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Jerry Willard
Guitarist & Lutenist

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The Complete Lute Suites of J. S. Bach. Transcribed for guitar by Jerry Willard. New York: Ariel Publications.

The Library of Guitar Classics.Volume I, AMSCO Publications. 1998

The Library of Guitar Classics.Volume II, AMSCO Publications. 1999

      All of us have felt at one time or another that it would be nice to have all the classics of the guitar repertoire at our fingertips in one neat volume. Wouldn't it be nice to not have to search through piles of music for that Sor study your working on? Wouldn't it be great to only have to take one book to your gig?Recently, Music Sales has thoughtfully released The Library of Guitar Classics, an intelligently arranged compendium of the most beloved works in the guitar repertoire. If the piece you are looking for is a timeless  classic, then chances are it will be found in this book. Greensleeves, Recuerdos de la Alhambra, Albeniz's Leyenda and Sevilla, and countless other favorites by Carcassi, Carulli, Giuliani, Sor, Tarrega, Bach, and Weiss are among the over 100 titles. The spiral binding allows you to keep the page open to the piece without fear of it closing on you right in the middle of a performance - the perfect gig book! (AM 92895) $19.95 Guitar Solo Publications, October 1995

Instruccion De Musica Sobre La Guitarra Espanola by Gaspar Sanz, 1674. Transcribing into modern notation, and a CD recording on the Baroque Guitar. This volume encompasses 58 pages and 67 compositions. To be released September 1999.

Ten Sonatas by Domenico Scarlatti. Transcribed for guitar by Jerry Willard. New York: AIG Publications. 1990.

Ten Sonatas by Domenico Scarlatti, edited by Jerry Willard. American International Guitar Publications. NY, USA. Many will recall the name of this editor from when he published his Bach Suite collection some years back. This Scarlatti collection is certainly along the same lines as the Bach although Willard does not include data concerning notation changes. I will identify the Sonatas by Longo number as they are given here. L23 begins "the" Scarlatti known to all and set in E major as per the clavier. I like the regular fingerings here, not too much has been changed, although the rather awkward modulation/pitch change around 53-54 is still not solved to my ears. L79 has appeared before but not in A major; this is a nice piece to play and works so well. We all followed Segovia putting the work in G and retuning but A major is just fine, only a small print error, page 5 last line, third bar, triplet ends on high E, not C. L263 is one of the "finds" in the volume; set in B minor, this piece has all the interest of a Bach Invention and yet retains a kind of Spanish-Italian flavour throughout. Scarlatti fans will go for this. L352 is the old E minor favourite of Segovia, here with a few new voice parts, no pizzicato (thankfully) and no use of inner strings for the falling intervals late in the work, very practical this. L395 is one of my all time favourites by Scarlatti....if anyone tells you that Scarlatti was not something extra special in music then let him try this for size. So inventive, so musical, tuneful and yet theoretically solid, this could easily (for me) end a concert. I like this better than the Barbosa-Lima version but I will try to avoid the harmonic added near the close for consistency. Likewise L454 is a good version, tuned in D bass, this allows a richer bass feel to the whole thing, much more so than the B-L version of the same; a big Sonata this, 4 pages of work but well worth it. L483 is in the home key of A major, no real news here, much of this is as other settings. L480 is in E minor and is another find by Willard, the whole thing works well, pedals at times in the bass and nothing unnatural, almost as though it had been written for guitar. L493 exists in a Universal Edition copy (UE29149 - four good Sonatas too) and the whole piece seems very guitaristic. A few interesting voice alterations make this unlike the Universal copy, maybe you could integrate the two versions, a really fine Sonata. I like Scarlatti on the guitar and so do many keyboard players, the way a guitar colours the voice parts is often more attractive and flattering. All of these are worth playing, no doubt, all will work, and the grading is between 6+ and recital level. The new Sonatas are worth exploring and some of the older updates now have a new lease of life here. The Brouwer/Gendai book also has good material as do all of the Universal series. In a way, this is like the Bach/Willard: everyman’s quick guide to Scarlatti and it does work well. In concert, these can sound good and worthy. The print is clear, fingering clear, ornaments written out and well presented. I am glad I have a copy . Particularly for the new items. If Scarlatti appeals to you get this. Neil Smith, Classical Guitar Reviews, 1990

Fifty Classical Guitar Solos. Jerry Willard, ed. New York: AMSCO Publications. 1990.

Christmas Music for Guitar and Flute. Arrangements by Jerry Willard. New York: AMSCO Publications. 1988.

Sonata in F Major for Recorder and Guitar by G. F. Handel. Continuo realised by Jerry Willard. New York: Ariel Publications. 1981.

Sonata in G Minor for Recorder and Guitar by J. B. Loeillet. Continuo realised by Jerry Willard. New York: Ariel Publications. 1981.

Sonata in C Major for Recorder and Guitar by G. Telemann. Continuo realised by Jerry Willard. New York: Ariel Publications. 1981.

Bach Inventions for Guitar Duet. Transcribed for two guitars by Jerry Willard. New York: Ariel Publications. 1980.