I asked Heather if she would would like to edit the last three cello suites with me because we had had such a fruitful collaboration working on the violin sonatas and partitas together. In these arrangements, we are trying to follow practices espoused by the composer himself (in arranging his own music for other instruments), trying not to overreach or overinterpret. As perfect as the originals may be, he was still working within the technical constraints of the cello, a bowed instrument with four strings, and these may or may not pertain to the six-string, plucked guitar. There is a particularly revealing comment about this from 1774, by Johann Friedrich Agricola (a Bach pupil from 1738 to 1741), regarding Bach’s Sonatas and Partitas for solo violin. He tells us that “their composer often played them on the clavichord, adding as much in the nature of harmony as he found necessary. In doing so, he recognized the necessity of a sounding harmony, such as in compositions of this sort he could not more fully achieve [on the original instrument]." Likewise, we are not trying to rewrite the pieces, but only to provide enough harmonic support so that they sound as though they may have been written for the guitar.