However, the English keyboard school withered during the first half of the 17th century, and the Dutch composers after Sweelinck were either not on his level (Anthoni van Noordt) or left too few compositions to make any significant mark on the history of European music (Pieter Cornet).
Later northerners like Franz Tunder, Georg Böhm and Johann Adam Reincken all cultivated a harmonically and rhythmically complex improvisatory style rooted in the chorale improvisation tradition.
The instruments would typically have two or more manuals, a pedalboard and a wide range of stops; this contributed to the style cultivated across the region as the majority of large-scale works require considerable pedal skills and benefit from larger, more versatile organs.
Typical south German organs differed from their northern counterparts and could have only a dozen or two stops, sometimes a single manual and, occasionally, no pedal; much like many Italian instruments.
Perhaps the last significant southerner was Johann Heinrich Buttstett, Pachelbel's pupil, who continued the trends set by his teacher but did not achieve any considerable fame; it appears that numerous works by him are now lost.