Thanks for the welcome guys!
Ned, very good to hear that you're making progress with the trills and timing. I guess the key is to achieve some level of automation for playing the trills, so that you don't consider them as additional notes or individual slurs anymore, but rather the ornamentation that they are. I'm sure it'll click for you with some practice. Counting out loud from one to six for each measure (or you could just silently imitate a metronome in your mind) while playing, and not being overly worried about the quality of your trills (for example do just a single slur instead of the double at first) could also be helpful. In the end, the timing of the trill itself isn't critical (although they are marked as 32th note triplets, that isn't meant to be taken literally), but the overall duration of the note is.
You are right that I should try to add some colour to the piece. For that I need to come up with some filling for those long notes, because as it is written in the sheet, there is very little you can do about it. The harmonics I added to end of part B were something of a whim, as I wanted to study a bit the artificial harmonics technique, but they're not periodically correct, so I'll try to come up with something else to make the piece more interesting. I guess I'll keep my ideas about that brewing until I complete the requirements for some of the early lessons.
I find it interesting what so many people are saying about trilling with their little finger. For myself I'm having the most trouble doing trills (or even simple slurs) with my index finger. I guess part of the difficulty for me is that in the case of index finger trill the lower note is always an open string, and I easily produce a loud twang when doing the pull-off, if I'm not extra careful. Still even with an open string slur, I usually choose some other finger than index one, whenever that is possible. This could be related to the fact that, for me at least the fingertips of fingers 2-4 are round shaped, as they press the strings more directly with the tip, whereas my index finger contacts the string more with its thumb side (and that's where the callus is). The angled approach makes it hard for me to aim the finger accurately when doing the hammer-on part of the trill, especially if no other fingers are touching the strings for added stability.
Jack, that glissando of yours actually made the piece sound a bit like delta blues
If you'll have the time to view my early lesson submissions, it will be much appreciated! I've already been practicing the Schiarazula, and I reckon it will be very difficult to get a clean take of it, at least when played at same tempo as Mr. Delcamp does. The "damping of lower string with thumb" concept is new to me, and makes the seemingly easy piece much harder to play, as many of you also felt in lesson 1 thread. I'm also having some trouble with using the annular finger as part of alternation, but I felt that it was something I absolutely wanted to study, so I completed the RH fingering for the piece so that 16th notes are played with a-i succession, and the following 8th note with m, with the reasoning that a and m fingers are more tied together, so I should avoid using that pair in fast succession, and as the next note is coupled with thumb playing 5th or 6th string, m finger should be better suited for that (distance-wise). I noticed that Goran used a-m-i for those notes, and was able to achieve good speed with that fingering, so I guess I need to try that as well and figure out which one works better for me. If anyone wants to continue discussion about Schiarazula, maybe we should move it to lesson one thread?