In this article I explore a range of baroque harpsichord techniques, in particular notes inegales, and how these may be applied within the context of contemporary music. Baroque performance practice has become increasingly accepted by players and audiences, and is in many ways intrinsic to the nature of the instrument itself. The harpsichord is no longer perceived as inexpressive or out dated, and is appreciated for its own special qualities. An awareness of the subtleties and contrasts that can be created through a knowledge of earlier repertoire, style and playing techniques is one of many interesting routes that enables the performer and composer to develop their own informed contemporary language. My discussion is illustrated with examples from several contemporary composers who have written for the harpsichord in contrasting ways.