Eric Phillips  Thanks Eric. Watching you playing is always a pleasure but listening to your comments and explanations on how to approach the score is so interesting and insightful. 👍

Eric Phillips Like others here, I enjoy these short videos describing your approach to specific problems that arise in the music you are learning. I love your attention to detail - and it certainly explains (in part, at least) how you manage to play everything so well! I personally wouldn't work so hard to maintain a legato line, but my reasoning is historical rather than musical. It seems to me (and I might well be wrong about this) that the general problem of the melodic line being interrupted by a sudden position shift occurs so often in the music of Sor that either he had a remarkable left hand facility (almost certain!) or he was less concerned about legato than guitarists generally are today. So - again personally - I would follow what I think is the natural fingering here, i.e. a full bar at the third fret followed by a quick transition to the second position at the end of the measure in question. (With my skill level, the legato would definitely be interrupted!) This isn't an argument against what you are doing, which will certainly yield a more musical result. I'm just describing my own approach. Concerning the question of the apparently missing accidentals in the Meissonnier edition, I can tell you that Matanya Ophee  (in the Chanterelle edition of the Sor studies) agrees with you, although his editorial decision is not explained. I also prefer the natural - not least because it eliminates an otherwise nasty chord! Curiously, the apparent mistake persisted through to Simrock edition (not dated, but likely published well after Sor's death) whose editor actually provided a fingering for the chord, indicating that the F was understood to be sharp. It's too bad we can't ask Sor to resolve the matter!

Eric Phillips I’m enjoying your work on this piece, Eric. As for your fingering change on the G chord shift the tonal sound of the open b bothers me. I think it would take just a little practice though to make it blend tonally so that it doesn’t jump out. The fretted b on the third string sounds better but, like you, I’d probably look for a different fingering. At the very least, it’s fun to explore. 
In working on my Sor study I’ve been studying a few of the earlier facsimiles and there are indeed discrepancies. One must wonder if the candles were burning low or Sor was just exploring different ideas. In any case, the f naturals definitely sound better!

Debbie The mistakes probably have less to do with Sor than with the publishers' typesetters, who weren't necessarily musicians. (There would also have been a copyist involved somewhere along the line, I imagine.) We're fortunate in the modern era to have editions that have been carefully prepared by scholars and/or eminent performers. (Having said that, I also like to look at early editions of any work I am learning.)

David Krupka it’s really easy to make mistakes. I use software to make arrangements and often have to go back and make corrections I didn’t notice. So it’s easy to understand how that could happen. It’s just that my explanation is so much more romantic 😂 

Eric Phillips Thanks for sharing your meticulous approach to approaching a piece. I share Ron's 'very elegant and very inspiring' observation. Thanks for sharing this.