Maybe you need a different a nail shape. Many people require a reverse ramp for the a, if this is the case for you, then the other ramp may feel like that finger is hanging up on rest stroke. Also, experiment with letting the tip joint collapse and see if that helps. Also experiment with a higher wrist. Rest stroke with a is so very common for bringing out a melody.
?? That's interesting - what edition are you using jscott? I can't find mine right now (it has a greenish grey cover if that helps identify it) but I'm pretty certain that it doesn't show any indication of either right-hand fingering or apoyando for the Cuna.jscott wrote:Mompou's Cuna from the suite Compostelana opens and closes with a longish section using MA (rest stroke on the A) extensively.
Not particularly - but then I don't try to establish any pattern. I've reached the stage where I can trust fingerings to be organic, so ... the opening (for me just now) went:jscott wrote:How do you play the opening ... don't you find that this establishes a right hand pattern that is used throughout this opening section?
I couldn't see why it had to be that way, or why the note on the first beat would require an apoyando stroke as it's not stressed or otherwise marked, but you've explained that i.e. it's the suggested fingering from your instructor. Thank you.jscott wrote:... opens and closes with a longish section using MA (rest stroke on the A) extensively.
Please stop calling them the "Segovia Studies". Music should be attributed to the composer, not the editor, at least as an act of fairness towards them. In any event, there's no such thing as a piece of music "calling for" the A finger rest stroke. There are players who like (or need) to use A finger rest stroke to bring out the melody in dense textures. A typical candidate for them would be Sor 's study Op. 6 No. 11, which is numbered 17 in the Segovia collection.
Tarrega's Larigma comes to mind, and I'm sure there are many more.It feels unnatural to rest stroke with my A finger.. Any good beginner pieces to practice this?
Again, there is no such thing as a passage of music "using" a certain fingering or a certain type of stroke. It is the performer who uses the fingering and type of stroke s/he sees fit. With other words, the above is merely a predilection on your part (or your teacher's, or the editor's). Other performers, including myself and obviously Mark, will approach the passage quite differently.
I agree with your main concern regarding fingering Alexander - there are however one or two composers who do make a point of specifying apoyando in their scores - Frederick Hand springs to mind.Alexander Kalil wrote:Again, there is no such thing as a passage of music "using" a certain fingering or a certain type of stroke.