Piece is here (1st post, Whole Tone Prelude PDF embedded)
Stephen Kenyon has graciously helped me with fine-tuning the notation.
Our discussion ends with me asking about RH fingering since he brought it up. Hopefully he'll respond there but I would like to have insight from others as well.
I see two "obvious" fingerings for the "triplet" 8th notes (groups of 3 on each beat of 12/8):
M-I-M -followed by M-I-M as well, giving you a "double stroke" on the E string (which is how I play it, but that means nothing as my technique is not the best "trained" in history).
Option 2 would be M-I-A which means no "double stroke" and then you can continue this "circular" rotation of fingers continuously.
I've tried the latter and while do-able for me, it's less comfortable.
But what I'm more concerned about would be the resultant sound - is there enough of a difference to warrant requesting one over the other, and what are those differences?
I have learned - through pumping nylon, things like doing patterns like this in strict alternation - M-I-M - I-M-I which of course means the I plays the 2nd string and the M the 1st - "backwards" every other group - certainly not impossible. But for this, seems either unnecessary or just, I don't know, maybe "overkill".
IOW, I'm OK with "non-traditional" techniques and don't necessarily care to do "the accepted way" - but if there is an accepted way or "standard" way to approach this I'd at least like to know so I can make an informed decision. But if the "double stroke" approach is just too out there, and the "circular" one we be the norm, I may opt for the latter.
But, I'm also OK with not indicating it all and letting the player decide.