Mass in B minor, the St Matthew Passion, the St John Passion, and the cantatas. This sub-list of the complete list of compositions by Johann Sebastian Bach is intended to facilitate the study of Bach's counterpoint techniques. Each work cited in this list will be annotated with the fugal subject(s) and any countersubjects in musical notation.

The Canonic Trio Sonata in F major is a short piece by Johann Sebastian Bach, catalogued as BWV 1040. The instrumentation is for oboe, violin, and basso continuo (generally a combination of cello and harpsichord or such). Played adagio, the 27-measure, common time piece is less than two minutes long. It was probably first performed on 23 February 1712 (or 1713). Besides being a stand-alone piece, Bach also incorporated it into the soprano aria Weil die wollenreichen Herden (While the flocks rich in wool) in the Hunting Cantata BWV 208 and into an aria Mein gläubiges Herze (My faithful heart) in Cantata BWV 68. In fact, in his book The Faber Pocket Guide to Bach, Sir Nicholas Kenyon dismisses the piece, saying "The trio BWV 1040 does not really need a number of its own since it is the wholly delightful trio sonata that springs as a postlude from Cantata 208 and then Cantata 68". Nevertheless, it is performed in its own right as an instrumental piece.

The Canonic Variations on "Vom Himmel hoch da komm' ich her" ("From Heaven above to Earth I come"), BWV 769, are a set of five variations in canon for organ with two manuals and pedals by Johann Sebastian Bach on the Christmas hymn by Martin Luther of the same name. The variations were prepared as a showpiece for Bach's entry as fourteenth member of Mizler's Music Society in Leipzig in 1747. The original printed edition of 1747, in which only one line of the canon was marked in the first three variations, was published by Balthasar Schmid in Nuremberg. Another version BWV 769a appears in the later autograph manuscript P 271, which also contains the six trio sonatas for organ BWV 525–530 and the Great Eighteen Chorale Preludes BWV 651–668. In this later version Bach modified the order of the variations, moving the fifth variation into a central position, and wrote out all the parts in full, with some minor revisions to the score. These [variations] are full of passionate vitality and poetical feeling. The heavenly hosts soar up and down, their lovely song sounding out over the cradle of the Infant Christ, while the multitude of the redeemed "join the sweet song with joyful hearts." But the experiences of a fruitful life of sixty years have interwoven themselves with the emotions which possessed him in earlier years ... The work has an element of solemn thankfulness, like the gaze of an old man who watches his grandchildren standing round their Christmas tree, and is reminded of his own childhood. The brilliant scale passages not only represent the ascending and descending angels, but sound joyous peals from many belfries ringing in the Saviour's birth.

The six Cello Suites, BWV 1007–1012, are suites for unaccompanied cello by Johann Sebastian Bach (1685–1750). They are some of the most frequently performed solo compositions ever written for cello. Bach most likely composed them during the period 1717–1723, when he served as Kapellmeister in Köthen. The title given on the cover of the Anna Magdalena Bach manuscript was Suites à Violoncello Solo senza Basso (Suites for cello solo without bass). As usual in a Baroque musical suite, after the prelude which begins each suite, all the other movements are based around baroque dance types. The cello suites are structured in six movements each: prelude, allemande, courante, sarabande, two minuets or two bourrées or two gavottes, and a final gigue. Gary S. Dalkin of MusicWeb International called Bach's cello suites "among the most profound of all classical music works" and Wilfrid Mellers described them in 1980 as "Monophonic music wherein a man has created a dance of God". Due to the works' technical demands, étude-like nature, and difficulty in interpretation because of the non-annotated nature of the surviving copies and the many discrepancies between them, the cello suites were little known and rarely publicly performed in the modern era until they were recorded by Pablo Casals (1876–1973) in the early 20th century. They have since been performed and recorded by many renowned cellists and have been transcribed for numerous other instruments; they are considered some of Bach's greatest musical achievements.

The six Cello Suites, BWV 1007–1012, are suites for unaccompanied cello by Johann Sebastian Bach (1685–1750). They are some of the most frequently performed solo compositions ever written for cello. Bach most likely composed them during the period 1717–1723, when he served as Kapellmeister in Köthen. The title given on the cover of the Anna Magdalena Bach manuscript was Suites à Violoncello Solo senza Basso (Suites for cello solo without bass). As usual in a Baroque musical suite, after the prelude which begins each suite, all the other movements are based around baroque dance types. The cello suites are structured in six movements each: prelude, allemande, courante, sarabande, two minuets or two bourrées or two gavottes, and a final gigue. Gary S. Dalkin of MusicWeb International called Bach's cello suites "among the most profound of all classical music works" and Wilfrid Mellers described them in 1980 as "Monophonic music wherein a man has created a dance of God". Due to the works' technical demands, étude-like nature, and difficulty in interpretation because of the non-annotated nature of the surviving copies and the many discrepancies between them, the cello suites were little known and rarely publicly performed in the modern era until they were recorded by Pablo Casals (1876–1973) in the early 20th century. They have since been performed and recorded by many renowned cellists and have been transcribed for numerous other instruments; they are considered some of Bach's greatest musical achievements.

The six Cello Suites, BWV 1007–1012, are suites for unaccompanied cello by Johann Sebastian Bach (1685–1750). They are some of the most frequently performed solo compositions ever written for cello. Bach most likely composed them during the period 1717–1723, when he served as Kapellmeister in Köthen. The title given on the cover of the Anna Magdalena Bach manuscript was Suites à Violoncello Solo senza Basso (Suites for cello solo without bass). As usual in a Baroque musical suite, after the prelude which begins each suite, all the other movements are based around baroque dance types. The cello suites are structured in six movements each: prelude, allemande, courante, sarabande, two minuets or two bourrées or two gavottes, and a final gigue. Gary S. Dalkin of MusicWeb International called Bach's cello suites "among the most profound of all classical music works" and Wilfrid Mellers described them in 1980 as "Monophonic music wherein a man has created a dance of God". Due to the works' technical demands, étude-like nature, and difficulty in interpretation because of the non-annotated nature of the surviving copies and the many discrepancies between them, the cello suites were little known and rarely publicly performed in the modern era until they were recorded by Pablo Casals (1876–1973) in the early 20th century. They have since been performed and recorded by many renowned cellists and have been transcribed for numerous other instruments; they are considered some of Bach's greatest musical achievements.

The six Cello Suites, BWV 1007–1012, are suites for unaccompanied cello by Johann Sebastian Bach (1685–1750). They are some of the most frequently performed solo compositions ever written for cello. Bach most likely composed them during the period 1717–1723, when he served as Kapellmeister in Köthen. The title given on the cover of the Anna Magdalena Bach manuscript was Suites à Violoncello Solo senza Basso (Suites for cello solo without bass). As usual in a Baroque musical suite, after the prelude which begins each suite, all the other movements are based around baroque dance types. The cello suites are structured in six movements each: prelude, allemande, courante, sarabande, two minuets or two bourrées or two gavottes, and a final gigue. Gary S. Dalkin of MusicWeb International called Bach's cello suites "among the most profound of all classical music works" and Wilfrid Mellers described them in 1980 as "Monophonic music wherein a man has created a dance of God". Due to the works' technical demands, étude-like nature, and difficulty in interpretation because of the non-annotated nature of the surviving copies and the many discrepancies between them, the cello suites were little known and rarely publicly performed in the modern era until they were recorded by Pablo Casals (1876–1973) in the early 20th century. They have since been performed and recorded by many renowned cellists and have been transcribed for numerous other instruments; they are considered some of Bach's greatest musical achievements.

The six Cello Suites, BWV 1007–1012, are suites for unaccompanied cello by Johann Sebastian Bach (1685–1750). They are some of the most frequently performed solo compositions ever written for cello. Bach most likely composed them during the period 1717–1723, when he served as Kapellmeister in Köthen. The title given on the cover of the Anna Magdalena Bach manuscript was Suites à Violoncello Solo senza Basso (Suites for cello solo without bass). As usual in a Baroque musical suite, after the prelude which begins each suite, all the other movements are based around baroque dance types. The cello suites are structured in six movements each: prelude, allemande, courante, sarabande, two minuets or two bourrées or two gavottes, and a final gigue. Gary S. Dalkin of MusicWeb International called Bach's cello suites "among the most profound of all classical music works" and Wilfrid Mellers described them in 1980 as "Monophonic music wherein a man has created a dance of God". Due to the works' technical demands, étude-like nature, and difficulty in interpretation because of the non-annotated nature of the surviving copies and the many discrepancies between them, the cello suites were little known and rarely publicly performed in the modern era until they were recorded by Pablo Casals (1876–1973) in the early 20th century. They have since been performed and recorded by many renowned cellists and have been transcribed for numerous other instruments; they are considered some of Bach's greatest musical achievements.

The six Cello Suites, BWV 1007–1012, are suites for unaccompanied cello by Johann Sebastian Bach (1685–1750). They are some of the most frequently performed solo compositions ever written for cello. Bach most likely composed them during the period 1717–1723, when he served as Kapellmeister in Köthen. The title given on the cover of the Anna Magdalena Bach manuscript was Suites à Violoncello Solo senza Basso (Suites for cello solo without bass). As usual in a Baroque musical suite, after the prelude which begins each suite, all the other movements are based around baroque dance types. The cello suites are structured in six movements each: prelude, allemande, courante, sarabande, two minuets or two bourrées or two gavottes, and a final gigue. Gary S. Dalkin of MusicWeb International called Bach's cello suites "among the most profound of all classical music works" and Wilfrid Mellers described them in 1980 as "Monophonic music wherein a man has created a dance of God". Due to the works' technical demands, étude-like nature, and difficulty in interpretation because of the non-annotated nature of the surviving copies and the many discrepancies between them, the cello suites were little known and rarely publicly performed in the modern era until they were recorded by Pablo Casals (1876–1973) in the early 20th century. They have since been performed and recorded by many renowned cellists and have been transcribed for numerous other instruments; they are considered some of Bach's greatest musical achievements.

The keyboard concertos, BWV 1052–1065, are concertos for harpsichord (or organ), strings and continuo by Johann Sebastian Bach. There are seven complete concertos for a single harpsichord (BWV 1052–1058), three concertos for two harpsichords (BWV 1060–1062), two concertos for three harpsichords (BWV 1063 and 1064), and one concerto for four harpsichords (BWV 1065). Two other concertos include solo harpsichord parts: the concerto BWV 1044, which has solo parts for harpsichord, violin and flute, and Brandenburg Concerto No. 5 in D major, with the same scoring. In addition, there is a nine-bar concerto fragment for harpsichord (BWV 1059) which adds an oboe to the strings and continuo. Most of Bach's harpsichord concertos (with the exception of the 5th Brandenburg Concerto) are thought to be arrangements made from earlier concertos for melodic instruments probably written in Köthen. In many cases, only the harpsichord version has survived. They are among the first concertos for keyboard instrument ever written.

Johann Sebastian Bach's vocal music includes cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, songs and arias. His instrumental music includes concertos, suites, sonatas, fugues, and other works for organ, harpsichord, lute, violin, viola da gamba, cello, flute, chamber ensemble, and orchestra. There are over 1,000 known compositions by Bach. Almost all are listed in the Bach-Werke-Verzeichnis (BWV), which is the best known and most widely used catalogue of Bach's compositions.

The Sonata in E major for flute and basso continuo (BWV 1035) is a sonata for transverse flute and figured bass composed by J. S. Bach in the 1740s. It was written as the result of a visit in 1741 to the court of Frederick the Great in Potsdam, where Bach's son Carl Philipp Emanuel had been appointed principal harpsichordist to the king the previous year. It was dedicated to Michael Gabriel Fredersdorf, the king's valet and private secretary, who, like the king, was an amateur flautist.

The Sonata in C major for flute and basso continuo (BWV 1033) is a sonata in 4 movements. It is attributed to Johann Sebastian Bach in the manuscript, which is in the hand of his son Carl Philipp Emanuel Bach and has been dated to about 1731, although scholars question the attribution The movements are: Jeanne Swack notes that the first menuet "is related to the first in a set of variations in a concerto for oboe, obligato cembalo and doubling cello by the Merseburg composer Christoph Förster"; this suggests that the movements of BWV 1033 "may have had a disparate origin, as does the sudden appearance of an obbligato cembalo part solely for that movement." The basso continuo can be provided by a variety of instruments. For example, in complete Bach recordings, Stephen Preston on Brilliant Classics (originally recorded by CRD UK) is accompanied by harpsichord and viola da gamba while on Hänssler Classic Jean-Claude Gérard solos without basso continuo.

The keyboard concertos, BWV 1052–1065, are concertos for harpsichord (or organ), strings and continuo by Johann Sebastian Bach. There are seven complete concertos for a single harpsichord (BWV 1052–1058), three concertos for two harpsichords (BWV 1060–1062), two concertos for three harpsichords (BWV 1063 and 1064), and one concerto for four harpsichords (BWV 1065). Two other concertos include solo harpsichord parts: the concerto BWV 1044, which has solo parts for harpsichord, violin and flute, and Brandenburg Concerto No. 5 in D major, with the same scoring. In addition, there is a nine-bar concerto fragment for harpsichord (BWV 1059) which adds an oboe to the strings and continuo. Most of Bach's harpsichord concertos (with the exception of the 5th Brandenburg Concerto) are thought to be arrangements made from earlier concertos for melodic instruments probably written in Köthen. In many cases, only the harpsichord version has survived. They are among the first concertos for keyboard instrument ever written.

The Sonata in E major for flute and basso continuo (BWV 1035) is a sonata for transverse flute and figured bass composed by J. S. Bach in the 1740s. It was written as the result of a visit in 1741 to the court of Frederick the Great in Potsdam, where Bach's son Carl Philipp Emanuel had been appointed principal harpsichordist to the king the previous year. It was dedicated to Michael Gabriel Fredersdorf, the king's valet and private secretary, who, like the king, was an amateur flautist.

Bourrée in E minor is a popular lute piece, the fifth movement from Suite in E minor BWV 996 (BC L166) written by Johann Sebastian Bach between 1708 and 1717. The piece is arguably one of the most famous among guitarists. A bourrée was a type of dance that originated in France with quick duple meter and an upbeat. Though the bourrée was popular as a social dance and shown in theatrical ballets during the reign of Louis XIV of France, the Bourrée in E minor was not intended for dancing. Nonetheless, some of the elements of the dance are incorporated in the piece. Bach wrote his "lute" pieces in a traditional score rather than in lute tablature, and it is believed that Bach played these pieces on the Lautenwerk, a keyboard instrument acoustically imitating the lute. No original script of the Suite in E minor for Lute by Bach is known to exist. However, in the collection of one of Bach's pupils, Johann Ludwig Krebs, there is one piece ("Praeludio – con la Suite da Gio: Bast. Bach") that has written "aufs Lauten Werck" ("for the lute-harpsichord") in unidentified handwriting. Some argue that despite this reference, the piece was meant to be played on the lute as demonstrated by the texture. Others argue that since the piece was written in E minor, it would be incompatible with the baroque lute which was tuned to D minor. Nevertheless, it may be played with other string instruments, such as the guitar, mandola or mandocello, and keyboard instruments, and it is especially well known among guitarists. The tempo of the piece is fairly quick and smooth. It also demonstrates counterpoint, as the two voices move independently of one another. Furthermore, the Bourrée in E minor demonstrates binary form.

The Sonatas and Partitas for Solo Violin (BWV 1001–1006) are a set of six works composed by Johann Sebastian Bach. They are sometimes referred to in English as the Sonatas and Partias for Solo Violin in accordance with Bach's headings in the autograph manuscript: "Partia" (plural "Partien") was commonly used in German-speaking regions during Bach's time, whereas the Italian "partita" was introduced to this set in the 1879 Bach Gesellschaft edition, having become standard by that time. The set consists of three sonatas da chiesa in four movements and three partitas (or partias) in Baroque suite dance-form movements. The 2nd Partita is widely known for its Chaconne, considered one of the most masterful and expressive works ever written for solo violin. The set was completed by 1720 but was not published until 1802 by Nikolaus Simrock in Bonn. Even after publication, it was largely ignored until the celebrated violinist Joseph Joachim started performing these works. Today, Bach's 'Sonatas and Partitas are an essential part of the violin repertoire, and they are frequently performed and recorded. The Sei Solo a Violino senza Basso accompagnato (Six Solos for Violin Without Bass Accompaniment), as Bach titled them, firmly established the technical capability of the violin as a solo instrument. The pieces often served as archetypes for solo violin pieces by later generations of composers, including Eugène Ysaÿe and Béla Bartók.

The four orchestral suites BWV 1066–1069 (called ouvertures by their composer) are four suites by Johann Sebastian Bach from the years 1724–1731. The name ouverture refers only in part to the opening movement in the style of the French overture, in which a majestic opening section in relatively slow dotted-note rhythm in duple meter is followed by a fast fugal section, then rounded off with a short recapitulation of the opening music. More broadly, the term was used in Baroque Germany for a suite of dance-pieces in French Baroque style preceded by such an ouverture. This genre was extremely popular in Germany during Bach's day, and he showed far less interest in it than was usual: Robin Stowell writes that "Telemann's 135 surviving examples [represent] only a fraction of those he is known to have written"; Christoph Graupner left 85; and Johann Friedrich Fasch left almost 100. Bach did write several other ouverture (suites) for solo instruments, notably the Cello Suite no. 5, BWV 1011, which also exists in the autograph Lute Suite in G minor, BWV 995, the Keyboard Partita no. 4 in D, BWV 828, and the Overture in the French style, BWV 831 for keyboard. The two keyboard works are among the few Bach published, and he prepared the lute suite for a "Monsieur Schouster", presumably for a fee, so all three may attest to the form's popularity. Scholars believe that Bach did not conceive of the four orchestral suites as a set (in the way he conceived of the Brandenburg Concertos), since the sources are various, as detailed below. The Bach-Werke-Verzeichnis catalogue includes a fifth suite, BWV 1070 in G minor. However, this work is highly unlikely to have been composed by J. S. Bach. Gustav Mahler arranged portions of BWV 1067 and 1068 for orchestra, harpsichord, and organ. They were played several times during Mahler's first tour of the New York Philharmonic, with Mahler on harpsichord and Harry Jepson on organ. The Italian composer Giuseppe Martucci (1856–1909) also prepared transcriptions of three of the suites (BWV 1066, 1067, and 1068) for solo piano.

The Suite in C minor, BWV 997, by Johann Sebastian Bach, exists in two versions: BWV 997.1 – 1st version, composed before its earliest extant manuscript copy was written 1738–1741, for Lautenwerk (lute-harpsichord) BWV 997.2 – 2nd version, for lute: the arrangement is not by Bach.

The Partita No. 3 in E major for solo violin, BWV 1006.1 (formerly 1006), is the last work in Johann Sebastian Bach's set of Sonatas and Partitas. It consists of the following movements: Preludio Loure Gavotte en Rondeau Menuets (I and II) Bourrée Gigue It takes about 15–18 minutes to perform. Bach transcribed the Partita as a suite, cataloged as BWV 1006.2 (formerly 1006a). The music critic Wilhelm Tappert claimed in 1900 that this arrangement was for lute solo, but present research indicates that it was for an unspecified instrument. The Preludio consists almost entirely of semiquavers (i.e. sixteenth notes). The Preludio was also transcribed by Bach for use in two cantatas: the sinfonia which opens the second part of the 1729 cantata Herr Gott, Beherrscher aller Dinge, BWV 120a. the opening sinfonia, scored for obbligato organ, oboes, trumpets and strings, of the 1731 cantata Wir danken dir, Gott, wir danken dir, BWV 29, in D major The "Gavotte en Rondeau" is included on the Voyager Golden Record and often heard in TV or radio programs. In 1933 Sergei Rachmaninoff transcribed for piano (and subsequently recorded) the Preludio, Gavotte, and Giga from this partita (as TN iii/1). An arrangement of the Preludio for jazz trio by Jacques Loussier appeared on his Reflections of Bach album of 1987 and was used as the theme of the BBC Radio 4 music quiz show Counterpoint. Eugéne Ysaÿe's Violin Sonata No. 2 in A Minor also quotes the Preludio in the first movement.

The Partita in A minor for solo flute, BWV 1013, is a partita in four movements composed by Johann Sebastian Bach. Its date of composition is uncertain, though on the basis of its advanced playing technique, which is more demanding than in the flute part for the Fifth Brandenburg Concerto, for example, it must have been written after 1723. The title, however, is the work of 20th-century editors. The title in the only surviving 18th-century manuscript is "Solo p[our une] flûte traversière par J. S. Bach".

The Sonatas and Partitas for Solo Violin (BWV 1001–1006) are a set of six works composed by Johann Sebastian Bach. They are sometimes referred to in English as the Sonatas and Partias for Solo Violin in accordance with Bach's headings in the autograph manuscript: "Partia" (plural "Partien") was commonly used in German-speaking regions during Bach's time, whereas the Italian "partita" was introduced to this set in the 1879 Bach Gesellschaft edition, having become standard by that time. The set consists of three sonatas da chiesa in four movements and three partitas (or partias) in Baroque suite dance-form movements. The 2nd Partita is widely known for its Chaconne, considered one of the most masterful and expressive works ever written for solo violin. The set was completed by 1720 but was not published until 1802 by Nikolaus Simrock in Bonn. Even after publication, it was largely ignored until the celebrated violinist Joseph Joachim started performing these works. Today, Bach's 'Sonatas and Partitas are an essential part of the violin repertoire, and they are frequently performed and recorded. The Sei Solo a Violino senza Basso accompagnato (Six Solos for Violin Without Bass Accompaniment), as Bach titled them, firmly established the technical capability of the violin as a solo instrument. The pieces often served as archetypes for solo violin pieces by later generations of composers, including Eugène Ysaÿe and Béla Bartók.

The Partita in D minor for solo violin, BWV 1004, by Johann Sebastian Bach, was written between 1717 and 1720. It is a part of his compositional cycle called Sonatas and Partitas for Solo Violin. The most famous part of the work is the Chaconne (or Ciaconna).

The Sonatas and Partitas for Solo Violin (BWV 1001–1006) are a set of six works composed by Johann Sebastian Bach. They are sometimes referred to in English as the Sonatas and Partias for Solo Violin in accordance with Bach's headings in the autograph manuscript: "Partia" (plural "Partien") was commonly used in German-speaking regions during Bach's time, whereas the Italian "partita" was introduced to this set in the 1879 Bach Gesellschaft edition, having become standard by that time. The set consists of three sonatas da chiesa in four movements and three partitas (or partias) in Baroque suite dance-form movements. The 2nd Partita is widely known for its Chaconne, considered one of the most masterful and expressive works ever written for solo violin. The set was completed by 1720 but was not published until 1802 by Nikolaus Simrock in Bonn. Even after publication, it was largely ignored until the celebrated violinist Joseph Joachim started performing these works. Today, Bach's 'Sonatas and Partitas are an essential part of the violin repertoire, and they are frequently performed and recorded. The Sei Solo a Violino senza Basso accompagnato (Six Solos for Violin Without Bass Accompaniment), as Bach titled them, firmly established the technical capability of the violin as a solo instrument. The pieces often served as archetypes for solo violin pieces by later generations of composers, including Eugène Ysaÿe and Béla Bartók.

The Prelude in C Minor, BWV 999, is, according to its only extant 18th-century manuscript, a composition for lute by Johann Sebastian Bach. In the manuscript, conserved as Fascicle 19 of Mus.ms. Bach P 804 at the Berlin State Library, Johann Peter Kellner wrote the piece down in keyboard notation. The time of origin of the work is not known: possibly Bach composed it in his Köthen period, that is, between 1717 and 1723, or the early years of his ensuing Leipzig period. Kellner's copy was produced after 1727, but before Bach's death in 1750. The Prelude can be performed as well on a lute as on a keyboard. In the 19th century, it was adopted as No. 3 in the keyboard collection Twelve Little Preludes. It was grouped with Bach's lute compositions in 20th-century scholarship such as the Bach-Jahrbuch of 1931, the Bach-Werke-Verzeichnis and the New Bach Edition. It has been recorded in performances on lute, on guitar, and on keyboard instruments such as piano or harpsichord. In the 21st century, digital facsimiles of Kellner's copy became available on-line, for instance at the Bach Digital website.

Keyboard works (Klavierwerke) by Johann Sebastian Bach traditionally refers to Chapter 8 in the BWV catalogue or the fifth series of the New Bach Edition, both of which list compositions for a solo keyboard instrument like the harpsichord or the clavichord. Despite the fact that the organ is also a keyboard instrument, and that in Bach's time the distinction wasn't always made whether a keyboard composition was for organ or another keyboard instrument, Wolfgang Schmieder ranged organ compositions in a separate section of the Bach-Werke-Verzeichnis (Nos. 525-771). Also other compositions for keyboard, like compositions for lute-harpsichord and fortepiano were listed outside the "Klavierwerke" range by Schmieder. Lute works are in the range 995–1000, Chapter 9 in the BWV catalogue.

Songs and arias by Johann Sebastian Bach are compositions listed in Chapter 6 of the Bach-Werke-Verzeichnis (BWV 439–524), which also includes the Quodlibet. Most of the songs and arias included in this list are set for voice and continuo. Most of them are also spiritual, i.e. hymn settings, although a few have a worldly theme. The best known of these, "Bist du bei mir", was however not composed by Bach. An aria by Bach was rediscovered in the 21st century, and was assigned the number BWV 1127. Further hymn settings and arias by Bach are included in his cantatas, motets, masses, passions, oratorios and chorale harmonisations (BWV 1–438 and later additions). The second Anhang of the BWV catalogue also lists a few songs of doubtful authenticity.

The Sonatas and Partitas for Solo Violin (BWV 1001–1006) are a set of six works composed by Johann Sebastian Bach. They are sometimes referred to in English as the Sonatas and Partias for Solo Violin in accordance with Bach's headings in the autograph manuscript: "Partia" (plural "Partien") was commonly used in German-speaking regions during Bach's time, whereas the Italian "partita" was introduced to this set in the 1879 Bach Gesellschaft edition, having become standard by that time. The set consists of three sonatas da chiesa in four movements and three partitas (or partias) in Baroque suite dance-form movements. The 2nd Partita is widely known for its Chaconne, considered one of the most masterful and expressive works ever written for solo violin. The set was completed by 1720 but was not published until 1802 by Nikolaus Simrock in Bonn. Even after publication, it was largely ignored until the celebrated violinist Joseph Joachim started performing these works. Today, Bach's 'Sonatas and Partitas are an essential part of the violin repertoire, and they are frequently performed and recorded. The Sei Solo a Violino senza Basso accompagnato (Six Solos for Violin Without Bass Accompaniment), as Bach titled them, firmly established the technical capability of the violin as a solo instrument. The pieces often served as archetypes for solo violin pieces by later generations of composers, including Eugène Ysaÿe and Béla Bartók.

The Sonatas and Partitas for Solo Violin (BWV 1001–1006) are a set of six works composed by Johann Sebastian Bach. They are sometimes referred to in English as the Sonatas and Partias for Solo Violin in accordance with Bach's headings in the autograph manuscript: "Partia" (plural "Partien") was commonly used in German-speaking regions during Bach's time, whereas the Italian "partita" was introduced to this set in the 1879 Bach Gesellschaft edition, having become standard by that time. The set consists of three sonatas da chiesa in four movements and three partitas (or partias) in Baroque suite dance-form movements. The 2nd Partita is widely known for its Chaconne, considered one of the most masterful and expressive works ever written for solo violin. The set was completed by 1720 but was not published until 1802 by Nikolaus Simrock in Bonn. Even after publication, it was largely ignored until the celebrated violinist Joseph Joachim started performing these works. Today, Bach's 'Sonatas and Partitas are an essential part of the violin repertoire, and they are frequently performed and recorded. The Sei Solo a Violino senza Basso accompagnato (Six Solos for Violin Without Bass Accompaniment), as Bach titled them, firmly established the technical capability of the violin as a solo instrument. The pieces often served as archetypes for solo violin pieces by later generations of composers, including Eugène Ysaÿe and Béla Bartók.

The Sonatas and Partitas for Solo Violin (BWV 1001–1006) are a set of six works composed by Johann Sebastian Bach. They are sometimes referred to in English as the Sonatas and Partias for Solo Violin in accordance with Bach's headings in the autograph manuscript: "Partia" (plural "Partien") was commonly used in German-speaking regions during Bach's time, whereas the Italian "partita" was introduced to this set in the 1879 Bach Gesellschaft edition, having become standard by that time. The set consists of three sonatas da chiesa in four movements and three partitas (or partias) in Baroque suite dance-form movements. The 2nd Partita is widely known for its Chaconne, considered one of the most masterful and expressive works ever written for solo violin. The set was completed by 1720 but was not published until 1802 by Nikolaus Simrock in Bonn. Even after publication, it was largely ignored until the celebrated violinist Joseph Joachim started performing these works. Today, Bach's 'Sonatas and Partitas are an essential part of the violin repertoire, and they are frequently performed and recorded. The Sei Solo a Violino senza Basso accompagnato (Six Solos for Violin Without Bass Accompaniment), as Bach titled them, firmly established the technical capability of the violin as a solo instrument. The pieces often served as archetypes for solo violin pieces by later generations of composers, including Eugène Ysaÿe and Béla Bartók.

The Sonatas and Partitas for Solo Violin (BWV 1001–1006) are a set of six works composed by Johann Sebastian Bach. They are sometimes referred to in English as the Sonatas and Partias for Solo Violin in accordance with Bach's headings in the autograph manuscript: "Partia" (plural "Partien") was commonly used in German-speaking regions during Bach's time, whereas the Italian "partita" was introduced to this set in the 1879 Bach Gesellschaft edition, having become standard by that time. The set consists of three sonatas da chiesa in four movements and three partitas (or partias) in Baroque suite dance-form movements. The 2nd Partita is widely known for its Chaconne, considered one of the most masterful and expressive works ever written for solo violin. The set was completed by 1720 but was not published until 1802 by Nikolaus Simrock in Bonn. Even after publication, it was largely ignored until the celebrated violinist Joseph Joachim started performing these works. Today, Bach's 'Sonatas and Partitas are an essential part of the violin repertoire, and they are frequently performed and recorded. The Sei Solo a Violino senza Basso accompagnato (Six Solos for Violin Without Bass Accompaniment), as Bach titled them, firmly established the technical capability of the violin as a solo instrument. The pieces often served as archetypes for solo violin pieces by later generations of composers, including Eugène Ysaÿe and Béla Bartók.

The Sonatas and Partitas for Solo Violin (BWV 1001–1006) are a set of six works composed by Johann Sebastian Bach. They are sometimes referred to in English as the Sonatas and Partias for Solo Violin in accordance with Bach's headings in the autograph manuscript: "Partia" (plural "Partien") was commonly used in German-speaking regions during Bach's time, whereas the Italian "partita" was introduced to this set in the 1879 Bach Gesellschaft edition, having become standard by that time. The set consists of three sonatas da chiesa in four movements and three partitas (or partias) in Baroque suite dance-form movements. The 2nd Partita is widely known for its Chaconne, considered one of the most masterful and expressive works ever written for solo violin. The set was completed by 1720 but was not published until 1802 by Nikolaus Simrock in Bonn. Even after publication, it was largely ignored until the celebrated violinist Joseph Joachim started performing these works. Today, Bach's 'Sonatas and Partitas are an essential part of the violin repertoire, and they are frequently performed and recorded. The Sei Solo a Violino senza Basso accompagnato (Six Solos for Violin Without Bass Accompaniment), as Bach titled them, firmly established the technical capability of the violin as a solo instrument. The pieces often served as archetypes for solo violin pieces by later generations of composers, including Eugène Ysaÿe and Béla Bartók.

The Sonatas and Partitas for Solo Violin (BWV 1001–1006) are a set of six works composed by Johann Sebastian Bach. They are sometimes referred to in English as the Sonatas and Partias for Solo Violin in accordance with Bach's headings in the autograph manuscript: "Partia" (plural "Partien") was commonly used in German-speaking regions during Bach's time, whereas the Italian "partita" was introduced to this set in the 1879 Bach Gesellschaft edition, having become standard by that time. The set consists of three sonatas da chiesa in four movements and three partitas (or partias) in Baroque suite dance-form movements. The 2nd Partita is widely known for its Chaconne, considered one of the most masterful and expressive works ever written for solo violin. The set was completed by 1720 but was not published until 1802 by Nikolaus Simrock in Bonn. Even after publication, it was largely ignored until the celebrated violinist Joseph Joachim started performing these works. Today, Bach's 'Sonatas and Partitas are an essential part of the violin repertoire, and they are frequently performed and recorded. The Sei Solo a Violino senza Basso accompagnato (Six Solos for Violin Without Bass Accompaniment), as Bach titled them, firmly established the technical capability of the violin as a solo instrument. The pieces often served as archetypes for solo violin pieces by later generations of composers, including Eugène Ysaÿe and Béla Bartók.

A suite, in Western classical music, is an ordered set of instrumental or orchestral/concert band pieces. It originated in the late 14th century as a pairing of dance tunes; and grew in scope so that by the early 17th century it comprised up to five dances, sometimes with a prelude. The separate movements were often thematically and tonally linked. The term can also be used to refer to similar forms in other musical traditions, such as the Turkish fasıl and the Arab nuubaat. In the Baroque era, the suite was an important musical form, also known as Suite de danses, Ordre (the term favored by François Couperin), Partita, or Ouverture (after the theatrical "overture" which often included a series of dances) as with the orchestral suites of Christoph Graupner, Telemann and J.S. Bach. During the 18th century, the suite fell out of favour as a cyclical form, giving way to the symphony, sonata and concerto. It was revived in the later 19th century, but in a different form, often presenting extracts from a ballet (Nutcracker Suite), the incidental music to a play (L'Arlésienne, Masquerade), opera, film (Lieutenant Kije Suite) or video game (Motoaki Takenouchi's 1994 suite to the Shining series), or entirely original movements (Holberg Suite, The Planets).

Suite in E minor, BWV 996, is a musical composition written by Johann Sebastian Bach (1685–1750) between 1708 and 1717. It is probable that this suite was intended for the lautenwerk (lute-harpsichord). Because the lautenwerk is an uncommon instrument, it is in modern times often performed on the guitar or the lute.

The Musical Offering (German: Musikalisches Opfer or Das Musikalische Opfer), BWV 1079, is a collection of keyboard canons and fugues and other pieces of music by Johann Sebastian Bach, all based on a single musical theme given to him by Frederick the Great (King Frederick II of Prussia), to whom they are dedicated. They were published in September 1747. The Ricercar a 6, a six-voice fugue which is regarded as the high point of the entire work, was put forward by the musicologist Charles Rosen as the most significant piano composition in history (partly because it is one of the first). This ricercar is also occasionally called the Prussian Fugue, a name used by Bach himself.

The trio sonata is a genre, typically consisting of several movements, with two melody instruments and basso continuo. It originated in the early 17th century and was a favorite chamber ensemble combination in the Baroque era.

The Sonata in G major for two flutes and basso continuo, BWV 1039, is a trio sonata by Johann Sebastian Bach. It is a version, for a different instrumentation, of the Gamba Sonata, BWV 1027. The first, second and fourth movement of these sonatas also exist as a trio sonata for organ.

The sonatas for viola da gamba and harpsichord, BWV 1027–1029, are three sonatas composed by Johann Sebastian Bach for viola da gamba and harpsichord. They probably date from the late 1730s and early 1740s.

The sonatas for viola da gamba and harpsichord, BWV 1027–1029, are three sonatas composed by Johann Sebastian Bach for viola da gamba and harpsichord. They probably date from the late 1730s and early 1740s.

The sonatas for viola da gamba and harpsichord, BWV 1027–1029, are three sonatas composed by Johann Sebastian Bach for viola da gamba and harpsichord. They probably date from the late 1730s and early 1740s.

Johann Sebastian Bach's vocal music includes cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, songs and arias. His instrumental music includes concertos, suites, sonatas, fugues, and other works for organ, harpsichord, lute, violin, viola da gamba, cello, flute, chamber ensemble, and orchestra. There are over 1,000 known compositions by Bach. Almost all are listed in the Bach-Werke-Verzeichnis (BWV), which is the best known and most widely used catalogue of Bach's compositions.

Johann Sebastian Bach's vocal music includes cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, songs and arias. His instrumental music includes concertos, suites, sonatas, fugues, and other works for organ, harpsichord, lute, violin, viola da gamba, cello, flute, chamber ensemble, and orchestra. There are over 1,000 known compositions by Bach. Almost all are listed in the Bach-Werke-Verzeichnis (BWV), which is the best known and most widely used catalogue of Bach's compositions.

The six sonatas for violin and obbligato harpsichord BWV 1014–1019 by Johann Sebastian Bach are works in trio sonata form, with the two upper parts in the harpsichord and violin over a bass line supplied by the harpsichord and an optional viola da gamba. Unlike baroque sonatas for solo instrument and continuo, where the realisation of the figured bass was left to the discretion of the performer, the keyboard part in the sonatas was almost entirely specified by Bach. They were probably mostly composed during Bach's final years in Cöthen between 1720 and 1723, before he moved to Leipzig. The extant sources for the collection span the whole of Bach's period in Leipzig, during which time he continued to make changes to the score.

The Sonatas and Partitas for Solo Violin (BWV 1001–1006) are a set of six works composed by Johann Sebastian Bach. They are sometimes referred to in English as the Sonatas and Partias for Solo Violin in accordance with Bach's headings in the autograph manuscript: "Partia" (plural "Partien") was commonly used in German-speaking regions during Bach's time, whereas the Italian "partita" was introduced to this set in the 1879 Bach Gesellschaft edition, having become standard by that time. The set consists of three sonatas da chiesa in four movements and three partitas (or partias) in Baroque suite dance-form movements. The 2nd Partita is widely known for its Chaconne, considered one of the most masterful and expressive works ever written for solo violin. The set was completed by 1720 but was not published until 1802 by Nikolaus Simrock in Bonn. Even after publication, it was largely ignored until the celebrated violinist Joseph Joachim started performing these works. Today, Bach's 'Sonatas and Partitas are an essential part of the violin repertoire, and they are frequently performed and recorded. The Sei Solo a Violino senza Basso accompagnato (Six Solos for Violin Without Bass Accompaniment), as Bach titled them, firmly established the technical capability of the violin as a solo instrument. The pieces often served as archetypes for solo violin pieces by later generations of composers, including Eugène Ysaÿe and Béla Bartók.

The Sonatas and Partitas for Solo Violin (BWV 1001–1006) are a set of six works composed by Johann Sebastian Bach. They are sometimes referred to in English as the Sonatas and Partias for Solo Violin in accordance with Bach's headings in the autograph manuscript: "Partia" (plural "Partien") was commonly used in German-speaking regions during Bach's time, whereas the Italian "partita" was introduced to this set in the 1879 Bach Gesellschaft edition, having become standard by that time. The set consists of three sonatas da chiesa in four movements and three partitas (or partias) in Baroque suite dance-form movements. The 2nd Partita is widely known for its Chaconne, considered one of the most masterful and expressive works ever written for solo violin. The set was completed by 1720 but was not published until 1802 by Nikolaus Simrock in Bonn. Even after publication, it was largely ignored until the celebrated violinist Joseph Joachim started performing these works. Today, Bach's 'Sonatas and Partitas are an essential part of the violin repertoire, and they are frequently performed and recorded. The Sei Solo a Violino senza Basso accompagnato (Six Solos for Violin Without Bass Accompaniment), as Bach titled them, firmly established the technical capability of the violin as a solo instrument. The pieces often served as archetypes for solo violin pieces by later generations of composers, including Eugène Ysaÿe and Béla Bartók.

The six sonatas for violin and obbligato harpsichord BWV 1014–1019 by Johann Sebastian Bach are works in trio sonata form, with the two upper parts in the harpsichord and violin over a bass line supplied by the harpsichord and an optional viola da gamba. Unlike baroque sonatas for solo instrument and continuo, where the realisation of the figured bass was left to the discretion of the performer, the keyboard part in the sonatas was almost entirely specified by Bach. They were probably mostly composed during Bach's final years in Cöthen between 1720 and 1723, before he moved to Leipzig. The extant sources for the collection span the whole of Bach's period in Leipzig, during which time he continued to make changes to the score.

Johann Sebastian Bach's vocal music includes cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, songs and arias. His instrumental music includes concertos, suites, sonatas, fugues, and other works for organ, harpsichord, lute, violin, viola da gamba, cello, flute, chamber ensemble, and orchestra. There are over 1,000 known compositions by Bach. Almost all are listed in the Bach-Werke-Verzeichnis (BWV), which is the best known and most widely used catalogue of Bach's compositions.

The Toccata and Fugue in D minor, BWV 565, is a composition for organ from the Baroque period which was long attributed to Johann Sebastian Bach, but whose authorship has been questioned since 1981. It is one of the most widely recognisable works in the organ repertoire. It was written between 1704 and the 1750s. The piece opens with a toccata section followed by a fugue that ends in a coda, and is typical of the north German organ school of the Baroque era. Little was known about its early existence until the piece was discovered in an undated manuscript produced by Johannes Ringk. It was first published in 1833 during the early Bach Revival period through the efforts of composer Felix Mendelssohn, who also performed the piece in 1840. In the 20th century, its popularity rose above that of other organ compositions by Bach, as exemplified by its inclusion in Walt Disney's 1940 animated film Fantasia using Leopold Stokowski's orchestral transcription from 1927. The piece has been subject to a wide, and often conflicting, variety of analyses. It is often described as a type of program music depicting a storm, while its depiction in Fantasia is suggestive of non-representational or absolute music. The English musicologist Peter Williams questioned its authorship in 1981, and as of 2026, there is no scholarly consensus.

Johann Sebastian Bach's vocal music includes cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, songs and arias. His instrumental music includes concertos, suites, sonatas, fugues, and other works for organ, harpsichord, lute, violin, viola da gamba, cello, flute, chamber ensemble, and orchestra. There are over 1,000 known compositions by Bach. Almost all are listed in the Bach-Werke-Verzeichnis (BWV), which is the best known and most widely used catalogue of Bach's compositions.

The Sonatas and Partitas for Solo Violin (BWV 1001–1006) are a set of six works composed by Johann Sebastian Bach. They are sometimes referred to in English as the Sonatas and Partias for Solo Violin in accordance with Bach's headings in the autograph manuscript: "Partia" (plural "Partien") was commonly used in German-speaking regions during Bach's time, whereas the Italian "partita" was introduced to this set in the 1879 Bach Gesellschaft edition, having become standard by that time. The set consists of three sonatas da chiesa in four movements and three partitas (or partias) in Baroque suite dance-form movements. The 2nd Partita is widely known for its Chaconne, considered one of the most masterful and expressive works ever written for solo violin. The set was completed by 1720 but was not published until 1802 by Nikolaus Simrock in Bonn. Even after publication, it was largely ignored until the celebrated violinist Joseph Joachim started performing these works. Today, Bach's 'Sonatas and Partitas are an essential part of the violin repertoire, and they are frequently performed and recorded. The Sei Solo a Violino senza Basso accompagnato (Six Solos for Violin Without Bass Accompaniment), as Bach titled them, firmly established the technical capability of the violin as a solo instrument. The pieces often served as archetypes for solo violin pieces by later generations of composers, including Eugène Ysaÿe and Béla Bartók.