Extend Yourself: How to Practice Extensions, a Notoriously Tricky Technique

By Scott Flavin | From the January/February 2026 issue of Strings

For aspiring violinists and violists, the building blocks of technique include learning to play in tune in one position with a consistent hand frame, then branching out to other positions, then working on smooth and consistent position changes (shifting). Extensions are the next logical step in development, yet are all too rarely mastered. Why is this last building block a stumbling block?

Extensions may be defined as any finger placement exceeding the normal framework of the left hand. For example, half steps and whole steps between adjacent fingers are considered within position, while intervals larger than a whole step between adjacent fingers involve extensions. For non-adjacent fingers, an extension occurs if the spacing between them is greater than two whole steps.

Why Strong Extension Technique Matters

Left-hand extensions can improve both technical and musical issues. By practicing and becoming ever more conscious of extended fingers, a new world of dexterity is opened. Extensions can take players from position to position more smoothly and less audibly than slides—from Ševčík to Dounis, there are many exercises that work on this type of extending into position. For some more advanced studies, one may turn to Pierre Gaviniès (1728–1800), who is primarily known for his 24 Études Matinées, written in 1794, most of which contain extensions, some quite difficult. It is because of this technique that these études are considered more difficult than those by Kreutzer and Rode, and as important forerunners for Dont and Paganini. 

The use of extensions in difficult technical passages can help avoid rapid string crossings and difficult position changes, both of which impede flow. Musically, extensions serve many purposes, including supporting better phrasing. For example, in measure 23 of the solo violin part in the first movement of the Tchaikovsky Violin Concerto, the great violinist Tossy Spivakovsky abhorred a slide between the first two notes on the G string; he felt that a portamento was absolutely out of character, so he advocated using an extension of a sixth between the first and fourth fingers, with the idea that without an audible position change, the passage sounds more natural and fresh.

On stringed instruments, there are two types of technical difficulties for the left hand: shifting and extensions. While successful shifting depends upon the hand being free of tension, extensions add the burden of opening and stretching the hand. Those with smaller hands and shorter fingers may find a great challenge in executing extensions, therefore it is imperative that body tension is monitored at all times. The technique requires combining strength with flexibility throughout.

Extension Success

When preparing extensions, first “hear” the interval in your head; without a clear sense of pitch, success will be hit or miss at best. The key element is acknowledging that practicing extensions is very different from practicing shifts. A shift is a measurement—usually, but not always, measured with some kind of interval or guiding finger—whereas an extension is not measured, but felt: Which part of the finger is contacting the string, how open or extended is the left hand, what is the shape of the arm, what (if any) part of the hand is contacting the instrument? 

This is “gestural” practice, the act of learning and memorizing the body movements required for successful execution. Since gestural practice involves a great deal more trial and error, it is vitally important not to adjust intonation in practicing extensions but to learn from faulty placement. Is the finger sharp or flat? What is the shape of my arm and/or hand? Note the tendencies and re-approach the finger placement, always noting the feel in the hand and fingers. Be aware also of the finger’s point of contact with the string: Is it on the tip of the finger or the pad? Most extensions, since they involve expansion, will occur on the pad of the finger rather than the tip. As with all practice, thoughtful and successful repetition is required to reinforce consistently successful extensions.

When practicing, take frequent breaks. Be conscious of the balance of the fingers of the left hand, paying attention to any pain or tightness. When practicing extensions, try to maintain as natural a left-hand position as possible and prepare the hand for stretches “organically”—with gentle, rounded, and gradual movements. It may be helpful to concentrate on the fact that extensions also involve contraction of the hand; this contraction should be a physical release. Expansion of the hand can be thought of as allowing the palm of the hand to open, as if you were holding an orange. The movements of the fingers can also be visualized as opening a fan, fanning the fingers out to reach greater distances.

Five Steps to Successful Extensions

Hear it before you play it: Imagine the correct pitches in your head first.

Feel it! Use gestural practice, memorizing how your hand and fingers feel in relation to the instrument.

Fail! You may miss the proper pitch. By resisting the temptation to automatically adjust for correct intonation, you can learn from your mistakes. You will be surprised how quickly you can build better and more consistent intonation.

Tension alert: Be vigilant! Take frequent breaks and constantly monitor your left arm and hand.

Pay attention to balance: Between any two notes, there is a balance. Be clear which finger is the point of balance. This will help reduce tension and encourage greater flexibility.

Regularly practicing and using extensions will result in huge benefits to your playing. By solidifying this last building block of technique, your musical and technical possibilities will expand multifold.