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As with stringed instruments, finger substitution is used for a variety of reasons on piano passages. The technique is often used to create a connected, flowing legato phrasing, or smooth out sequence of consecutive thirds. For complex passages, finger substitution is sometimes used to make a fingering pattern more consistent and easy to remember.
In the Baroque period cross-fingering improved, allowing music in an increasing variety of keys, but in the Classical and Romantic periods flute design changes – particularly larger tone holes – made cross-fingering less practical, while mechanical keywork increasingly provided an easy alternative to playing chromatic notes without cross ...
Exercises 44 - 60: Labeled "virtuoso exercises for mastering the greatest technical difficulties." Since this section is considerably more difficult, Hanon recommends the mastery of both previous parts before proceeding to this one. This part includes repeated notes, repeated double notes, scales in thirds and octaves, tremolos, and more.
Finger-tapping consists of placing one hand with the finger pads on the keyboard, with the PIP joint as the highest point, and then using the other hand to tap on the DIP joint or the fingertips, then releasing the fingers, allowing them to return quickly to the surface.
A technique similar to this, where the strings are actually strummed like a guitar, is called for in the 4th movement of Rimsky-Korsakov's Capriccio Espagnol (Scena e canto gitano), where the violins, violas, and cellos are instructed to play pizzicato "quasi guitara", the music here consists of three and four-note chords, which are fingered ...
Another example being The art of piano playing: a scientific approach by George A. Kochevitsky, who explains some of the fundamentals in teaching the piano. In his chapter on Progressive ideas in nineteenth-century teaching he explains some of Chopin's idea's (see above), there is a mention of five-finger exercises.
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