(The following table lists only the keyboard pieces transmitted solely in The Second Notebook for Anna Magdalena Bach. For the complete contents, refer to: Overall Structure.)

Bach presented two music notebooks to his second wife, Anna Magdalena. The first, created in 1722, is largely lost, but the surviving portions transmit early versions of French Suites Nos. 1-5. The second notebook was begun in 1725. Its contents are remarkably diverse, almost to the point of being miscellaneous. However, Bach himself wrote only a few pieces, including the first two Partitas; the rest were mostly inscribed by Anna Magdalena herself from time to time. It is believed that the notebook was compiled not only for domestic enjoyment but also, and primarily, for the musical education of their children. Continued until around 1740, the music notebook is an extremely valuable document for understanding the evolution of Anna Magdalena's handwriting. Furthermore, it serves as an album reflecting the harmonious atmosphere of the Bach household, with Emanuel adding his mother's full name to the initials "AMB" on the cover, and some sections copied in a childlike hand, though whose is unknown.

The collected works include small pieces for keyboard such as dances, vocal works like arias and chorales, and even rules for thoroughbass. Many are not by Bach, and their composers are not indicated, leading to ongoing discussions regarding their attribution. It is likely that a considerable number of pieces by Bach's sons are also included.

The small keyboard pieces are mostly gallant binary dances, many of which are still used in lessons today as an introduction to Baroque music. Among the larger works inscribed are, in addition to the Partitas and French Suites, a movement from a sonata by Emanuel Bach and the Prelude from Book 1, No. 1 of The Well-Tempered Clavier.

The March in E-flat major (BWV Anh. 127), inscribed as the 27th piece, is of unknown authorship. Its repeated third chords, repeated-note bass, and simple harmonic progressions are uncharacteristic of J. S. Bach's style. The driving anacrusis and subdivided rhythms suggest a mid-18th-century style, leading some to consider it a work by C. P. E. Bach, though there is no definitive proof.

The motif of repeated chords creates an ideal effect for the harpsichord, which produces sound by plucking strings. By subtly displacing the plucking point relative to the tempo, the flow of time can be freely controlled. Passages with intermingled triple and duple rhythms, and scattered trills, also contribute to the control of tempo. That is, variations in horizontal sound density create nuances, depicting movements like fallen leaves on the water's surface, drifting or pausing at will. Furthermore, leaps appearing throughout add humor. Although the quarter-note pulse, characteristic of a "march" rhythm, is continuous throughout, these various elements prevent monotony, resulting in a piece filled with a sense of freedom.

※ For the complete list of pieces in The Second Notebook for Anna Magdalena Bach, please refer to "Overall Structure."

Vocal Works and Thoroughbass Rules

Incidentally, the ten songs assigned BWV 500-series numbers constitute an important group of works transmitted by this music notebook. While many of the original melodies are anonymous, besides hymns, the harmonies and accompaniments are by Bach or his family. The appearance of a single song in different keys likely indicates transpositions made to suit Anna Magdalena's vocal range. These are presumed to have been used as teaching material for thoroughbass. Accompanying melodies was the most fundamental skill for musicians of that era. The last few pages of the second volume list thoroughbass rules in Anna Magdalena's handwriting.

Listed in order of Bach-Werke-Verzeichnis (BWV) numbers. The number on the left is the numbering according to the NBA arrangement in the Notebook.

• 25. Chorale "Bist du bei mir" in E-flat major, BWV 508 (G.H. Stölzel)
• 41. Aria "Gedenke doch, mein Geist" in E-flat major, BWV 509 (Composer unknown)
• 12. Chorale "Gib dich zufrieden und sei stille" in F major, BWV 510 (Some theories suggest it was harmonized by Johann Georg Bernhard)
• 13a. Chorale "Gib dich zufrieden und sei stille" in G minor, BWV 511 (J.S. Bach?)
• 13b. Chorale "Gib dich zufrieden and sei stille" in E minor, BWV 512 (Transposed down a third from BWV 511)
• 41. Chorale "O Ewigkeit, du Donnerwort" BWV 513 (Melody by J. Crüger.)
• 35. Chorale "Schaff's mit mir, Gott" in C major, BWV 514 (Unknown, but also said to be composed by Bach himself. Note names and figured bass numbers are inscribed.)
• 20b. Aria "So oft ich meine Tabackspfeife" in D minor, BWV 515b (Melody by Anna Magdalena's first child, Johann Georg Heinrich, transcribed by his mother and accompanied by his father. The lyrics are from a popular poem of the time.)
• 33. Aria "Warum betrübst du dich" in F minor, BWV 516 (Composer unknown)
• 40. Chorale "Wie Wohl ist mir" in F major, BWV 517 (Composer unknown)