E note in bass line (1G) is marked 3^rd finger. 3^rd finger shifts from 2^nd to third fret (2D) rather than awkward change of 2^nd finger from 4^th to 3^rd string.

Bass line is highlighted in blue to visually separate bass line from melody. Player should mentally read music in this way to insure a separation in flow of melody and accompaniment.

Music is best approached in groups of phrases. A phrase in the melody is seen from 1A-2C, with sub-phrases of (1A to 1B), (1C to 2A), and (2B to 2C). A phrase in the bass line is seen from 1D to 2F, with sub-phrases of (1D to 1E), (1F to 2D), and (2E to 2F). Each phrase should have a definite beginning and ending.

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To eliminate the extreme reach in measure 5 an alternative could be:

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2^nd Finger (3A) is used to more easily position 1^st finger. (3B).

At 3B 1^st finger is fretted then tilted at measured 2nd half step into  B1 (Barre 1). This is done in one flowing motion.

            The natural fingering for C chord (3D) is 1, 2, and 3, but in this passage, (3C to4A) 4^th finger is used to eliminate left hand motion thru the phrase. Fingering for the C chord (1, 2, 4) is awkward in itself but if third finger is left planted from 3C to 4A, placing the 4^th finger at 3D becomes natural. Fingers 1 and 2 should also remain from 3D to 4B. If you prefer to play more staccato, mute with right hand finger tips or right hand palm.

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B8 (Barre 8) is held thru the V7^th chord (4E) to eliminate barring twice.

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Many editions show the 3^rd finger at 5B. Try the 4^th finger as a substitute. The 2^nd and the 3^rd fingers will already be near their positions for 5C and 5D.    

At 5G the 1^st finger is substituted for the 2^nd finger. It takes less motion for the 1^st finger to go from 5E to 5G to 5H, than the 2^nd finger going from 5F to 5G to 5I.

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