<Ol> <Li> Prelude </Li> <Li> Allemande </Li> <Li> Courante </Li> <Li> Sarabande </Li> <Li> Galanteries: two minuets in each of Suite Nos. 1 and 2; two bourrées in each of Suite Nos. 3 and 4; two gavottes in each of Suite Nos. 5 and 6 </Li> <Li> Gigue </Li> </Ol> <Li> Galanteries: two minuets in each of Suite Nos. 1 and 2; two bourrées in each of Suite Nos. 3 and 4; two gavottes in each of Suite Nos. 5 and 6 </Li> <P> Scholars believe that Bach intended the works to be considered as a systematically conceived cycle, rather than an arbitrary series of pieces . Compared to Bach's other suite collections, the cello suites are the most consistent in order of their movements . In addition, to achieve a symmetrical design and go beyond the traditional layout, Bach inserted intermezzo or galanterie movements in the form of pairs between the sarabande and the gigue . </P> <P> Only five movements in the entire set of suites are completely non-chordal, meaning that they consist only of a single melodic line . These are the second minuet of Suite No. 1, the second minuet of Suite No. 2, the second bourrée of Suite No. 3, the gigue of Suite No. 4, and the sarabande of Suite No. 5 . The second gavotte of Suite No. 5 has but one unison chord (the same note played on two strings at the same time), but only in the original scordatura version of the suite; in the standard tuning version it is completely free of chords . </P>

Suite for solo cello no. 3 in c major bwv 1009