Independence is the key. Maybe pay more attention on relaxation rather than pressing.
To detach third finger you may tense it in towards up, besides pressing string, and you may tense opposite muscles, generating tensions that fight each other. Pay attention and avoid this by all means.
We tend to move fingers 2-4 together, their tendons are even attached, so it is not a natural movement. Go slowly, and work on moving the right muscles. Also pay attention to overall hand/arm positioning. Mark already gave great tips.
Alexander Kalil wrote: ↑
Tue Mar 05, 2019 8:23 pm
Mark Clifton-Gaultier wrote: ↑
Sat Mar 02, 2019 6:17 pm
.. a downside though is that the opportunity to develop further independence has been missed, so that when a similar passage comes along, perhaps utilising finger 1 elsewhere (they're not uncommon), we're beginning from square one again, e.g. chilesotti.png
Thanks for the pointer to the Chilesotti. I think this is a different situation with the given fingering quite handy - even though I might still use the base of 1 to fret the f# on a large instrument.
Really I'd love to see a real musical example where the extent of finger-spreading in the original post is necessary. Personally I'm not a fan of regularly practicing finger exercises without a specific musical context and have always questioned their developmental value, though I'm aware of being in a minority.
There are dozens of examples. I've been practicing BWV998 this days and, for example, near the end of the first part of the allegro, you need G# with finger 3 on 6th string (tuned to D) and finger 2 and 4 on A and B 1st string. Koonce also suggests this fingering (but some players play this G# one octave up in 4th string, avoiding the vertical stretch). I also remember this kind of fingering in some passages of BWV1009 (I play it in the key of G with 6 and 5th stirngs tuned to D and G). Those are speedy parts where you don't have time to change fingering or where you should use the fingering to keep voicing articulation. This stretch is not that difficult, just require some practice because it is not a natural move.
I recomend start practicing Carcassi Op59 exercises at the end of first part, to develop independence for finger 3 and 4 first. You find Op59 for free in Boije:
exercises on page 38 of this Boije pdf.
You see this is so useful that Carcassi dedicates exercises to it.
Carlevaro and Pujol also have other good independence exercises I would recomend, but you can build over Carcassi's idea adding other notes, playing cromatically or in other scales and fretboard positions, as well as using other notes as pedal point.
I think another important point is that we should practice to develop over the difficult parts. Don't waste time repeating what you already know.
I also would avoid overdoing. To develop technique, do not repeat. We repeat to memorize, after we know how to do it. To learn you first try different approaches and discover what you must change to do it right, to make it easier. I would recommend short 2-3 min of practice only, but you can spread it along the day and do other stuff in between.