Bach's keyboard suites, still frequently performed today, were composed or revised in the 1720s and 1730s. Although the precise circumstances are unknown, the English Suites are considered to be the earliest among them. The title became established during the 18th century, owing to Bach's first biographer, J. C. Forkel, who noted that they were "composed for an English nobleman." While verification of this fact is impossible, one must acknowledge a certain persuasiveness in Forkel's words, given his close acquaintance with Bach's sons.

However, the common belief that the six suites exhibit English characteristics is not stylistically accurate. If the French Suites sound more refined compared to the English Suites, it is likely because the former were written with a greater awareness of the contemporary galant style, employing many conventional idioms. In any case, what the composer likely aimed for through the later keyboard suites, beginning with the English Suites, was the fusion of German sonorities with traditional genres of French origin; in short, to integrate imitative counterpoint into a compositional style where harmonic elements predominated. This was an unparalleled endeavor for Bach, reaching its culmination in the Six Partitas. Furthermore, as Bach himself called them "suites with preludes," each of the English Suites features a lengthy prelude. In the preludes of the five suites excluding the first, one can discern the formal principles of Italian concertos or da capo arias, yet simultaneously, they encompass intricate motivic development through two-voice contrapuntal writing. This can also be described as a reconciliation of Italian and German sonorities. In any case, nothing more than an extramusical origin can be attributed to the name English Suites.

All English Suites consist of the same sequence of six movements: Prelude-Allemande-French Courante-Sarabande-Insert Dance-Gigue. However, unlike the French Suites or Partitas, there is no consistency or logical order in the choice of keys or the arrangement of the six suites; some suggest they were simply ordered according to their composition date or difficulty.

Furthermore, some of the dances show clear similarities to the Six Suites (1701) by Charles Dieupart (ca. 1667-ca. 1740), a French musician who was also active in London. Bach copied several of Dieupart's works, and since Dieupart's Six Suites also begin with an overture, there is no doubt that this collection played a role in the genesis of the English Suites.

6. D minor: Prelude, Allemande, Courante, Sarabande, Double, Gavotte I-II, Gigue / BWV 811

The Courante, in 3/2 time, appears at first glance to be French in style; however, the steady bass progression (walking bass) with its passing notes is not originally French but was favored by Italians. Bach attempts to integrate both styles here.