Bach produced a wealth of pedagogical materials, both in content and number of pieces, such as The Well-Tempered Clavier, Inventions, and Sinfonias. These were developed from the outset with clear and meticulous planning, often involving selections from several candidates to suit specific purposes, as well as transpositions and revisions. On the other hand, numerous works remained unincluded in collections, along with pieces presumed to be original versions in different keys, and simplified early drafts. The Nine, Six, and Five Little Preludes were likely compilations of such small pieces by later generations, and were similarly transmitted from pupil to pupil as pedagogical material. It is believed that the arrangement and popularization of these collections were established by the mid-19th century through the Peters Edition's keyboard works (edited by Czerny/Griepenkerl).

This collection bears the title Six Little Preludes for Beginners on the Clavier and appears to have been compiled into six pieces in Bach's circle. The most important source currently is a copy made by Johann Christian Kittel (1732-1809), Bach's last pupil, transcribed no later than the 1780s. Kittel later had many pupils and was instrumental in establishing the Bach tradition and legacy in Central Germany.

The six pieces included here are arranged according to key (C-c-d-D-E-e), suggesting the possibility that Bach might have envisioned a larger collection. Furthermore, compared to the Nine Little Preludes and Five Little Preludes, the compositional technique is more developed, the scale is larger, and the form of each piece is well-structured. Below, let's examine each piece from the perspective of form and compositional style.

No. 1 in C major, BWV 933

It is divided into a first half and a second half, each further subdivided into an antecedent phrase and a consequent phrase. The antecedent phrase, characterized by wide leaps and crisp rhythms, contrasts with the flowing consequent phrase, which features scales and a steady accompaniment, resulting in a highly organized structure. It is a stately work, fitting for the opening of the collection.

No. 2 in C minor, BWV 934

A minuet-like miniature where quarter notes continuously mark the triple meter. The first half clearly proceeds in two-measure units, while the second half progresses with subtle variations in each measure. In the first half, the left-hand part takes over the eighth-note motion and brings it to a close, but in the second half, the main melody quickly returns to the right hand, and quarter rests appear in the left hand for the first time in this piece. Nuance is created through slight variations within a steady texture.

No. 3 in D minor, BWV 935

In addition to the hands imitating each other, the thematic motives in the first and second halves are in inversion. Furthermore, the melodic figures in the final measures of both the first and second halves are unified. Such compositional style is often seen in Bach's keyboard dance movements.

No. 4 in D major, BWV 936

It begins with three voices. Although voice leading might not seem consistently maintained, in measures 9-16 and 40-44, the right-hand part alone sounds as if two voices are conversing. The left hand, in contrast, imitates a basso continuo bass, thus the overall piece can be described as trio sonata-like.

No. 5 in E major, BWV 937

The left and right hands exchange motives in the first and second halves. This contrast is clearly discernible when comparing the score visually. However, in the second half, syncopation through ties is interwoven, adding rhythmic variation.

No. 6 in E minor, BWV 938

The opening of both the first and second halves begins with the hands exchanging motives, but their subsequent development differs somewhat. While the first half is composed solely of a simple texture and straightforward rhythms, the second half displays rich expression through ties and shifts in register. Nevertheless, in both cases, the two-measure unit is maintained, and sequential progressions and pedal points are frequently employed, giving the impression that the piece's progression reaches new heights through the accumulation of very subtle changes.