[69] The action of all these keyed instruments, whether called virginal, spinet, clavecin, clavichord, harpsichord, cembalo, is the same, namely, a “plucking” of the string by a projection of quill or leather. The exception is the _German_ clavichord, which was not a keyed harp, but a keyed “monochord,” with key levers in connection with “tangents” of metal, which sounded the string and cut off the right length of it at the same time. [70] The _German_ clavichord referred to in the note was able to produce a most delicate effect of tremolo or repetition, called _Bebung_. This was possible simply on account of the “tangential” action of the German instrument. [71] Alberti rather deserves the title of an early “decadent.” His broken-chord formula is mainly a way of avoiding trouble in writing real passages. [72] Pieces by Durante, Galuppi, Porpora, Paradies, and Ferdinando Turini (1749-1812), also the disputed movements mentioned on p. 82, which bear Rossi’s name, may be found in Litolff’s publication “Les Maîtres du Clavecin.” [Illustration: German Clavichord, 17th century, “gebunden” (explained on page 22). De Wit collection.] Bach In 1717, when Scarlatti as yet dreamed not of his Spanish renown, and shortly after Couperin’s first little pieces had appeared, the Parisian clavecinist Marchand made a journey to Germany. At the Polish court of Dresden he created a furore by his playing, and a famous contest was the result, got up, as it appears, by intrigue, between Marchand and an organist of Weimar, Johann Sebastian Bach. The King was present in person. Marchand began by improvising variations on a French song, and was loudly applauded. Bach then took the same theme, but varied it twelve times over so marvellously that without further contest he carried off the palm from his famous adversary, who, when Bach proposed a competition on the organ, incontinently fled from Dresden.