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Extensions on the Cello

By Jamie Fiste, Professor of Cello at Central Michigan University
If there is a single technical problem that can literally wreck a cellist's left hand technique, it is the overuse of non-releasing extensions (stretches between the fingers).  For some reason, after an extension, many cellists continue to hold the stretch in the hand long after it is necessary. In my 98 etudes, for example, to help avoid this problem I make indications when and where to release the stretches.  The only cellists that can get away with this are a rare breed of folk who have large and/or extremely flexible hands. 

Now, at one time, the technique that I am strongly criticizing was the orthodox approach. Thank goodness other schools of playing emerged and became more mainstream, strongly challenging this point of view. They have an opposite viewpoint that extensions tend to tighten the hand are to avoided and released immediately afterwards. In it's place is a greater reliance on shifting, higher position work, and more string crossings. True, it's a trade off but one that, I believe, is well worth it.  

Extensions on the cello are essentially the same as “stretches”. In the four finger positions (1st through 4th positions), adjacent fingers are in half steps, 1-3 and 2-4 are in whole steps, and 1-4 is a minor third. When we deviate from that pattern in order to make larger intervals, such as making a whole step between 1-2, an A2 between 1-3, or a M3 between 1-4, we employ extensions or stretches. In other words, we create larger spaces between fingers. 

Extensions, of course, can't be avoided so we need to have a well thought out technique when executing them. The problem is that for most hands, extensions cause tension at the moment of execution. Try this simple exercise: Shake out your hand and let the fingers relax to their natural finger spacing – the “default position” for the fingers. Now stretch the fingers apart as in an extension and compare the feeling. Stretching the fingers apart creates some tension in the hand for most cellists.

Now, tension is not completely avoidable when playing the cello; tension is created every time we contract a muscle. What we want to avoid, however, is holding tension in a part of the body when we could release it - a 'build up of tension' as Starker used to say. This unnecessary holding of tension in the left hand often occurs after executing an extension.

I find that many, if not most students, come to me with the habit of unnecessarily holding extensions in the left hand too long. For example, students will stretch between 1 and 2, such an E to an F#, and continue to hold the stretch between these fingers even though there is no return to the E. The resulting excessive tension makes it difficult to vibrato, can cause poor intonation, fatigue, and lack of facility. So how do we release the tension after the extension?

If at all possible, we should immediately let go of the stretch and “re-balance” the hand. For example, assuming there is sufficient time, after an extension from G to E flat on the D string in first position, we should re-position the hand in half-position. What often happens is cellists keep the entire hand and arm in first position while holding the extension to the E-flat. Why not bring the entire hand back to half position and re-balance the hand?  Why continue to hold the entire hand and arm in first position when the note is in half position?  Do yourself a big favor and release the stretch, bring the thumb and arm back to half position, curve the first finger, and re-balance!  Again, this assumes there is sufficient time to do this.

My last point is, when stretching, consider the fingers as continuing all the way down through the hand. Spread the bones in the hand apart when extending, don't just spread the fingers above the knuckle base. In other words, spread the metacarpals. Study this anatomy of the hand for a reference. 

Try this next experiment: shake out your hand and let the fingers relax to their natural finger spacing – the “default position” for the fingers. Now spread your fingers apart above the knuckle base. Note how that feels. Now spread apart the fingers in the hand (the meta carpals) - they will spread!  Which is less tense?  I find there is less tension when you spread the metacarpals. The fingers are at least twice as long as many of you think!  Try this technique the next time you extend.  

We may not be able to avoid stretching all the time but when we do stretch, let's go about it in the healthiest manner possible.

Remember; tension and release.


Authored by Jamie Fiste, Professor of Cello at Central Michigan University.
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