Bach's cello music is written in a style of notation known as compound melody, in which multi-voice textures may be derived from what appears on paper to be a single voice. It is like musical shorthand that greatly reduces the clutter (especially when on a single staff) of rests, ties, and separate stems and beams that would be required if written in polyphonic notation. In compound-melodic notation, larger intervals within what otherwise is a stepwise line may suggest the presence of a second melody, or of rudimentary structures for harmonic and bass support. When Bach made his own arrangements for lute from the fifth cello suite and from the third violin partita, he developed the bass structures into a fully independent voice with added notes and rests. The upper voices, however, remained notated as compound melody for the most part, with some added chords and contrapuntal tones, and with occasional divisions into two or more voices. This is the way I have chosen to realize my arrangements. The performer must determine how to bring out the implied polyphony so that it is perceptible to the listener. One of the best ways is by crossing strings after the final note of the first voice and allowing that note to overlap the entrance of the second voice. I have tried to choose fingerings that permit this overlapping of notes.