Ok I’ve got an example for this:
Indeed as several have noted, I think the answer is crosspicking. Why? Because when you go to adapt these classical pieces, they were written idiomatically for other instruments tuned in fifths, and the guitar fingering is murder. We’ve seen this a bunch in the Andy Wood interview. Andy can do arpeggiated triplets because it’s two notes per string on mando and violin. It’s one for us. And for him, when goes guitar.
So… the best move on guitar is to choose the easiest possible fingering for the left hand, with no concessions to numbers of notes per string, and let the right hand fall where it may.
In this stab at this, I’m using one of these blend crosspicking approaches. I know it may look like pure forearm, but pure forearm, as we’ve seen in the live broadcast, is somewhat rare outside of EVH style tremolo. It’s also tough to do for crosspicking because the arm doesn’t really want to pronate beyond a certain point. Yes, you can contort the grip to maybe cause the downstroke to escape, but that feels a little extreme to me.
Instead, like other crosspicking movements we’ve looked at, you can think of this as one technique when the pick is above the string, and another technique when the pick is below. Here, it’s forearm above the string, to lift the upstroke, and wrist movement below the string. This is probably similar to what Jimmy Herring does as his bread and butter movement, and one of the reasons everyone thinks it looks so weird. He’s on our list to reach out to.
The fast take is a little ragged, and I think I’ve got note wrong in the slow. It’s a work in progress for sure. Let’s call it a proof of concept. But I think these movements, be they blends or otherwise, are the way to go for this kind of adaptation.