Bach’s first attempts at composition, like all early efforts, were unsatisfactory. Lacking special instruction to direct him towards his goal, he was compelled to do what he could in his own way, like others who have set out upon a career without a guide. Most youthful composers let their fingers run riot up and down the keyboard, snatching handfuls of notes, assaulting the instrument in wild frenzy, in hope that something may result from it. Such people are merely Finger Composers—in his riper years Bach used to call them Harpsichord Knights—that is to say, their fingers tell them what to write instead of being instructed by the brain what to play.(137) Bach abandoned that method of composition when he observed that brilliant flourishes lead nowhere. He realised that musical ideas need to be subordinated to a plan and that the young composer’s first need is a model to instruct his efforts. Opportunely Vivaldi’s Concertos for the Violin,(138) then recently published, gave him the guidance he needed. He had often heard them praised as admirable works of art, and conceived the happy idea of arranging them for the Clavier.(139) Hence he was led to study their structure, the musical ideas on which they are built, the variety of their modulations, and other characteristics. Moreover, in adapting to the Clavier ideas and phrases originally written for the Violin Bach was compelled to put his brain to work, and so freed his inspiration from dependence on his fingers. Henceforth he was able to draw ideas out of his own storehouse, and having placed himself on the right road, needed only perseverance and hard work to succeed. And how persevering he was! He even robbed himself of sleep to practise in the night what he had written during the day! But the diligence he bestowed upon his own compositions did not hinder him from studying the works of Frescobaldi,(140) Froberger, Kerl, Pachelbel, Fischer, Strungk,(141) Buxtehude, Reinken, Bruhns, Böhm, and certain French organists who were famed in those days as masters of harmony and fugue.(142) The models he selected—Church musicians for the most part—and his own disposition inclined him to serious and exalted subjects. But in that kind of music little can be accomplished with inadequate technique. Bach’s first object, therefore, was to develop his power of expressing himself before he attempted to realise the ideal that beckoned him. Music to him was a language, and the composer a poet who, whatever the idiom he affects, must first of all have at his disposal the means of making himself intelligible to others. But the technique of his period Bach found limited in variety and insufficiently pliable. Therefore he set himself at the outset to refashion the accepted harmonic system. He did so in a manner characteristically individual and bearing the impress of his personality.