soltirefa wrote:... whether to use the open E - 1st string - to shift from the 1st position to the 5th position ... I wonder how Carcassi handled this.
There is no single answer to this. Carcassi certainly employed the strategy in some of his pieces but:
The Méthode makes no use of such open-string manoevres in any
of its scale examples, they are primarily intended as "location dictionaries" for finding notes in freshly introduced keys.
The earliest published versions of the étude in question unanimously indicate a move along string one ... implicit in the fingering is the intention to train this facility.
Should we be bound by Carcassi's fingering?
Well, in teaching these études I encourage the same approach as that taken by Brian Jeffrey i.e. to follow (as far as we can ascertain) the technique of the period and the text of the composer. There is a subtle integrity, a link between technique and compositional style which plays a (sometimes small) part in communicating the form, character and expression of each work. I want to get inside the composer's head.
Back to the point: we know that Carcassi employed "open-string shifting" at times ... also that he chose not to in the presentation of étude 1.
soltirefa wrote:I prefer using the open E as an opportunity to shift and play the F on the 2nd string.
There is a clear opportunity here to practise making the shift along string one as smooth as possible. In concert though, I imagine that our Matty might
have indulged himself a bit and used your method.
You can decide:
a) Which method is useful to technical development.
b) Which method delivers the desired musical result in performance.