Similarly to how the first movement of the Well Tempered Clavier begins on a middle C, which grows into a C-major arpeggio in the centre of the keyboard, the Sonatas and Partitas open with the violin introducing itself by sounding its lowest note, and then sweeping upwards through one of its signature chords. Guitarists may find it serendipitous that Bach then finishes his work with the BWV 1006 gigue in E major sounding a descending arpeggio on the guitar's most signature chord, and then ending on our lowest note.

All three sonatas are in the style of Sonata da chiesa, or Church Sonata. In fact every sonata has at least one surviving movement transcribed for the keyboard; for example, the G-minor fugue, BWV 1001 was transcribed in Bach’s time for the organ, and there are accounts of Bach himself playing a version of the C major fugue, BWV 1005 on the instrument as well. Therefore, it is likely that parts of all these Sonatas were incorporated into church services.