READ ME: The Month of J.S.Bach!

I am a multi-instrumentalist who delves into composition intermittently.  Probably, I have spent more time studying the violin and piano, but I like the intimacy and intricacy of the guitar.  Some guitar masters I have admired include Leo Kottke, John McLaughlin, Steve Howe, Christopher Parkening, Andres Segovia, Eliot Fisk, Andrew York and Manuel Barrueco.  I would like to compose and record my own compositions and improvisations, so I am trying to work in some study of harmony and counterpoint, in classical and jazz contexts.  Ottman, Aebersold, Baker, Wilmot and Peter Schubert's texts may prove helpful.  I have arranged some Baker cycles for guitar, clarinet, cornet, violin and piano; such exercises help me to explore timbral and tonal dimensions of the instrument.  When I work with scales, I use Segovia, Emile de Cosme's Woodshedding and Weiskopf's Around the Horn.  I have also explored Lateef's Repository and Slonimsky's Syllabus, when working with cornet or piano; these are studies that I would like to extend to guitar as well.  In my quest to develop a good technical foundation for the guitar, I have accumulated a number of books: Willard's Required Studies, Vinson's Classical Guitar Collection, Hill's First 50 Baroque Pieces, Hill's Great Arpeggios and Schott editions of Sor, Tarrega and Mozart.  These are all recent acquisitions that I am just beginning to work through.  As I progress, I hope to build a repertory that encompasses a broad range of periods and styles, including the music of Bach.