> >Otherwise, we do not know how Buxtehude tuned his clavichord, and
> whether >there were any split sharps in his household.
> If he used a pairwise-fretted clavichord of the usual pattern, all
> the pairs are small semitones, with Eb and Bb paired with E and B,
> not with D and A. Pressing harder would push C#, G#, and F# toward
> their respective enharmonic flats, but not E and B.
Actually, having e and b fret-free, and so-called e-flat paired with
d, b-flat paired with a (it has been misleadingly dubbed 'Iberian'
fretting), was pretty common in Scandinavian clavichords in the 18th
century. I think it was not unknown in Northern Germany either.