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[Schnorbitz]

I am going to get my box retuned to a fourth button start. I would be interested to hear preferences for the second button on the G row. Most set ups seem to have a B/D on the G row second button. That makes sense a lot of sense for a D reversal, however it there any benefit with B/C at that end? I am looking to keep both accidental buttons at the chin end.

Thanks :-)

[Helena Handcart]

The G scale (Anahata) layout comes with the B/C button and I must say I have found it a great improvement. Suddenly so many tunes seem to be possible in the lower octave that would otherwise drive you up the squeaky end. Greater musical theorists than me (i.e. almost everyone on this forum) will doubtless provide more erudite and intellectual reasons for having this change - but for me I just know I find it invaluable and use it all the time.

[Lester]

Wot she said ^^^^^

B/C far more useful

[Theo]

Depends what and how you play.  BC gives more scope for melody playing in the key of G,  BD gives additional chordal opportunities.  So depends which way your prefer.

[Anahata]

While you're at it, and for the full "G-scale/Anahata" experience, also get the lowest note on the D row tuned to G push instead of F# and the usual default A pull. Then you can play a whole lot of other nice tunes that have that low G.

BC gives more scope for melody playing in the key of G,  BD gives additional chordal opportunities.

Yes, you can do a RH Pull D7 chord if you have B/D.
I can live without that 

[squeezy]

I have to agree with the consensus ... there are so many good tunes which have that low C in them.  As for chordal possibilities - the only real bonus of a low pulled D is to play a D major chord on the pull ... given that you can play a D major chord on the push with both left and right hands I can think of very few reasons why you would need that.

Anahata's layout further adds to this within the bounds of a standard 2 row set up by taking the scale down to a low G and for playing in G this is a fantastic solution.  I don't do this on my boxes because I have use for the low F# and pulled B when playing in D and E minor.  But I have some D/G boxes with extended layouts which take the scale all the way down to a low D and this works well because of the high-pitched nature of D/G melodeons.

[Chris Ryall]

I had my Lily put into Anahata layout 4 years or so back and never regretted it. It's very good for chording.

Don't forget that you don't 'have' to form full chords on right end. In general notes 3 ,5, and 7 (to be cool, necessity in dominants) will suffice.  You always have B an C basses on the left (both ways)!  I've been known to steal a low B there for Em tunes in my 2-row days.

If you are short of notes for any chord a left bass with 3+7 (so D+ 'F#/C) will also suffice. The 5th is a weak chord note, its frequencies already there in tonic harmonics.

'Anahata' is also great for melody ... reaches the tunes other layouts cannot reach 

[penn]

My Dino came from the factory with a 4th button start but with the D, which I guess is "low notes".  I find I use the pull D a lot, because there seem to be quite a few simple tunes where having it avoids the bellows direction and row change at the same time at the end of a run-down phrase (i.e. I'm a bit lazy).
I can see all the advantages of the G scale (eloquently expressed in this particular thread, which has given me further reason to think about of course)  but my use of the pull D  gives me just a small doubt about changing.

Steve

[Malcolm Clapp]

But I have some D/G boxes with extended layouts which take the scale all the way down to a low D and this works well because of the high-pitched nature of D/G melodeons.

If you can live without accidentals (or you have them on the inside row as with a Club system), extending down to low D can give some beautifully low right hand chords and harmony opportunities.

If I had only one melodeon, I think that this would be my favoured option.

[Schnorbitz]

Thanks for the answers.

I like the idea of the extended scale down to the lower D but I would miss the accidentals. The B/C button does make a lot of sense.

Out of interest, bearing in mind the B/C and G/A buttons open up a lower (and potentially) really nice sounding octave, do any manufacturers fit this as standard on G/D boxes?

[Anahata]

do any manufacturers fit this as standard on G/D boxes?

Not as standard, yet, except possibly Kay Albrecht promised his two row boxes would be made that way.

Chris Ryall tried to organise a consensus on Melnet, to apply pressure to manufacturers. There was strong support for 4th button start on G/D boxes, and a smaller majority in favour of B/C and G/A on the low buttons.
I think Castagnari have since made 4th button start the default on D/G instruments.
They may not be G scale, but changing B/D to B/C and F#A to G/A are within reach by retuning existing reeds so it's a cheap after-market modification.

[Chris Ryall]

Oh, Anahata layout still has accidentals! It is a matter of what you "do" with those 2 extra low end buttons 

[ed] Yes, Casta seem to have taken the silliness of  the squeeky end of "D/G done the same as G/C" on board. I didn't even get an answer from Hohner.

[Steve_freereeder]

Well - I am going to buck the trend here and probably make myself unpopular or the subject of ridicule (or both). 

On my 4th-button start D/G instruments I prefer the B/D button on the G-row and the equivalent F#/A button on the D-row. I don't use the 'Anahata' G-scale at all (sorry Anahata - I completely see the logic in it but it's not for me). Instead, I really, really, like the pull D on the B/D button and use it a lot, in the same way as I use the pull A on the D-row. I find both these notes are useful in RH harmonies. I also like the low push F# on the D-row for the same reason.

On trying to analyse my preferences I find I have little need for a low C natural (C4, middle C). There aren't that many tunes which need it and if I really need to play a low C natural, then usually a quick nudge on the C bass button does the trick. Similarly, I don't need that low G. How many tunes do you know which use it?

However the other factor which may influence my choices is that I usually play on either a three-voice box (LMM) or one-rows (LMMH). On a D/G box with the L voice switched in, the upper octave becomes far more aurally-friendly; not squeaky at all, and that is increasingly where I do a lot of my playing. This means that I do have that 'middle C natural' if I need it. It's the pull C5 button (no.5 on a 3rd button start, no.6 on a 4th button start) but with the L voice switched in it gives you a rich sounding C4 and C5 combination.

Overall, I believe in learning to play well on a standard melodeon layout. It works well and has stood the test of time. A 4th-button start on a D/G box is good. Other than that, custom layouts are all very well, but if you get used to your own specialised layout and then, for some reason, have to suddenly play on a standard layout, you will be inconvenienced. Despite the efforts from some members here to persuade manufacturers to implement the Anahata layout as a new standard, it's not happening particularly rapidly (and life is too short...)

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