Anglo Tuning For Morris

[D Green]

I have been playing my C/G Edgley with a Morris side for about 8 months. I have a friend learning the concertina and I'm interested in peoples thoughts about the "best" tuning for playing Morris music on an Anglo. What are the advantages to say a G/D over the C/G? I look forward to your responses.

 

Thanks

 

Dave

[PeterT]

......I'm interested in peoples thoughts about the "best" tuning for playing Morris music on an Anglo. What are the advantages to say a G/D over the C/G?

Hi Dave,

 

I guess that it really depends on which keys you are playing in, and whether you are playing solo, or in a band.

 

If solo, you can obviously play in whichever key you prefer, or sounds best. I use a C/G, or sometimes a B'/F (if I know that I'll be on my own). So, if I play for Cotswold, I go for maximum volume = middle row/inside row of a 30+ key box, plus heavy chords!

 

If you play in a band with melodeons, or fiddles, then I guess that G/D would be an obvious choice, especially if you have to play "lead" musician. However, I always recommend using a C/G as it ensures that you learn how to play in the key of D.

 

Regards,

Peter.

[Jim Besser]

I have been playing my C/G Edgley with a Morris side for about 8 months. I have a friend learning the concertina and I'm interested in peoples thoughts about the "best" tuning for playing Morris music on an Anglo. What are the advantages to say a G/D over the C/G? I look forward to your responses.

 

 

When I was playing solo for a side, I preferred the C/G, played mostly in C, for maximum volume and chording. When others joined in and we were stuck in G, I'd play cross row, which worked OK, but limited chording.

 

Now I also have a G/D, and play with a side with multiple musicians, who play almost everything in G. THe G/D, played along the G row, is great for doing chords and melody, but the lower pitch means it doesn't carry as well. You need a better quality G/D to make it work with Morris.

 

Frank Edgley is building me a new G/D, optimized for volume and sharpness ("mellow" is not a positive quality in Morris instruments) and I'm hopeful it'll solve the problem, since I can't afford a Jeffries.

Edited August 31, 2006 by Jim Besser

[Dave Prebble]

What are the advantages to say a G/D over the C/G? I look forward to your responses.

Dave

 

Hi Dave,

 

I would suggest that the only 'advantage, of a G/D is that you will find it a lot more sociable if you find yourself playing alongside a melodeon. I will not raise here my preference for a solo musician for morris as opposed to the all too common 5 or more piece band we see these days, but at ales or other Morris social gatherings you might feel quite 'left out' a lot of the time with a C/G box.

 

The important thing for the musician is to be heard clearly by the dancers.

Here in general, the C/G instrument scores well. The higher pitch carries well outside and also the smaller reeds tend to be more responsive and perhaps makes 'crisp' playing easier to achieve.

 

Hope this is of help to you

Dave

[groeswenphil]

I bought a Marcus Butler G/D about four months ago.

 

I haven't touched my C/G since.

 

I can play the tune, accompany myself with chords, join in with other sides.....all sorts.

 

I would say this though.

 

I play for two Morris sides.

For one, there are usually two or three musicians........me, a melodeon and a flute. I really don't think I can be heard over the melodeon and I certainly can't hear the flute.

 

For the other side, I play with another melodeon player. Here, I really feel like I'm doing something. Together we just complement each other nicely.

 

What will your circumstances be?

 

Phil Edwards

[Robin Harrison]

Hi Dave........................ "Best tuning for Morris" ?

Well, if you play in a Morris band,you may not have an individual choice as to what tuning you prefer. You all agree on what keys you all play , and that's the anglo you buy ( usually a G/D).This also means you can play in a different style...............if you have a piano accordion blasting out the bass plus two melodions doing the same, an interesting bass accompaniment is superfluous......just the tune works best because you may well hear the anglo over the other instruments some distance away (and you can also play across the rows if you like.)

If your question were " I'm playing by myself for Morris,what do you think is best",well that's a horse of a different colour.

In the recent past I've played a C/G Jeffries ( G row to high for my ears) and a Jeffries G/D ( dancers couldn't hear the G row it in traffic / urban situations)......snd both these anglos were loud .

As of last week, after many years on the waiting list, I've just got my Bb/F Dipper , in mean tone tuning. I wanted this tuning because I usually play alone for the Toronto M/M ( in fact it is written into our constitution that a single person plays.............) My hope for the Bb/F is that the F row is easy on the ear and the Bb row can be heard well. Colin has told me to run the anglo in carefully for a time before I give it welly,so I'll let you know what the dancers think.I think this will be the "best "tuning for my needs.

I also think the best tuning for an anglo is the one you own now.........the important thing is just to play.

Regards Robin

[Nigel]

......I'm interested in peoples thoughts about the "best" tuning for playing Morris music on an Anglo. What are the advantages to say a G/D over the C/G?

Hi Dave,

 

 

If you play in a band with melodeons, or fiddles, then I guess that G/D would be an obvious choice, especially if you have to play "lead" musician. However, I always recommend using a C/G as it ensures that you learn how to play in the key of D.

 

Regards,

Peter.

Forgive me for being slow, but I'm puzzled by this. If you have a G/D you can play in D by playing along the row. Why then does it help to learn to play in the key of D on a C/G?

[PeterT]

Forgive me for being slow, but I'm puzzled by this. If you have a G/D you can play in D by playing along the row. Why then does it help to learn to play in the key of D on a C/G?

Hi Nigel,

 

If you play a G/D, will you learn to play in keys other than these? The keys of A and C could be the next logical ones in which to play, but how many players who play exclusively on a G/D box play in these keys? By using a C/G, you are "forced" to learn how to play in D, which then stretches your ability.

 

As soon as you think outside the rigid "row" concept, the Anglo opens up all kinds of possibilities.

 

Regards,

Peter.

[Nigel]

Forgive me for being slow, but I'm puzzled by this. If you have a G/D you can play in D by playing along the row. Why then does it help to learn to play in the key of D on a C/G?

Hi Nigel,

 

If you play a G/D, will you learn to play in keys other than these? The keys of A and C could be the next logical ones in which to play, but how many players who play exclusively on a G/D box play in these keys? By using a C/G, you are "forced" to learn how to play in D, which then stretches your ability.

 

As soon as you think outside the rigid "row" concept, the Anglo opens up all kinds of possibilities.

 

Regards,

Peter.

Thanks for the reply Peter. I understand what you are getting at now! I have a C/G and play in D across the rows. Indeed I usually play in G on the C row, just dropping down for the F# and using the first 2 buttons on the right hand side instead of the higher reaches of the C row. One of the joys of the concertina for me is this flexibilty, which I am still getting to grips with. It is a great feeling when you work out an alternative fingering for a tune that makes it easier to play.

 

Nigel

[PeterT]

It is a great feeling when you work out an alternative fingering for a tune that makes it easier to play.

Hi Nigel,

 

Yes, even after all these years, I still get that feeling.

 

Keep up the struggle, I'm sure that you'll get there!

 

Regards,

Peter.

[geoffwright]

I find a C/G much more "sociable" as you find a better class of melodion player (one who can transpose).

Mine will also stand its own against any piano accordion playing outside - shrill isn't the word.

[Jim Besser]

I find a C/G much more "sociable" as you find a better class of melodion player (one who can transpose).

 

A melodion player who can transpose? Perhaps a contradiction in terms.

[Theo]

No it's quite simple really, just put down the D/G and pick up the other one!

[Animaterra]

I usually play in G on the C row, just dropping down for the F# and using the first 2 buttons on the right hand side instead of the higher reaches of the C row.

 

Well, funny you should say that, because that's exactly what I've always done, but was questioned about it at NESI this past weekend- it was an epiphany to find that I can play G tunes on the G row if I want to! I've spent the afternoon today figuring out which tunes in my repertoire would be easier that way. The main drawback I see is that it limits chording, but it's great for some of the ancient Irish song airs I do.

[m3838]

No it's quite simple really, just put down the D/G and pick up the other one!

 

That's the beauty of it!

A D/G melodion players can play all kinds of music: in D AND in G.

[Jim Besser]

Well, funny you should say that, because that's exactly what I've always done, but was questioned about it at NESI this past weekend- it was an epiphany to find that I can play G tunes on the G row if I want to! I've spent the afternoon today figuring out which tunes in my repertoire would be easier that way. The main drawback I see is that it limits chording, but it's great for some of the ancient Irish song airs I do.

 

It's a neverending challenge. Now that I'm playing with a Morris side that's deeply commited to the key of G, I have to go through and figure out which tunes work best on the G/D (great chords, lots of flexibility, but lower register, much less volume), on the G row of the C/G (good volume, but fewer chords, and also run out of notes on the top on many tunes) or cross-row on the C/G (bye bye, most chords).

 

Funny how we get locked into playing things one way, when there are a fair number of options on the Anglo.

[Theo]

Well some of us can play in A, and I even do the odd tune in Bflat!

 

Don't blame the instrument for the limitations of the player.

Edited September 5, 2006 by Theo

[m3838]

Well some of us can play in A, and I even do the odd tune in Bflat!

 

Don't blame the instrument for the limitations of the player.

 

Yes.

I don't understand why is it contradictory to play a G tune in C row, with chords played on G row?

And what about playing less simple tunes, when you have to play chords, that are not all found on the G row? I don't get the whole point of discussion. May be because I don't have 30 button and don't play for Morric.