This arrangement is a perfect example of a piece in three parts: melody at the top, middle harmony part (arpeggios and chords), and bass notes underpinning everything. To help make the melody stand out from the accompaniment, use rest stroke where possible and play the middle part softer and always free stroke – refer to Carlos Bonell’s excellent video lesson (last issue and this) for a great demonstration of this technique. Aim to give the bass notes their full value – for example, in bar 2, keep the low F# fretted and sustained for the whole bar. In bar 3, follow the fretting hand fingering closely; hold down the B with the third finger (4th quaver beat) while the fourth finger comes over the 3rd to fret the F# on the fourth string. This way, you can get a subtle portamento on the third string with the third finger from the B to the F# (middle part) simultaneously as the melody hits the high D with the fermata. Next comes a stretch in the fretting hand between the third finger on the low F# and the fourth finger on the high A melody note, combined with fretting the middle A and D notes on the third and second strings. If you have large or dextrous hands you may not find this a problem; if you can’t do it, play the bass note F# an octave up on the fourth string, 4th fret. The middle arpeggio notes can then go ADAD on the third and second strings. At bar 5, use a four-string barre for the A major chord and continue following the fretting-hand fingering for the next few bars. At bar 13, there is another quite big stretch for the fretting hand between the first and fourth fingers (low G and high D), so relax the hand as much as possible and straighten the fingers enough to achieve the stretch. In the same bar, use the fourth finger throughout to play the melody and continue following the fingering for the next few bars.