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michael sam wild

Eb on a C/G Anglo

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I have a 26 button Jeffries and play mainly Irish music . On RHS Acc.1 it has push eb/ pull c#

 

 

I am thinking of getting c#/c#. As I have no intention of trying to play it in Eb is there any other reason I should keep the pull eb? Where does it crop up in tunes in other keys?

 

 

(Edited to show that eb is push , c# is pull , that's how it came )

Edited by michael sam wild

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I have a 26 button Jeffries and play mainly Irish music . On RHS Acc.1 it has eb/c#

I am thinking of getting c#/c#. As I have no intention of trying to play it in Eb is there any other reason I should keep the pull eb? Where does it crop up in tunes in other keys?

Hello Mike,

The other way of thinking of Eb is as D#. This is a really useful note if you are playing in the key of E minor, as it is the leading note in the scale and also forms the third in the chord of B major, the dominant chord in the key of Em. I wouldn't be without my pull D# on my Wheatstone layout anglo. I can live happily with only a push C#, even for Irish tunes.

 

It comes down to individual choice and preference of course, but if you do decide to change the D# for a pull C#, keep the D# reed safe somewhere so you can put it back at some point in the future - e.g. if you decide to sell the instrument.

 

Steve

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Michael, I have a 28 button Jeffries and faced the same dilemma some time back. I would recommend that you find a top repairman to find, tune and install a second C# on that button. As for the proper place for that Eb; I would recommend in a drawer -- safely stored and labeled in case you ever want it back. But in the 10 or so years since I made the change, I've never questioned my decision.

 

Good luck -- and you'll enjoy having that second C#. Of course it kinda makes your anglo into a partial English with the same note in both directions, but I won't tell if you don't!

 

Ross Schlabach

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I suggest doing what I have on my Wally Carrol instrument.

 

Top button (Push/Pull):

C#/C#

 

2nd button (Push/Pull):

C#/D#

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i find it hard to rationalize taking out a note completely, as what happens if you want to play in the key of Bb, Eb, or there is an accidental? i was playing in Bb today, and wish i still had 2 Eb's instead of just one....

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I suggest doing what I have on my Wally Carrol instrument.

 

Top button (Push/Pull):

C#/C#

 

2nd button (Push/Pull):

C#/D#

Michael,

Maybe I'm missing something - but why would you want two push C#s in a row?

 

Cheers,

Molly

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I suggest doing what I have on my Wally Carrol instrument.

 

Top button (Push/Pull):

C#/C#

 

2nd button (Push/Pull):

C#/D#

Michael,

Maybe I'm missing something - but why would you want two push C#s in a row?

 

Cheers,

Molly

 

 

I think the idea behind this choice is that both Wheatstone and Jeffries players

will find C# in the place they are used to...

I think this could be useful for playing irish music, where the C# is an important

note and often a puzzle on the anglo, but for harmonic style I beleive the standart

disposition(s) make more sense.

Edited by david fabre

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If your 26 button is anything like mine. Keep the Eb. Having a draw C# is great, but not nearly as important as the Press C# and you have only the one Eb which is a lovely note to have in things like the Galway Bay Hornpipe though you can fudge your way around it in some of the tunes. If you had a 30 button I'd definitely vote for getting rid of one of them in favor of the doubled C#, but I would never want to be without it completely. There are great tunes that use Eb, perhaps not so commonly played in sessions, but more for the lack of breadth of most sessions. Save your Eb for the gems that use it and don't stay stuck in the common keys. Without a doubt, the ITM tunes I have loved the most have been off the beaten path.

Dana

PS.

For those who don't know the layout, the 26 button RH Acc. row starts on what would normally be considered the second button in the common Jeffries layout, so he doesn't really have the options available on a 30 button.

Edited by Dana Johnson

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I have a 26 button Jeffries and play mainly Irish music . On RHS Acc.1 it has eb/c#

 

 

I am thinking of getting c#/c#. As I have no intention of trying to play it in Eb is there any other reason I should keep the pull eb? Where does it crop up in tunes in other keys?

 

You mention the jazz you used to play. I try to play in a jazzy way on my 38b Jeff and find I use 4 of my Ebs continually, but maybe I wouldn't if I played Irish (I leave that to the whistles

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I suggest doing what I have on my Wally Carrol instrument.

 

Top button (Push/Pull):

C#/C#

 

2nd button (Push/Pull):

C#/D#

Michael,

Maybe I'm missing something - but why would you want two push C#s in a row?

 

Cheers,

Molly

 

 

I think the idea behind this choice is that both Wheatstone and Jeffries players

will find C# in the place they are used to...

I think this could be useful for playing irish music, where the C# is an important

note and often a puzzle on the anglo, but for harmonic style I beleive the standart

disposition(s) make more sense.

 

it is very useful for irish music. the main reason is that it is much easier to use the second button push for Eb than it is the first button pull. to be honest, i hardly ever use first button pull, but only use first and second button push for C# (i have the same layout as mike). this is because as david fabre points out that this is where the push C# is on wheatstone. i use both because i want to keep much chops up so that if i play a wheatstone it is no adjustment. i know a lot of people who do use all 3. if i had two push C#'s and two pull Eb's i'd be happy, but that's a bit ridiculous...

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Thanks for all the valuable advice

On my 30 button Jones Anglo C/G I have decided to keep the Eb and G# buttons as I'm starting to work on tunes like A Nightingale Sang in Berkeley Square (in C) with a guitarist friend and they are essential. Now I know why folk want more buttons. (Or a duettongue.gif !)

 

For the ITM I think I will modify the 26 button Jeffries C/G and just split my brain.

Edited by michael sam wild

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