FELDENKRAIS METHOD was a great solution for me. It's a doctrine especially developed for classical instruments. In the case of pinky: 1) stop considering it only as a finger of your, but put it mentally in the team with other fingers, not "emarginating" it 2) Consider the movement of pressing a string with the pinky, starting from your spine. Actually it's a rule which is valid for all the fingers. Think of your strength starting from your spine, then to shoulder, arm, elbow, wrist, and then finally the pinky, which is part of the whole chain. 3) Consequently, when you play with the pinky, your movement starts at least from your elbow, which creates the impulse to move your wrist; the wrist literally pushes your pinky forward, and the pinky moves from it making a curve line, like an horizontal bracket which lands on the fret. 4) so put your 1rst finger on a fret (let's say the 7th) and move elbow, wrist and pinky to land on the 10th fret, holding the 1ist on the 7th. play the 2 notes, focusing on this flow of strength that starts from the elbow. That's the system to make the pinky, if not equal to other fingers, pretty close to them.