with a doubtful attribution to J. S. Bach: Anh. II 116 – No. 7: Minuet in G major Anh. II 117a and 117b – No. 8a and b: two Polonaises in F major Anh. II 118 – No. 9: Minuet in B♭ major Anh. II 119 – No. 10: Polonaise in G minor Anh. II 120 – No. 14: Minuet in A minor Anh. II 121 – No. 15: Minuet in C minor Two Marches and two Polonaises by Carl Philipp Emanuel Bach, BWV Anh. 122–125 Nos. 16–19 (BWV Anh. 122–125) are considered to be early compositions by Carl Philipp Emanuel Bach: Anh. III 122 – No. 16: March in D major (H 1/1) Anh. III 123 – No. 17: Polonaise in G minor (H 1/2) Anh. III 124 – No. 18: March in G major (H 1/3) Anh. III 125 – No. 19: Polonaise in G minor (H 1/4) Three pieces, BWV Anh. 126–128 A musette and two other pieces with a doubtful attribution to J. S. Bach: Anh. II 126 – No. 22: Musette in D major Anh. II 127 – No. 23: March in E♭ major Anh. II 128 – No. 24: (Polonaise) in D minor Solo per il cembalo by Carl Philipp Emanuel Bach, BWV Anh. 129 Opening bars of Solo per il cembalo, BWV Anh. 129, by Carl Philipp Emanuel Bach, piece No. 27 from the 1725 Notebook: Anh. III 129 – No. 27: Solo per il cembalo in E-flat major by C. P. E. Bach (early version of the keyboard sonata Wq 65.7 / H 16). Polonaise in G major by Johann Adolph Hasse, BWV Anh. 130 Anh. III 130 – No. 28: Polonaise in G major by Johann Adolph Hasse, i.e. "Polonoise secondo", originally in F major, from his keyboard sonata in F major. Piece in F major by Johann Christian Bach, BWV Anh. 131 Untitled movement in F major, , piece No. 32 from the 1725 Notebook: Anh. III 131 – No. 32: [March] in F major attributed to Johann Christian Bach (W A22), formerly also attributed to Gottfried Heinrich Bach Minuet in D minor, BWV Anh. 132 Anh. II 132 – No. 36: Minuet in D minor "Rondeau" by François Couperin, BWV Anh. 183 Anh. III 183 – No. 6: Rondeau in B-flat major by François Couperin, "Les Bergeries, Rondeau", sixth piece of the Sixième ordre, published in Paris in 1717