Scales on the Anglo

[Alan Day]

If you get a few hours to spare, practice Anglo scales all on the push and all on the pull.Even if you only have a twenty button box I can recommend that you investigate the options that you have.Although I would hate for the push /pull Anglo sound to be lost,you will find that using the Anglo in a different way will open up many doors for you as playing alternatives.

Al

[Bruce McCaskey]

I'm with you on this Alan.

 

For some years now I've been making a point to run through scales a few times each week, starting with the low G and then proceeding up through A, B, C, D, E, F and then concluding with the G again. I typically span three octaves with the G, two with the C and D, then just one for the rest. This last year I've been working with challenging material that's had me playing many different button and fingering combinations and I have started doing single direction scales with the G in both directions (well, have to switch for the F# when doing the closing direction) and as much as I can with other scales, all opening on the F scale for example, recognizing of course that the single direction availability of some notes force certain directional changes as one works scales.

 

At this point I can say I've got a pretty good working mental map of what's on all the buttons and ways to finger them. I've learned many fingering combinations that I wouldn't have dreamed of a few years ago when I was playing strictly "cross-row" style and sequences that seemed unlikely and difficult at the start have become surprisingly fluid.

[Alan Day]

I'm with you on this Alan.

 

For some years now I've been making a point to run through scales a few times each week, starting with the low G and then proceeding up through A, B, C, D, E, F and then concluding with the G again. I typically span three octaves with the G, two with the C and D, then just one for the rest. This last year I've been working with challenging material that's had me playing many different button and fingering combinations and I have started doing single direction scales with the G in both directions (well, have to switch for the F# when doing the closing direction) and as much as I can with other scales, all opening on the F scale for example, recognizing of course that the single direction availability of some notes force certain directional changes as one works scales.

 

At this point I can say I've got a pretty good working mental map of what's on all the buttons and ways to finger them. I've learned many fingering combinations that I wouldn't have dreamed of a few years ago when I was playing strictly "cross-row" style and sequences that seemed unlikely and difficult at the start have become surprisingly fluid.

Absolutely correct Bruce,like you I cannot believe some of the things I am playing now and revisiting some of the old tunes I used to play like "Fubu Waltz" I can now play them in a completely different style.Providing the emphasis on certain notes is maintained you do not lose the lift and bounce associated with the Anglo.It takes a lot of time and practice to incorporate the small or large run of all push or all pull notes in your playing ,but like all musical instrument work,with practice it almost becomes a natural approach to each tune.

Al