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Doug Anderson

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About Doug Anderson

  • Rank
    Advanced Member

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  • Gender
    Male
  • Interests
    Photography, Choral Singing, Concertina
  • Location
    Jersey Shore
  1. Doug Anderson

    Cowboy Concertina - New Book?

    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.
  2. Doug Anderson

    Just The Way You Look Tonight

    Nope, doesn't work.
  3. Doug Anderson

    Shutting Down My Website

    Thanks for the heads up. I just downloaded the site as a web archive.
  4. Doug Anderson

    'conventional' Representation Of Anglo Buttons

    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.)
  5. Doug Anderson

    Tune Of The Month, April 2014: Zelda

    I tried it with the "e3" in the second measure, and with an "e2 e", and I prefer the latter.
  6. Doug Anderson

    Multi Instrumentalists Among Our Ranks

    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.
  7. Doug Anderson

    To Kruskalize A Tune, The Kruskalization Of A Tune

    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.
  8. Doug Anderson

    To Kruskalize A Tune, The Kruskalization Of A Tune

    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!
  9. Doug Anderson

    To Kruskalize A Tune, The Kruskalization Of A Tune

    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.)
  10. Doug Anderson

    Folk Musicians' Flowchart

    Thanks for posting. It explains a lot :-)
  11. Doug Anderson

    Making Rehearsals - A Rant

    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.
  12. Doug Anderson

    Testing Signature

    Like it says.
  13. Doug Anderson

    Chords and Air Supply on Rochelle

    I agree. If not for the Rochelle I would not be playing the Anglo today. I began about 12 years ago with an English concertina. My frustration with not being able to play melody and accompaniment (my problem, not the instrument's) led me to switch to a Melodeon about six years ago. That was better, but I was still limited to just bass notes and chords for accompaniment. I was tempted to try an Anglo, but after two false starts I was hesitant to put even more money into the search for THE instrument. Finally, some positive comments here about the Rochelle convinced me to give it a try. I was accustomed to playing good instruments (Wheatstone, Castagnari, Saltarelle, Morse) and was pleasantly surprised by the playability and sound of the Rochelle. It's a tremendous value. I would probably have stayed with it longer if it was available as a G/D. I found that playing melody and a low harmony on the C row of the Rochelle was fine but the G row was impossibly squeaky to my ear. I ordered a G/D Morse Céili. It arrived a week ago and I've barely put it down since. Keep in mind that the following observations may be partly the result of the change from C/G to G/D, and not just the change from a Rochelle to a Céili. The first revelation was the air button. A quick tap on the Céili air button at the end of a musical phrase is enough to correctly position the bellows to begin the next phrase. On the Rochelle it takes more like a complete measure to do the same thing. The result is that the Céili always has more air available. The next difference I noticed was the balance between the low and high notes. On the Rochelle, when a chord on the left hand contains the same note as a melody note an octave higher on the right hand the melody note almost disappears. This effect is more noticeable on some notes than on others. It might be something that a good tuning could improve - at a price. In contrast, a right hand melody note on the Céili seems to have more of an "edge" than the same note an octave lower on the left hand. It stands out more clearly. The last difference I've noticed so far is more subtle and may well have more to do with the pitch than with the instrument. On the Rochelle. the two-note chords that I prefer sound thin. That's fine for ethereal pieces in minor keys but it doesn't work well with the hymns and American folk tunes that I mostly play. Switching to three or four-note chords exacerbates the air and balance issues I mentioned above. On the Céili, two-note chords have a fuller sound which creates more opportunities for interesting harmonies and moving bass lines. To sum up, buying the Rochelle worked out very well for me. But even if the result had been deciding that it was not for me, I'd have felt that I'd given the Anglo a fair chance. I would encourage anyone considering taking up the Anglo to buy a Rochelle and give it a squeeze.
  14. Doug Anderson

    ABC

    Thanks from me too for the EasyABC link. I upgraded to Lion so I could provide better phone support for a relative who just switched to a Mac. I hoped that I'd find a replacement for Barfly and this looks promising. I sing in a church choir. I can't imagine using anything but dots (standard musical notation) for sharing music in that context. I can sight read choral music pretty well. But dots don't work for me for playing the Anglo (or the melodeon). I play the melody by ear and improvise the accompaniment in both instances. I gave up trying to play from dots because the accompaniment drives the choice of buttons and reversals and I found it too confusing. So I use a pad of blank staves, a pen and a scanner to suggest harmonizations to our choir director and abc to share tunes with other instrumentalists. --Doug
  15. Doug Anderson

    Adding An English

    No they aren't. That's rubbish. I'm not sure which of the two assertions you disagree with. I spent a couple of days with a borrowed Stagi Hayden and only succeeded in reminding myself of the problems I had coordinating my two hands when I took piano lessons as a child. Shortly after that I tried a borrowed melodion for a couple of hours and found myself playing simple with a rudimentary bass accompaniment - the first time I'd accomplished that on any instrument in almost 60 years. Based on my experience, duets are not similar to melodeons, and melodeons are very east to play. I now have two G/C melodeons and two EC's and I enjoy switching among them.
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