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Author Topic: Anahata layout  (Read 3570 times)

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bearwhisperer

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Anahata layout
« on: September 27, 2017, 05:10:59 PM »

I've been searching for posts specifically about the merits of the Anahata layout but have not found any such posts yet. Could someone direct me any such posts, or offer comments.
Thanks!
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Mike Carney

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Re: Anahata layout
« Reply #1 on: September 27, 2017, 05:34:21 PM »

Try this.
http://forum.melodeon.net/index.php/topic,20234.msg244243.html#msg244243

I changed to this system about four years ago and quickly got used to it, even though at first I had to change my fingering for some tunes. I recommend it for a DG.
M
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penn

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Re: Anahata layout
« Reply #2 on: September 27, 2017, 05:36:38 PM »

It's also called G scale, but the forum search won't allow a single letter. The google search found i.e. another one..

http://forum.melodeon.net/index.php?topic=16251.0
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Anahata

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Re: Anahata layout
« Reply #3 on: September 27, 2017, 08:22:35 PM »

Also here: http://forum.melodeon.net/index.php?topic=12980.0 and many other places.
That thread has my diagram showing how the layout works, also some mention of tunes that benefit from it.

In a nutshell, it changes the low notes layout for 3rd button start (or 4th button-with-accidentals) so there is an unbroken scale down to low G in the keys of G and D, sacrificing only a low F#.
As that G is the lowest note on a violin, it matches the scale of many traditional English tunes for which that missing low F# is not needed.

You lose
- the ability to play a RH D chord on the pull, or that low D on pull for any other purpose.
- a low F# (see above)

You gain
A C natural and a low G.

All the notes are in the same direction as on the next octave of the G row, so everything including bass/chords works as expected.
« Last Edit: September 27, 2017, 10:46:46 PM by Anahata »
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Chris Ryall

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Re: Anahata layout
« Reply #4 on: September 27, 2017, 08:24:53 PM »

It is optimised for G. The possibilities for right hand chording in that key are massive. And the 4th button start gives you more useful not in the "pleasant" range, at the expense of high notes that are … "unpleasant".

Discussions

http://forum.melodeon.net/index.php/topic,14991.msg184818.html#msg184818
http://forum.melodeon.net/index.php/topic,7727.msg96025.html#msg96025

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bearwhisperer

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Re: Anahata layout
« Reply #5 on: September 28, 2017, 05:23:21 AM »

Well, thanks to all. Exactly what I was looking for! (although I really got a headache now) I think that I've arrived at choosing a Castagnari Dinn II in D/G with 4th start to replace my Buebe. Called the dealer today just to check on availability. Even though I'd not yet read the response posts, I'd not decided on a layout request. (I see it may not make any difference in what they send any way!) Well I'll read these posts over and try to figure something out. Seems like the "low G" would be desirable but I don't know enough tunes to figure out accidentals yet. The dealer said it would take six months! By the time I figure out a layout and get one ordered, I'll be to old to play it. Guess I'll be posting again.
George
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Tone Dumb Greg

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Re: Anahata layout
« Reply #6 on: September 28, 2017, 09:33:10 AM »

Also here: http://forum.melodeon.net/index.php?topic=12980.0 and many other places.
That thread has my diagram showing how the layout works, also some mention of tunes that benefit from it.

You lose
- the ability to play a RH D chord on the pull, or that low D on pull for any other purpose.
- a low F# (see above)

You gain
A C natural and a low G.

All the notes are in the same direction as on the next octave of the G row, so everything including bass/chords works as expected.

You will find there are other variations on Anahata's theme. For instance, you can keep the pull D at the expense of the low pull A. What you have to bear in mind is that there are a very limited number of buttons available. If you gain one thing you will lose another. You can go down the route of a box with more buttons, of course but that isn't necessarily the answer.  There will always be something you wish you had until you are fully chromatic in both directions over the full range. Trouble is, the extra weight of the box will define your style of play.

Anahata's layout is a good compromise. Especially if you learn his trick of making it sound like you're playing notes that aren't there. I can't work out how he does it so well. Or, rather, I can't make it happen.
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Greg Smith
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Thrupenny Bit

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Re: Anahata layout
« Reply #7 on: September 28, 2017, 10:48:47 AM »

I am surprised at how many tunes - some common session tunes - use the low G when you look at the music but are not played like that as the old default layout didn't have the note. Therefore the phrase or bar is played up an octave to fudge it.
Having the low G is great, means you can play it as writ and opens up so much as many tunes go down to the low G.
Yes, you loose some at the toe end of the keyboard, but someone once said John Kirkpatrick said of the high note they are only good for calling the dog back!
Inevitably it is a compromise. I think it's a good layout and I have it on all my boxes.
Q

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Thrupenny Bit

I think I'm starting to get most of the notes in roughly the right order...... sometimes!

Anahata

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Re: Anahata layout
« Reply #8 on: September 28, 2017, 11:15:48 AM »

you can keep the pull D at the expense of the low pull A.

Changing the A to a D? I suppose you could do that. One advantage of my layout is that it's minimal interference with the "standard" low notes layout: one note goes up a semitone, the other goes down a whole tone, so a standard low notes box can usually be converted by re-tuning the reeds. Low A to Low D would be a replacement reed.

Quote
his trick of making it sound like you're playing notes that aren't there.
Ooh! Where does it sound like I'm doing that?
(non-existent low F natural in Radstock Jig, perhaps...)
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Chris Ryall

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Re: Anahata layout
« Reply #9 on: September 28, 2017, 12:49:43 PM »

Don't forget that in actual play you can 'borrow' low notes from the left end. eg While I played 8 bass I'd commonly hit the push B left end when in E minor. Nice "minimal dominant" back to E :|glug
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Steve C.

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Re: Anahata layout
« Reply #10 on: September 28, 2017, 01:02:13 PM »

Chris' comment is right on: allows you to play your DG more often in the "pleasant" range!
(happy DG Tommy owner with Anahata layout)  (I used to call it Stoney Steps layout...)
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David J

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Re: Anahata layout
« Reply #11 on: September 28, 2017, 01:48:09 PM »

There are dozens if not hundreds of tunes, often written by fiddlers, which go down to the low G, so it's great to be able to play them as written. Quite a few popular ones have been transposed to D so that they can be played on a standard D/G box so you're stuck with that in sessions. Also, as stated above, the layour gives you some lovely low chord options. I have a 19 note Baffetti with 4th button start G scale and low accidentals, and I hardly ever miss any notes at the top end! It just puts the range of a D/G box in a sensible (audible) range. Also sounds superb on a Bb/Eb too!
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Tone Dumb Greg

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Re: Anahata layout
« Reply #12 on: September 28, 2017, 03:44:44 PM »


...One advantage of my layout is that it's minimal interference with the "standard" low notes layout..Low A to Low D would be a replacement reed...

Quote

Fair point. Mind you, if you're  converting from a third button start (as I was) you need new reeds anyway. Easy to get and not very expensive.
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Greg Smith
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Anahata

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Re: Anahata layout
« Reply #13 on: September 28, 2017, 09:17:08 PM »

There are dozens if not hundreds of tunes, often written by fiddlers, which go down to the low G, so it's great to be able to play them as written. Quite a few popular ones have been transposed to D so that they can be played on a standard D/G box

Or moved up an octave, like the last 4 bars of One More Dance and Then as played by the New Victory Band and everyone else since, which actually goes down to a low G at the end in the Ashover manuscript they got it from.
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playandteach

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Re: Anahata layout
« Reply #14 on: September 28, 2017, 11:03:55 PM »

I hadn't realised that the Anahata system was your design - I thought you had taken your forum name from whoever created the layout. Could you please tell me how to pronounce it?
In my head it is Anyarter, but I don't think that is right.
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Anahata

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Re: Anahata layout
« Reply #15 on: September 29, 2017, 07:45:39 AM »

I devised it for my Oakwood when I bought it new. Others have named it after me, but Theo says he has also independently thought of it and used it, and for all I know others may have done the same, and I might not have been the first either.

It's all short 'a's, like Alabama but with different consonants, and it is (now) my real name. See http://treewind.co.uk/sannyas.html for explanation and probably too much information.
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Thrupenny Bit

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Re: Anahata layout
« Reply #16 on: September 29, 2017, 07:58:27 AM »

Yes, have encountered the octave shift in 'One more dance and then...'
I always think about the classic Old Swan track 'Gloucester Hornpipe',, that Paul and Floss have described as the 'Cotswold's National Anthem'.  It's generally played using the G on the stave, but written in 'Hardcore English' tune book with the first G being low which is quite nice.
The more 'off piste' a tune seems to be that I've glanced at in some manuscripts the greater the possibility of encountering the low G, I'm sure reflecting the fiddle origins.
Q

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Thrupenny Bit

I think I'm starting to get most of the notes in roughly the right order...... sometimes!

Anahata

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Re: Anahata layout
« Reply #17 on: September 29, 2017, 09:33:04 AM »

The more 'off piste' a tune seems to be that I've glanced at in some manuscripts the greater the possibility of encountering the low G, I'm sure reflecting the fiddle origins.
Q

At a guess, some of those tunes weren't off piste at all until those pesky melodeons with their missing notes came along...

As you'll be well aware, Q, the English treble concertina was designed to match the range of a violin, so would never have caused such problems.
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Chris Ryall

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Re: Anahata layout
« Reply #18 on: September 29, 2017, 10:39:55 AM »

.
  low push G always "to hand" on left end!🙄
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Steve C.

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Re: Anahata layout
« Reply #19 on: September 29, 2017, 01:25:51 PM »

I've thought about even making the D# accidental on the G row one octave down. 
In "Parsons Farewell" it would be nice...that's what I use on the Streb.  I never seem to "need" the D# in the higher octave anyway...  Then again, I am beginner...  Maybe I am confused.  Isn't it a low D# in the last measure of the first part?
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