On Sat, 14 Oct 1995, John Maher wrote:
 
> But related to this thread and the one on piano as a preparatory
> instrument for organ: If the harpsichord was the standard practice
> instrument for organists before the piano was developed, why is it
> when one studies organ the student is to develop a non-legato touch
> and when one studies harpsichord an overlapping touch is often required?
 
It's a bit more complicated than that.  Yes, you must develop a legato
touch on the harpsichord.  But you must also develop a wide range of
touches, in fact, ranging from legato to staccato & encompassing
everything in between.  Touch & agogic accent are the only means at
hand for making the harpsichord expressive, & when properly used they
are immensely powerful.  Much the same is true of the organ, except, of
course, that you must also take the acoustics of the hall into account.
 
--
Tom Parsons     | To do great work one must be very idle
D.T.L.          |   as well as very industrious.
                |                       --Samuel Butler