Week 1: Monsters come in all shapes and sizes!

Wai You're off to fine start with this, Wai! I think it's entirely appropriate to consider this fantasia a 'monster' in the sense intended here: it is by no means an easy piece!! In particular, the sixteenth-note runs leading up to the final cadence are 'scary' enough for just about anyone. And as you point out, there are a lot of awkward fingerings in the second half generally. (All those Carlevaro exercises you've been posting are really paying off!) One thing I notice is that the tuning of your guitar is a bit off here - I suspect the capo is the culprit. I've observed in various concerts I've attended that guitarists tend to tune up before putting a capo on, rather than after, assuming that the instrument will continue to be in tune. But the capo seems to have a slight distorting effect on the strings, so it is necessary to fine tune once the capo is in position - especially, I find, when using 'renaissance' tuning. I would check to make sure the important intervals (i.e. important in the key you are playing in) are 'correct'. (Trust your ear rather than your tuner!) I love that you're using p-i alternation for the scale passages here, but it's worth recalling that there is considerable uncertainty about right hand technique among the vihuelists. It is known that two manners of plucking were widely recognized in 16th c. Spain, called 'dos dedos' ('two digits') and 'dedillo' (a single finger (the index) moved back and forth across the strings). The former was considered more refined; the latter was reserved for fast passages requiring a virtuosic flair. (Mudarra indicates in his publication where 'dedilo'' is to be employed; it is not used at all in this particular fantasia.) The question remains as to just what was meant by 'dos dedos'. Some modern interpreters have taken it to mean two fingers (i.e. index and middle); others believe it implies thumb and index, as in lute technique. Evangelina Mascardi employs a rather creative approach in her own performance of this piece, as can be seen clearly in this video:
https://www.youtube.com/watch?v=ljiSViKkZa0

Wai this is really nice! Great start!

I didn‘t know the piece, it sounds very nice. Have fun and success with practicing!

Wai  This is definitively a ''monster piece'' at least for me 

Well done and thanks for sharing

Wai I agree, Evangelina is really a great musician. Her recent recording of the complete Bach 'lute' music is among the best interpretations of this repertoire I've heard. I did notice that you are not using p-i alternation in an entirely conventional manner, but hesitated to say anything about it. Since you bring it up, I would urge you to try to develop the habit of always using 'p' for the downbeats. (I guess when starting out with this technique, string-crossing can seem problematic, but eventually it should feel very 'natural'.) The 'fast passages' near the end are definitely a stumbling block in this piece. (Well, perhaps not for Evangelina!) My approach here would be to work out the right hand fingering on its own and make sure I could get it at tempo before adding in the left hand. Personally, I would use strict p-i alternation for the scale segments, as Evangelina does. (Your own fingering at the moment looks sub-optimal to me.) I would also omit the left-hand trill that you add, at least until the passage flows well on its own without it. (Although trills do sometimes occur in renaissance music, they are much more a baroque-era device, and should (imo) be used sparingly for the earlier period. But there are no 'rules' about this, and you should certainly do what makes sense to you.) I look forward to hearing how your interpretation develops!