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"With duets (and Anglos) it's too easy to play full chords on the left against a single melody note, which makes it instantly outgunned three (or four) to one. \n \n\n\n\t \n \n\n\n\tThe key is in the arrangement and in the micro-phrasing (I think that's what Jody Kruskal calls it). You seldom need to play full chords for their entire length, and sometimes just adjusting the timing of the accompaniment can let the melody shine through. A few notes can suggest a chord, notes can be played staccato against a legato melody, single harmony notes can arpeggiate (if that's a word?). Open fifths are also good.\n \n\n\n\t \n \n\n\n\tWhen playing, really concentrate on hearing the melody, and let the left hand fill in as needed. Easier said than done, but let your ears tell you when you are nicely accompanying the melody as opposed to drowning it out.\n \n\n\n\t \n \n\n\n\tYou'll also find you will have a lot more air if you're not playing big lefthand chords that are eating up most of the air. Listen to how folks like Michael Hebbert (Jeffries Duet) or John Watcham (Anglo) make great accompaniments without overbearing lefthand chords.\n \n\n\n\t \n \n\n\n\tI'd try this, which admittedly comes easier with time, rather than trying to make physical modifications to your instrument which could potentially lead to bigger problems.\n \n\n\n\t \n \n\n\n\tGary\n \n"
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