Well, within a phrase. And with a series of phrases, you can certainly create the effect of diminuendo and crescendo, no question.

I played piano. I've always liked piano. My father played piano. Actually, to be fair, the sound of the harpsichord did annoy him a bit, and I thought, how can I annoy Dad? I'll play the harpsichord.

When I say that there's commonality, I mean more in terms of the sort of techniques by which we perceive Baroque and minimalist music rather than the techniques used to compose them. I know that's being sort of overly complicated.

Well, within a phrase. And with a series of phrases, you can certainly create the effect of diminuendo and crescendo, no question.

And it totally has transformed my relationship with someone like, say, Bach. You know, Bach is born 330 years ago but, you know, gosh, he really is alive.

One of the tracks that I have is Carl Philipp Emanuel Bach - by the way, that's Bach's second son - Emanuel Bach's variations on "Le Folie." You'll definitely hear - I mean, I think if we listen to, say, the last couple of minutes of that track, there's a wide range of colors that the harpsichord is capable of. And I think, you know, that gives lie to the assumption that it doesn't have that kind of variety. And I think it very much speaks for itself.

Well, harpsichord is kind of a big guitar, isn't it? I mean, it is plucked, after all.