Abstract
J.S. Bach’s Six Suites for Solo Cello have become part of the standard bass repertoire. Some of these suites contain chords that are physically impossible to play on a standard double bass tuned in fourths; thus, there are many performance editions and recordings that contain chord omissions and rearrangements. This essay explores some of the critical reception that double bassists’ readings of the Six Suites have received. This knowledge is then taken to support practical performance solutions: scordatura (particularly tuning in perfect 5ths) and articulations from the urtext. The included examples demonstrate the technical and stylistic problems incurred while performing the Cello Suites on double bass and how this particular form of scordatura solves them.