In my own playing I have found that echo effects can be conjured by playing heightened articulations followed by a gentle super legato.  
And for me the great difference as I move from harpsichord to clavichord is that the clavichord allows for a more extreme use of rubato.  This is more important than the variety in volume.  Bending of tempo on clavichord is more affective allowing for so much fluidity and extemporaneous character.  The clavichord encourages freedom!  And exploration. Like a walk through a German romantic garden.  

Sent from my iPhone, forgive typos!

On May 25, 2016, at 7:42 AM, J. Claudio Di Veroli <[log in to unmask]> wrote:

>> Andrew wrote: My memory is that CPE tells us in his Art of playing that
> one should be able to make fine distinctions of loud and soft without
> changing registration. Without changing keyboards on the harpsichord. This
> isn't an important statement and not revered to often enough.  
> 
> Of course it is! We all agree (as discussed in this list not long ago) that
> articulation is possibly the single most important expressive device in
> harpsichord playing. 
> 
> If we go to CPE's first "pianiss.", on page 8 of the 1744 ed., as well a the
> same direction on p. 10, the direction applies to a left hand accompaniment
> in quavers, and we can achieve the effect by just playing it staccato. 
> 
> Unfortunately, the passage marked "pianiss." on page 9 is an "echo" with
> slurs, where we would all play the quavers f'-ab'-c" either legato or
> non-legato, but certainly not staccato. 
> 
> It seems to me that, although publishing for the "cembalo", these effects
> were conceived by CPE with the clavichord in mind.
> 
> Best
> CDV
> 
> 
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