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Doug Anderson

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About Doug Anderson

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    Advanced Member

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  • Gender
    Male
  • Interests
    Photography, Choral Singing, Concertina
  • Location
    Jersey Shore

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  1. In my hands or in the case is what I was taught. But the case is on a low table, with a raised border, in the middle of the living room.
  2. I spent several months trying to play both my Morse with the Wheatstone layout and my Jeffries with the Jeffries layout - both are G/D Anglos. I eventually gave up and sent the Morse to The Button Box to have the reeds changed to the Jeffries layout. I had no particular preference for one layout over the other but switching the Morse was a much more practical solution.
  3. Red River Valley, of course, but also Whoopee Ti-Yi-Yo (also called Git Along Little Dogies) which was my first public performance piece as a vocalist at age five.
  4. Thanks for the heads up. I just downloaded the site as a web archive.
  5. Might the difference have something to do with the key the instrument is likely to be played in relative to its home keys? If most tunes in a book emphasize the push notes then showing push on top might seem more intuitive, and vice versa if the tunes tend to emphasize the pull notes. (I am assuming playing across the rows.)
  6. I tried it with the "e3" in the second measure, and with an "e2 e", and I prefer the latter.
  7. I began singing in public at age 5, and am still doing so 65 years later. I currently sing first bass in a choir that concentrates on early church music in the English tradition. I have played for various lengths of time and eventually abandoned the piano, harmonica, recorder, guitar, penny whistle, mandolin, English concertina and melodeon. I currently play the first instrument I ever played, the ukulele, and the most recent, the G/D Anglo.
  8. Hi Jody, I'm working on an example of this right now. An arrangement of a hymn tune (Dundee) that I am trying to play in G (transposed from the Eb that my choir sings it in) has a distinctive switch to the key of C in the first line, but you would never know it from listening to the soprano/melody part (or the tenor part). The switch from the F# note to the F natural only occurs in the alto and bass parts. Without the change of key the whole effect of the musical phrase is lost. That means I have to find a way to work in an F natural on the left side. It's only available on the pull, and that complicates playing the melody on the right side. And it's just this sort of thing that makes the Anglo such a fascinating instrument, for me at least.
  9. Hi Jody,Thanks! That's actually kind of encouraging. It sounds like I'm on the right track. The more I find my way around the third row on the instrument the better I am able to experiment with the bellows direction and find partial chords or single accompanying notes that fit the melody line. I like your list of priorities too. Lots to think about!
  10. I get the G/D part. Playing melody on the right hand of the G row of a C/G gets pretty squeaky. But what do the extra 8 buttons add to the equation? (I ask this as a 30-button G/D player trying to teach myself to play right hand melody and left hand accompaniment.)
  11. Thanks for posting. It explains a lot :-)
  12. I agree it's frustrating. When members of my choir miss practices they keep the rest of us from hearing how we sound together. And that has a negative effect on our performances.
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