Luke Hillman

Ooh, nice one. Added to the top post. Thanks!

Hi Richard, easiest way is to start with an existing 40b layout and customize it: Select "CG Wheatstone 40" (or another tuning if more convenient) click "edit layout" make your changes click "save" click "get link" paste that link here

Love that sound. It'll fit right in with the Juluka / Savuka collection. Here's their site, if anyone else wants the complete discography.

Hi Theo, thanks for asking. No need to credit me. I've got my info in the "about" section in case anyone's curious

Hi Tom, if you edit a layout on Anglo Piano, it gets stored locally, for your eyes only—in most browsers, it will persist until you clear your browsing data. If you want to share an edit, click "get link" under the layout dropdown. Noted about the frequency display. Right now the tool assumes 12 tone equal temperament, A4=440 Hz.

In the course of building Anglo Piano and exploring keyboard designs for my own needs, I'm constantly collecting and transcribing Anglo layouts. I figured I'd list them here so others can make use of them. I find it's extremely helpful to be able to view all these layouts in a standardized format that's also interactive; maybe you do too. Notes: Anglo Piano has several "standard" layouts built-in, which aren't listed here. The layouts below are not stored on Anglo Piano, but rather are encoded in the links themselves. Anyone can design or transcribe their own layout and get a link to share here (and you're encouraged to!). I have collected these layouts from various sources. If you spot an error, tell me, and I'll fix it (or you can send me a link to a corrected layout). You can transpose a layout into any tuning using the layout editor. As of now, I don't have a way to support different temperaments. Anglo Layouts 1-19 buttons Jones mini piccolo 10b C | source AC Norman Mini D 13b | source AC Norman Mini C 13b | source 20 buttons Maskandi/Squashbox 20b Eb/Bb (via Qadasi) | source 21-29 buttons Edgley/Herrington 24b C/G | source Jones 26b CG for Salvation Army | source Henry Harley 26b C/G | source 30-37 buttons Kensington 30b C/G | source David Fabre's 30b G/D | source Dave Weinstein's G/D "Drop D" 31b | source Doug Anderson's 31b G/D Jeffries | source David Fabre's 32b Bb/F | source Chris Ghent's 32b C/G | source Wang Guoping (Wang Feng) 33b C/B | source Sean Wahl's 35b C/G | source: personal correspondence Clive Thorn's 36b Jeffries/Crabb | source David Fabre's E. Pariselle 37b C/G "Levitina" | source 38-39 buttons (mostly Jeffries variants) Adrian Brown's 38b C/G Jeffries | source Jody Kruskal's 38b G/D Jeffries | source John Hazlehurst's 38b C/G/D | source Brownified Jeffstone and Pruned Wheatstone | source Morgana's Friend's 38b G/D | source Andrew Collins' 39b C/G | source 40 buttons (mostly Wheatstone variants) Crabb C/G 40b | source David Fabre's 40b C/G | source Howard Jones' 40b C/G | source 41+ buttons Jeffries C/G 45b | source Cohen Braithwaite-Kilcoyne's CG Jeffries 45b | source Non-Anglo layouts Maybe useful to someone, but not relevant to this thread; including here just for fun. Wicki/Hayden 46 Crane 48 | source Maccann 46 | source Bandoneon 1 Bandoneon 2 | source Chemnitzer | source, via David Carlsfelder | source, via David D/G 2.4-row, 12 bass melodeon (my ideal layout for a club-style melodeon. Based on Paul Young's) That's all for now; I'll add to this thread when I've got more. Please feel free to add your own.

Scientific notation. C4 is middle C, and the center of the LHS C row in a standard 30-button C/G Anglo. I cannot for the life of me wrap my head around Helmholtz notation. Sometimes I've found it useful to further illustrate octaves with colors when discussing expanded layouts (G/D Wheatstone 40b to illustrate):

I haven't. Someone with more Lachenal expertise might chime in, but looking at Barleycorn's current stock selection (example one, two, three, four), the "extra" buttons on the Lachenal 32 layouts are all novelty sounds!

Thanks David, I've corrected my links. Clearly, it's extremely easy for transcription errors to creep in. Re: Anglo Piano, I've actually got plans for more chord options. At this point it's just a matter of finding time. If you wind up using it, I'm always happy to hear details so I can keep improving!

Ah! I see, yes, now it makes much more sense. I've corrected the link. I can see how a hurdy gurdy sound would fit your repertoire. Wow, there's a lot to think about here. I'm particularly interested in the 37b "Levitina" layout (and what a beautiful instrument that is!). I'm still playing around with them myself, but as requested, here are your layouts (corrected as per your responses below): Levitina (raised two octaves in order to fit in Anglo Piano's supported range) G/D 30 Bb/F 32 Norman D 13 I should probably write better documentation for this, but anyone can edit and share layouts. If you want to transpose your G/D to C/G, for example, you can click "edit layout" and then click the up button under "layout" five times. There's no database, and you don't need an account or anything like that; the layout is encoded in the link itself. ...And I should probably start a thread for all the layouts I've transcribed. I've got loads now!

Thank you David, this is fascinating. I've (hopefully accurately) transcribed your layout here (edit: corrected as per comment below) to better explore and compare it against the "standard" layout. I would have trouble without that pull LHS D# (I play a couple of tunes in D freygish/Phrygian dominant where it's essential, but that's probably just my weird repertoire). May I ask what type of music you're generally playing? It's surprising to me that, given your comfort foregoing the "overlap" buttons for more useful alternates, you've got a few unisonoric buttons whose notes are duplicated elsewhere. Are you using those buttons for drone-style effects? I've come to a similar conclusion about the highest notes on the RHS: namely, I could lose them on a C/G but would probably want to keep them on an instrument with a lower tuning. Yes please, and thank you!

Sir Topham Hatt's horrifying genetics experiments must be stopped!

I wouldn't pay more than $20 for this instrument. I started out on a similar German 20-button concertina, which, in retrospect, was in pretty good shape. Having seen several more of the same type over the years, it's rare to find one that doesn't need some work. From the video, I can already tell that there are some valve and reed issues, but the previous comment is correct: the video is almost useless. In order to see which notes are working or not, and how many, you'll need to go button by button. And that's before even looking at the condition of the bellows. As to Simon's comment, that it sounds out of tune due to the inexperienced player in the video... I must disagree. On this type of concertina, buttons on the same row played together should sound harmonious. These don't. If you took it to a repair shop, you would likely be spending well over $100 to get it playing decently. How much? Impossible to say without more information, but my local guy quoted me $300 to restore one just like this. If the price is right, nothing wrong with buying it as a project box. But do be forewarned that it will be a struggle to get musical sounds out of it in its current state.

Bravo!

Indeed! But, am I incorrect in remembering that Lachenal usually used the same layout as Wheatstone? It's just, 38 is an awfully specific number of buttons to not be Jeffries, and Wheatstone's "standard" extended layout was 40 buttons. Anyone know if Lachenal used its own 38-button layout, that was somehow more Wheatstone-aligned? (I keep trying to come up with one myself and it would be great to know if there was another standard out there).

If it's a "standard" 38-button Jeffries layout, try this one. You can click the buttons to hear the associated notes, and if you find there are differences with your instrument, you can edit to suit your needs.

My apologies David! Argh, how embarrassing. Unfortunately I doubt I'd do any better on the alternate titles I wish YouTube would give us a way to make small edits to correct stuff like this...

I'll try not to let this go to my head. Here it is Sheet music link in the description!

Oh hi! Thanks for the tag, David. @Gregor Markič I'm working on a video tutorial for it. I'll post here soon as I have it done

Thanks Geoff, this is a great resource, especially the comprehensive diagram showing tunings relative to each other.

Hi John, at the moment, Anglo Piano is only set up to support the tunings in the treble range (lowest supported note is D2). I do plan to add support for lower tunings eventually. For the time being, if you're finding Anglo Piano useful, you could transpose your layout up an octave as you work on it. The technical reason for the current limitation is that I wanted to support encoding a layout in a URL so it would be shareable without a database. I had just enough characters to do that for the treble range (A-Z, a-z, 0-9). I have a workaround that I'm planning to implement later this year. Thanks for mentioning this—always nice to know how people are using it!

I, too, would be interested to hear from folks in the know. I'm on Mr. Wakker's list and hoping my name will come up sometime this year. Most of his concertinas I've seen in the wild or on YouTube are either English or Haydens.

Honestly, I don't think she's arguing that Morris *is* slightly racist, old and white. If the perception—however inaccurate—exists, it should be okay to talk about it, especially to draw attention to the ways it's evolved in the past hundred years. Any tradition that's been around hundreds of years is going to have a fairly intricate history. My own team found it necessary to publish an anti-racism statement a couple years ago. I thought it was a good article. Admittedly, Boss Morris is maybe a bit on one end of the avant-garde Morris spectrum (if you've seen the mockumentary Morris: A Life With Bells On, you know what a serious accusation that can be)!

Oh hey! If you play Anglo, I made a tutorial for Orange in Bloom, based on @adrian brown's arrangement: The origins of Morris are shrouded in the mists of time, and traditionally it was a men's dance, but there are plenty of women's or mixed teams today. The team in the article at the top of this thread is an amazing women's team.

And if you haven't seen the team profiled in the article, here they are in the well-publicized Wet Leg music video: I'm embarrassed that my own team, Berkeley Morris, is so fusty and traditional by comparison.