Maybe I am a sucker for punishment, but the best way to play these pieces is to work it out yourself from the violin score, and not sacrifice yourself to a mirrored altar. There has been a tradition, from Segovia onwards, to stuff these pieces full of notes, whereas the reality is that they have been configured to suggest voices that are not there. To add notes is a precarious thing to do. Yes the Chaconne sounds good with all these added organ-like/grungy bass D notes (try it without, it is surprisingly nice, and doesn't require the standard but awkward addition of bass A's at various places which seems to dull the overall effect) but the rest of the pieces are pretty much good as they are. If there is anything to be changed, it is the register. For example, the Fugue in Gm rings well in either Gm or Am on the guitar, but the Presto really needs to be further down the fingerboard. Likewise the C major sonata. The Fugue is long and hard (actually I have to drop a couple of notes in some violin-shaped Dm chords) but the last movement sounds a bit gutless and exposed as it is too high up the register for much of it. Might work better in A, or even in G (with a D bass). And the famous E major gavotte, now on its way out of the solar system, the violin version is so much nicer than the standard guitar versions- the best bars are missing in the guitar ones.