Anonim, "Romance" (TAB)

Finger 2 moves from the A to the G (portamento, marked by the line bonding the 2 notes). The key here is to achieve the position change with the left arm. Watch the video closely and notice how the hand presentation over the strings remains the same while the position on the fingerboard changes. Forget the rest stroke! It is primitive. Rest stroke is a special effect, not a way to play 50% of the notes in a piece. The way you make a note stand out is by means of fijación. The main melody in Romance is the highest notes of the arpeggio. Use different degrees of fijación to bring the melody out. The exercise and all its combination must be a part of your daily practice.
In the video I show in color when the bass string is played (every 3 beats)

The underlined words, link to the technique pages explaining these concepts.

1-The symbol that looks like s long letter V on its side between the low Es, is a musical symbol that indicates that the volume (ie: the intensity of your right hand plucking) must steadily increase or dicrease.   2-The high E on fret 12 of string 1 is the highest point of Romance in part 1. This high E is one of the most played notes on the classical guitar because it belongs to the tonality of E and this is the tonality that makes the guitar shine at its best. The E must be played louder and a slight vibrato will add beauty and sweetness. Look closely at the  movements of the LH arm in the video. The arpeggio can be played either slow or very fast. Both interpretation have beauty of their own. It is up to the performer to decide on tempo.

Romance Barre in depth study:

1- Put finger 4 down on the C on string 1 fret #8.

2- As you hold
down this note, press with the 2 last phalanxes of your left hand index
finger (finger 1) strings 1, 2 and 3 at the 5th fret simultaneously.
Whenever a finger stops more than 1 note on the same fret with the same
left hand finger, you have a barre. Barres are the toughest technical
challenge for every player, so, welcome to the club! :-) The trick here
is in the approach:

a) Work the first 2 measure of staff 3
separately. As if it were an exercise. Since you will be squeezing like
crazy at first, stop every few seconds to allow the pain to dissipate.

b)
The stretch between finger 4 stopping the C on string 1 and the barre
on string 5 is where the problem stands. Bring the wrist forward to
achieve greater ease of stretch. Remember that you are commanding little
muscles that have never received this type of elaborate scenarios
before. Patience and determination must kick in now full throttle.
Eventually, you will see that it is not a matter of squeeze but of
correct usage of the playing apparatus.

c) Do not attempt the
larger Barre 7 until you got these 2 measures perfect. Meanwhile, so as
to get the piece going, work measure 2 of staff 4 to the end of part 1.

To be continued.

For
the 3/6 barre 5, use the outer side of finger 1.  As you make the
transition from barre (also known as capo) 5 to barre 7, allow for
relaxation in the LH.

The muscle between the thumb and the index (image above) becomes tired and in pain real soon when no oxygen is supplied because of the squeeze to perform barre. Therefore, allow for minimum squeeze and one that lasts for the required time only. Learn how to relax your LH every chance you can. The transition between the 2 barres must be used to relax.  Finger 2 stays in place to play the repeating D#, therefore, when you are playing  barre 7, make space for finger 3 by pushing the arm forward. Watch the video closely. Do not think only fingers when you play but fingers-hand-wrist-forearm-arm and shoulder. 

Use your whole playing apparatus to make the stretch and reach the eluding D# on fret 11. As soon as the barre is over, take a deep breath and play the closing section of part 1. In the videos I mark the bass when it is played in the arpeggio sequence.

Notice how the line of knuckles rotates as the fingers are presented on the fingerboard to play the transition into the Em chord/arpeggio.

As the arpeggio comes to an end, hold finger 1 throughout. You will be using it to the very end of the part. Do the same with finger 2 once it is down. The red dotted line indicates the line of the knuckles which is almost perpendicular to the strings. This is typical of those instances when more than one finger is occupying the same fret. Notice how I change the angle of the line of knuckles (dotted line is yellow and then green) as the hand rotates to present different fingers on the fingerboard.