While studying this Carcassi étude — and analyzing as many version as possible in aid of that — I realized that classical music is like wine. They’re both based on a central theme or taste, and it’s the subtle differences between the interpretation of each performer or wine maker that make them unique and interesting. That’s why you need to listen to a lot classical music (or drink a lot of wine) to develop a palate. I bet two different musicians (or even the same musician at two different points in their career) playing the same piece would sound the same to some people for the same reason that two different merlots would taste the same to others.
This is supposed to be played allegro, but I’ve yet to hear a version above 105 bpm that didn’t feel rushed to me, so I prefer to play it andante1. Luckily, I enjoy classical music, and I can tell the time I’ve invested in developing that foundation translates over to non-classical songs, not only in the extra finger precision but in practicing techniques too.
I’m still using electric strings2, which I’ve had on longer than any other set, cause I love how crisp and brassy the tone is throughout the range. For a piece like this where the melody switches between bass and treble, that becomes really important.