The harpsichord concertos were composed in a manner completely idiomatic to the keyboard (this was equally true for those written for two or more harpsichords). They were almost certainly originally conceived for a small chamber group, with one instrument per desk, even if performed on one of the newly developed fortepianos, which only gradually acquired the potential for producing a louder dynamic. The keyboard writing also conforms to a practice that lasted until the early nineteenth century, namely the soloist played along with the orchestra in "tutti" sections, only coming into prominence in "solo" passages.