dave_r wrote: ...That F chord in measure eight, 8th position, is killing me....I've tried ...switching 2,3 and 4 around...
Just to clarify -- do you mean attempts at multiple reconfigurations with 2-3-4, or just one experiment with reversing the entire set? 'Cuz if you were to find any solution to your problem with the above sort of approach, the one that seems most feasible to me would be to leave the 4th finger as it would be in the straightforward fingering, on the second string A, but to switch around the 2nd and 3rd fingers, i.e., a switch that does not
include 4. The advantage is that it is easy to move into the 1-3-4 on the fifth, fourth, and second strings to form the root-fifth-third triad, because that fits into the contiguous frets of the position with no stretching or reaching. So, once the tips of those fingers are ensconced, one can press against the configuration in order to reach the 2nd finger through in a reverse fingering with 3, to get the third string F, placing it just in time for the third sixteenth note. But I suppose that is obvious enough so that that was included in what you said you had tried.
You could give the following a shot- personally, I find this more
trouble to go to, yet it is still a feasible fingering, and I can make it work well. Maybe for some weird reason you will find it an improvement. Instead of getting an F on the fifth string, go for the thirteenth fret of the sixth string. Then, for the C-F-A of the upper triad on the fourth, third, and second strings, do an internal bar with the tip of the first finger, leaving the first string clear. Either the 3rd or 4th finger is workable for the sixth string F ; I find I prefer the reach with the 3rd.
Here's one more idea if you don't like the above (which will be no surprise). Get the fifth string F with your 4th finger. The E is still the open string. Get the high A as a VII fret harmonic
on the fourth string with your 3rd finger. The high F and the C are then obtained with the 2nd and 1st fingers on the second and third strings. In order to get the harmonic, with the tip of the 3rd finger precisely placed right over the fret, I find it best not
to have 1 and 2 in place until after the harmonic has been sounded, after which the 3rd finger can move away. Then, when you need the harmonic again, let go with 2 and 1, then follow the same procedure. This is a bit of a juggling act, and you do have to reorder the right hand fingering, but at least it's all within the scope of one position with no real stretches or crowding involved.
If none of the above satisfies, then try tuning your third string up to G#. This enables you to form the four-note F chord as you would an F major-seventh chord, with the 2nd finger one fret behind the 3rd and 4th fingers instead of crowding them all in to one fret space, so it all fits in one position, with absolutely no stretching, and no crowding. Of course, I haven't made any exploration to factor in what intractabilities may thereby be introduced into all the rest of the measures in this piece, which are likely to be numerous.
Sorry, but that's all I got.