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G/d Anglo Layout


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Hi All The day will come soon when I am asked what layout I want for my new G/D Anglo .Outside of a standard 30 Key Anglo G/D (Wheatstone) do any of you have any suggestions for extra notes that you think I may find useful .I use my G/D to accompany my singing and some times for Morris I dont want to add notes that I will never use ,It may also keep the weight down .It would be nice to hear if you have any ideas on the subject. Bob

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I find the Wheatstone layout preferable to the Jeffries because I find that (on a G/D) the D pull on the accidental row falls to hand more naturally - although that may be just because it's what I'm used to.

 

On the D row, the lowest note (little finger, left hand) on the pull: I prefer the note A which then gives you an easily accessible A major and A7 with adjacent fingers. This is a touch easier than relying on the A pull that is on the G row.

 

However, 1 of my boxes has an E instead, and that increases the options for playing E minor on the pull on the D row.

 

It's all compromises. Don't try to reinvent the wheel - any standard layout will work. Half the fun of the Anglo is finding ways around its limitations. :)

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If you can have one extra button I'd suggest a button to the left of the G/F# button that duplicates the D/E button on the left hand, also on the G row. If you're playing "English" fashion, melody on the right hand, accompaniment on the left (either chords or parallel octave) this helps keep the melody on your hand if you want it. I find it a very useful button altogether.

 

Chris

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I find the Wheatstone layout preferable to the Jeffries because I find that (on a G/D) the D pull on the accidental row falls to hand more naturally - although that may be just because it's what I'm used to.

 

On the D row, the lowest note (little finger, left hand) on the pull: I prefer the note A which then gives you an easily accessible A major and A7 with adjacent fingers. This is a touch easier than relying on the A pull that is on the G row.

 

However, 1 of my boxes has an E instead, and that increases the options for playing E minor on the pull on the D row.

 

It's all compromises. Don't try to reinvent the wheel - any standard layout will work. Half the fun of the Anglo is finding ways around its limitations. :)

I prefer the Jefferies layout.

 

Mike, while I can see the pleasures of

 

"On the D row, the lowest note (little finger, left hand) on the pull: I prefer the note A which then gives you an easily accessible A major and A7 with adjacent fingers. This is a touch easier than relying on the A pull that is on the G row.

However, 1 of my boxes has an E instead, and that increases the options for playing E minor on the pull on the D row."...

still, I would never give up my low E for a duplicated A in the near row. Especially as my modification gives me the very low A in the accidental row, a very satisfying note to be sure.

Here are my G/D 30 button Jefferies Anglo modifications. I actually own a Morse C/G in this (transposed) configuration.

http://jodykruskal.com/GD-Anglo-Layout.html

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A bit of explanation:

 

My Jefferies G/D modifications lose the left hand low F draw. This is a note that some Irish players have reported to use with some regularity, but I hardly ever use it. Perhaps if I was playing in “C” on the G/D I would want it more, but when I play in “C” I use my C/G. What I gain is a low “A” just a whole step above the lowest note on the instrument. The lack of this note is a great design flaw of the Anglo system for those who play harmonic accompaniment as I do. Now that I have this Low “A” I use it in almost every tune I play and it sounds great.

 

My Jefferies G/D modifications also lose the right hand high “C” natural. I guess there might be a few tunes where I might miss that note if I was playing melody up the octave, but this would be rarely. What I gain is an "F", a button/note that I have come to love in my Jefferies 38 button instruments as they all have it. Almost exclusively, I use it to slur from the f’’ to the f#’’ (the right hand second button in the D row) when playing a push D chord. I do that in almost all of the D tunes I play at one point or another, so if it’s not there I really miss it often. Fiddlers are well known to slide into the high f#' from below and by using this button I'm able to join them.

Edited by Jody Kruskal
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Hi Jody Thanks for showing your layout. So your F Gain note is the same pitch as the pull F R/H accidental row fourth key for you (3rd Key on my Wheatstone) ? Bob

Edited by KelTekgolow
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My Jefferies G/D modifications lose the left hand low F draw.

 

A small caveat. If you play a lot of French music the key D minor seems to come up a lot, and for that you really need that low F. Not really relevant otherwise.

 

Chris

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Hi Jody Thanks for showing your layout. So your F Gain note is the same pitch as the pull F R/H accidental row fourth key for you (3rd Key on my Wheatstone) ? Bob

That is true Bob. For my purpose though, I need the useful F to be a push to pair with the F# push for a slide.

Edited by Jody Kruskal
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My Jefferies G/D modifications lose the left hand low F draw.

 

A small caveat. If you play a lot of French music the key D minor seems to come up a lot, and for that you really need that low F. Not really relevant otherwise.

 

Chris

 

Hi Chris, you may well be right about that. I don't play many French tunes. Here among American tune players we stick to G, D, A, Amodal with very few exceptions. I do remember an F session once that I could not join but mostly I find that the G/D is the box in hand. C sessions are a bit more common though still rare. If I want to play in C or in Dm for that matter, I reach for the C/G box.

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Thanks for all your ideas and suggestions.I was thinking on baseing my new layout on my 36 Key G/D but Jodys blog has made me think that (why did'nt I think of it) , base my new G/D layout on my 35 button C/G.If I do that I will take note of the alterations suggested .I will try to post my C/G layout for further scrutiny.Bob

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