Cello Suites No. 1, 2, 3

A master of polyphony, Bach not only wrote multi-voiced works for keyboard and ensembles, but he also invented a style of notation, now known as compound melody, for instruments with limited polyphonic capability. This approach implies multiple voices within a single line, with voices typically alternating rather than sounding simultaneously. In preparing our guitar editions of Bach’s solo string works, it became clear that full polyphonic notation would be impractical, as there are often too few contrapuntal notes to sustain an independent line without having many added notes and rests. This condensed notation—beaming notes together on a single staff—reduces visual complexity while leaving the performer to interpret and project the implied voices, often suggested by wider intervals within otherwise stepwise motion and sometimes delineated with slur markings. Guitar fingerings in our edition are also provided to help clarify the underlying counterpoint.

In his music for strings, Bach added intermittent bass notes and chords to reinforce the harmony, aligned with the upper voice and sometimes notated with separate stems. Rests are omitted except where needed for rhythmic clarity. These bass notes are typically written with short durations—except at cadences—but may be sustained longer if desired and technically feasible. In our edition, we expand on these harmonic additions with restraint, taking advantage of the guitar’s broader capacity for sustaining multiple voices.