1) The division into themes is on my own.
2) Notes which are marked as staccato as, for example, in the measure 16 of the 1st guitar are really played portato which means they are close enough to common playing but a little more abrupt.
3) Tapping and a great number of hammers and pulls used there are mainly destined for substituting for ties which are in the original score. I tried to keep them as often as it's possible. Using of tapping depends, of course, on your desire but I think it sounds much better this way.
4) I transcribed measures 54-56 the way when it's better to use sweep while playing. It's the way I do. The same is in some previous measures. But if you aren't very good at using sweep it's better for you to use the pattern which is in measures 48-53. But this part can also be played with tapping. It sounds very good this way too.
In fine, I think this composition is the most complicated among all the movements of the Four Seasons if we pay attention to the arrangement. Almost all the instruments play their own lines but it's always sounds perfect. So you shouldn't spare yourself and should try to learn it.
If anybody have the notes of non-stringed instruments (except cembalo - I didn't transcribe it 'cause I think it sounds not good here) used in the Four Seasons please send them to me, I'll appreciate it.
1) For tapping see Guitar Notes.