Rodney responding to my
> >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. >
> Thanks, Judy. I have never seen one like that (sheltered life?).
> Any indication of such in Bux's time?
Let's see, Buxtehude's time was c. 1637 to 1707. I would think the
most common clavichord disposition was triple-fretted, with G-G#-A
together, Bb-B-C, C#-d-D#. and E-F-F#. Builders currently insist on
making them with that note I call D# as an Eb, which makes fitting
the frets in the tenor harder, especially given the C# which is quite
a ways from D. But probably the builders know what they are doing, I
am only speaking theoretically and as a performer when I say I think
it ought to be a D#. My performance 17th c.clavichord (built by
Andreas Hermert after the Georg Woytzig 1688, Stockholm) has an Eb
there. Fretting starts at tenor f (paired with f#) because it
couldn't apparently be fitted lower. I have not seen the measurements
on the original instrument.
In any case, no matter what note a given string is fretted with,
pressing harder makes it sharper. Which turns sharps into flats.