J.S. Bach did compose dance music that starkly Superior Singing Method Review contrasted the conservative nature of the French model in his orchestral suites. While he only composed four of these pieces, all of them begin with 'ouvertures' (a testament to the influence Lully in contrast to the style of toccata-based preludes).

Also, unlike his adherence to the traditional French model as seen in the solo instrumental suites, the orchestral suites often omitted, renamed, or rearranged many of the 'nuclear' movements (exemplified by the fact that these pieces never included an 'allemande' as their second movement); this decision shows how Bach was in fact influenced by Couperin's ('le grand') 'ordres.' By contrasting the styles and titles of their movements, this discrepancy can be shown through his work for solo instrument, "Lute Suite No. 1 in E Minor," and the orchestral work, "Orchestral Suite No. 3 in D Major."

Ritornello concerti were also works that Bach adopted, mastered, and altered by combining many techniques and styles. In these pieces, Bach only loosely followed general models of concerto composition: many of his concerti fit with the three movement model of the ritornello, while others only apply the tempi of ritornello to the first movement of the piece, and some movements were even composed in the style of dance music. As an example of this, let us consider the first three movements of the piece, "Brandenburg Concerto No. 2." The first movement reflects the style of an Italian ritornello concerto, but it varies in that it is not imitative. Instead, the melody is fragmented and scattered in a way so that the piece does not play for too long without referencing the thematic element. The following movements vary greatly from the Italian model: the second movement is through-composed, and mimics the slow tempo and triple meter effect of a 'sarabande grave.'

This movement's texture includes entrances of short melodic themes in many instrumental timbres, and even juxtaposes these themes with counter-melodies. The third movement is reminiscent of a 'gigue,' which is cheerful-sounding and imitative, but the comparison ends there due to its use of double-meter and its likeness to the subject-exposition structure of a fugue. However, it is not strictly a fugue, either, due to the fact that at one point the subject stands alone and is countered by another polyphonic melody. This piece once again showcases Bach's tendency to borrow compositional techniques from contrasting sources; Bach's mastery of these techniques resulted in truly innovative treatment of traditional styles, despite the fact that no novel material was introduced.

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