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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.
For complex, rapid passages, finger substitution is sometimes used to make a fingering pattern more consistent and easy to remember. In slow-moving music with expressive sustained bowed notes, finger substitution may be used so that a particular finger can be used for vibrato, to add emphasis to a note, or to introduce a subtle glissando effect ...
The strings play col legno, striking the wood of their bows on the strings, in addition to numerous other techniques (Boyden 2001). François-Adrien Boieldieu; Le calife de Bagdad (opera, 1800), strings play col legno (Favre and Betzwieser 2001). Benjamin Britten; Passacaglia from Peter Grimes, rehearsal 6, "agitato", (pp. 16–17 of the score).
In modern scores, the fingers are numbered from 1 to 5 on each hand: the thumb is 1, the index finger is 2, the middle finger is 3, the ring finger is 4 and the little finger is 5. Earlier usage varied by region. In Britain in the 19th century, the thumb was shown by a cross (+) or number 0 and the fingers were numbered from 1 to 4.
Cover of Henry Cowell: Piano Music, recorded in 1963, with Cowell demonstrating the longitudinal sweeping technique. String piano is a term coined by American composer-theorist Henry Cowell (1897–1965) to collectively describe pianistic extended techniques in which sound is produced by direct manipulation of the strings, instead of or in addition to striking the piano's keys.
prepared piano, i.e. introducing foreign objects into the workings of the piano to change the sound quality; string piano, i.e. hitting or plucking the strings directly or any other direct manipulation of the strings; sound icon, i.e. placing a piano on its side and bowing the strings with horsehair and other materials
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The effect had been prefigured by composers including Francesco Pollini (1762–1846), a pupil of Mozart, whose 32 esercizi for the piano (1829), based on techniques found in the keyboard music of Johann Sebastian Bach and Jean-Philippe Rameau, included music written on three staves, and using interlocking hand positions, to generate the impression of three, or even four, hands.
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