larger anglo layouts

[gavdav]

Hi all - in view of discussion on the concertina history thread, I am curious as to what broadly constitues a normal layout for the additional buttons once you get above 30 keys on an anglo. I am particularly interested in what is the norm on say, a 40 key G/D.

 

This is a result of some discussion on the history thread about larger Wheastone concertinas.

[Chris Timson]

There isn't really a norm. There was a Wheatstone standard layout which Lachenal also used, so most 40 buttons conform to this but by no means all. The Jeffries 38 button layout is, in my experience, much more variable. I've only met a couple of Jeffries 45 button boxes. They didn't seem to have a great deal in common with each other or even with the Jeffries 38 (I should add my experience here is mostly with G/Ds but I've no reason to believe things are much different for C/Gs).

 

Chris

[michael sam wild]

Hi Gav my 'big' Jones (C/G but'chromatic') is described on the history thread

 

 

In fact I am considering selling it and some others getting a G/D and a C/G both with extra buttons which i'm working out for both Irish style and chord/melody

[Robin Harrison]

Gav............from Chris's FAQ..........http38 & 40 key layouts These are broadly the standard layouts but as Chris says, they often vary.

Robin

[gavdav]

Thanks chaps - it answers the question I was looking at -I have a G/D; I have basically duplicated the A/B of my G row onto the bottom end of the left hand D row (same directions as one on G row,). I wondered if this was something with any precedent. whilst it is notes duplicated in the same direction it has suddenly opened up easy fingerings of two keys for me that were awkward before - those being A major and B minor. I guess the same modification on a C/G would allow english style players (up and down the rowers) to play easily in D on a C/G with little or no cross rowing.

[Chris Timson]

My own view about modifying layouts is that one should be very wary of altering the "core" 30 buttons. This is consistent with my view that we are less owners of these things as custodians. OTOH there is so much variability amongst the "extra" buttons that I have tended to regard them as fair game for alteration.

 

Chris

 

PS Thanks for the link, but it should be this. The link generator seems to be misbehaving.

[gavdav]

My own view about modifying layouts is that one should be very wary of altering the "core" 30 buttons. This is consistent with my view that we are less owners of these things as custodians. OTOH there is so much variability amongst the "extra" buttons that I have tended to regard them as fair game for alteration.

 

Chris

 

PS Thanks for the link, but it should be this. The link generator seems to be misbehaving.

agreed Chris - I just changed the "extra button" ont he low end of the D row of my 46 key to gie the A/B in the same direction - this just meant I had a sequence of a/b/Csharp/d in a sensible sequence!

[Robin Harrison]

;

I have basically duplicated the A/B of my G row onto the bottom end of the left hand D row (same directions as one on G row,). I wondered if this was something with any precedent. whilst it is notes duplicated in the same direction it has suddenly opened up easy fingerings of two keys for me that were awkward before

Right on Gav, it also straightens out a lot of D tunes where the bellows reversal interupts the flow of a tune but still keeping the tune in the right hand for full left hand chording.

Look at my layout with a reverse C/G as well ( plus a reverse C# under the pinky for D tunes)and you can start to do on anglo what you can do on a three row melodeon ie longer phrases with no bellows reversals. BUT, if you want punchy effect, then the notes are still there. You can choose how you approach a phrase.

Your instrument is such an "odd ball", you can pretty much try sliding reeds around how you like. I've posted the layout here before, but PM me if you are interested.

Cheers

Robin