[1]This technique of one voice implying two (or sometimes more than two) is found throughout Bach's suites and partitas for unaccompanied violin and cello, and helps explain the admiration these works have excited from the time of their appearance. It follows, by the way, that if one voice can imply two, two can imply four, as they do in this brief stretch from prelude 17/I of the WTC . Much of Bach's signature richness of texture arises from a prevalence of such implied voices.