@Nate Savage i started the lagrima a and b today. for lagrima b you jump to 7/5 on the d/g strings, and then slide to 5/4, 3/2 and 2/0. as you mentioned that typically classical style would use alternate fingering for this passage, i dedcided to try out some alternates.

i find it much easier to play like this:

a/c middle/index on the 2/1 of g/b

g/b open

f#/a pinky/middle on the 4/2 of d/g

e/g middle on the 2/open of d/g

back ring/middle to e/g on 4/2 of d/g

seems to have less motion, avoids squeaking strings, and the open strings before/after make it easy to transition in/out..

while most of the time i like my alterations better, i have changed fingering in the past only to regret it later when i realize that the original fingering was to setup the next measure or to get a specific tone by playing on higher strings. in this case, from what i can tell, economy of motion, tone, and setup all favor the alternate fingering i listed above. the downside is complexity... a few more of those "bach" moves... you selection seems a bit simpler (although i prefer to use my ring finger instead of my pinky finger given the 1-fret spread when you collapse the shape). your choice also highlights the interval pattern as the shape collapses and expands, and keeps things on two strings.

before i go practice it this way for a week, it seemed prudent to first see if you had any advice/warnings when it comes to selecting a finger pattern... in general, not just for this song... thoughts? or is it just trial-and-error-find-what-works-best-for-you-and-the-song?