Singing Witha G/d Anglo

[Bob Michel]

It's the glory and horror of the Anglo that no two keys (apart from C and G, or whatever you call Home) are remotely similar. No standard scale patterns or chord shapes to aid in transposition. Change the pitch and everything else has to be rethought as well (especially phrasing). It's a fearful assymetry.

 

To preserve sanity while playing such an instrument, you have to learn to regard its quirks as features rather than bugs. I've been working on this for years, and have myself nearly convinced. But now and then, when I pick up a mandolin or (worse) sit down at the keyboard, I seem to hear it snickering at me.

 

Bob Michel

Near Philly

Edited May 29, 2015 by Bob Michel

[Rod]

It is not unusual to see performers playing with a selection of other similar instruments, ( presumably with alternative tunings ), within arms reach. A sort of lending library of instruments. I am inclined to think that this is a form of cheating. !! But on the other hand why not, if you can afford it. !

[adrian brown]

It's the glory and horror of the Anglo that no two keys (apart from C and G, or whatever you call Home) are remotely similar. No standard scale patterns or chord shapes to aid in transposition. Change the pitch and everything else has to be rethought as well (especially phrasing). It's a fearful assymetry.

 

To preserve sanity while playing such an instrument, you have to learn to regard its quirks as features rather than bugs. I've been working on this for years, and have myself nearly convinced. But now and then, when I pick up a mandolin or (worse) sit down at the keyboard, I seem to hear it snickering at me.

 

Bob Michel

Near Philly

 

I agree - it's better to just get on with it and try to live with the quirks and insanity of the layout, it's all part of the challenge and it's very rewarding when you can finally make it do what you want!

 

It is not unusual to see performers playing with a selection of other similar instruments, ( presumably with alternative tunings ), within arms reach. A sort of lending library of instruments. I am inclined to think that this is a form of cheating. !! But on the other hand why not, if you can afford it. !

 

Cheating maybe, but (to give an example) playing in C on a Bb/F, a G/D or an F/C will sound very different to playing in C on a C/G, even though the notes are basically the same. One reason for doing this might be to keep more of the melody on the RH side, or as Stuart pointed out above, to give a better selection of available bass runs. In my own case, I feel playing different anglos during a concert also gives me different soundscapes to use in combination with voices and other instruments, which adds to the variety I can introduce to an audience.

 

Adrian

[Bob Michel]

It is not unusual to see performers playing with a selection of other similar instruments, ( presumably with alternative tunings ), within arms reach.

People will slouch towards chromaticism by diverse routes (I have my ten extra buttons). To each his/her own, but for me portability is of the essence. If the gig required me to play a lot in G# without scowling, I expect I'd just turn hipster and buy a piano accordion.

 

Bob Michel

Near Philly

Edited May 29, 2015 by Bob Michel

[JimLucas]

It is not unusual to see performers playing with a selection of other similar instruments, ( presumably with alternative tunings ), within arms reach.

People will slouch towards chromaticism by diverse routes (I have my ten extra buttons). To each his/her own, but for me portability is of the essence. If the gig required me to play a lot in G# without scowling, I expect I'd just turn hipster and buy a piano accordion.

 

5-row CBA might be a better (simpler?) bet. In terms of feel, not even a distinction between "black" notes and "white" notes.

[StuartEstell]

I can heartily recommend the Jeff duet for that sort of thing. It's very happy in keys like Ab, Eb, Db etc.

[Bob Michel]

5-row CBA might be a better (simpler?) bet. In terms of feel, not even a distinction between "black" notes and "white" notes.

Simpler, yes, but just thinking about the weight of those things makes my back hurt. A CBA is an elegant, cleverly designed instrument that utterly fails my portability test.

 

Bob Michel

Near Philly

Edited May 30, 2015 by Bob Michel

[JimLucas]

5-row CBA might be a better (simpler?) bet. In terms of feel, not even a distinction between "black" notes and "white" notes.

Simpler, yes, but just thinking about the weight of those things makes my back hurt. A CBA is an elegant, cleverly designed instrument that utterly fails my portability test.

 

I thought I was responding to a suggestion of a PA. Surely similar in size and weight, no? Otherwise, how about a Hayden duet?

[Bob Michel]

I thought I was responding to a suggestion of a PA. Surely similar in size and weight, no? Otherwise, how about a Hayden duet?

Now you're talking. A Hayden duet is sort of a CBA in a concertina-size package.

 

Real five-row CBAs, though, do tend to average heavier than their PA counterparts, if only because so many of them have more voices in both the treble and the bass. A 4/5 configuration (which seems pretty standard in a CBA, kind of extreme in a PA) runs about 26 lbs./12 kg. You could score a nice 3/4, 72 bass PA--surely adequate to any needs of mine--for 10 lbs. less. Or you could of course go with a diet brand of CBA: three rows, or fewer reed banks.

 

Still too heavy for me, though. I prefer your Hayden suggestion. Though in fact (to atone for my thread drift) I'll continue to argue the idiosyncratic merits of a slightly enhanced Anglo. Less is more, if also more challenging at times.

 

Bob Michel

Near Philly

Edited May 30, 2015 by Bob Michel