This selection is an excerpt from one of Telemann’s many fantasies for harpsichord. Its two-voice texture combines a right-hand melody and a left-hand accompaniment. Detached quarter notes are entirely in keeping with Baroque performance practice, especially for the accompaniment. In Telemann’s Andante, the quarter notes played by the left hand are an integral part of a bass line where the function of each quarter note is primarily harmonic. Furthermore, one could imagine this bass line played by a cello with a separate bow stroke for each note. Structural and stylistic considerations, musical aesthetics, and personal taste can all be factored into the articulation choices for the melody. A performance where the first section’s right-hand quarter notes are connected to the half note that follows and the second section’s right-hand quarter notes are detached could be very effective. There are many viable solutions to questions of articulation in Baroque music. Although it would be acceptable to play the right-hand quarter notes in mm. 6–7 legato over a detached-style bass line, this might be challenging for a student at this level. Another possible approach would be to play the bass line detached throughout, and use a variety of touches in the right hand; for example, quarter notes detached and eighth notes legato. In the end, the most convincing performances are those that display good musical judgement, command of the material, and appropriately communicative expression.