THIS STUDY IS AN examination of the types and degree of unity—by which I mean the common features—within the individual partitas and suites of Johann Sebastian Bach. While this topic has been touched on in passing in recent publications, it has yet to be examined in depth from an analytical-theoretical perspective. That is the focus and purpose of this investigation.

Perhaps the best way to clarify the focus of this study and how it differs from others of Bach's suites—that is, to clarify what it is as well as what it is not about—is to begin with the term “unity.” At a very basic level, unity implies consistency of style, which in this context means consistency of melodic writing (including ornamentation), harmonic language, contrapuntal complexity, texture, dimension, etc. Indeed, changes in these parameters are what differentiate Bach's early style from his more mature works and, for that matter, Bach's styles from those of his contemporaries, a matter of some importance to scholars faced with the difficult task of establishing chronology and authenticity.

Equally important as background to our investigation is a consideration of the circumstances under which the suites were written and first published, matters that have been dealt with in depth by Christoph Wolff and others. As we approach the issue of unity, it would be comforting to know, for example, that Bach conceived of these works as inseparable entities, but alas that is not always the case. As noted by David Schulenberg:

The manner in which some of the suites were altered from early conception to final version raises at least two pertinent questions regarding unity. First, does this suggest we are looking for something that simply isn't there?