OK Dick, I promise to stick to the anglo and say no more about the EC.

At the risk of boring any Bellamophobes out there, Phil's questions about 'Death is not the End' are actually very interesting (and, the more I listen to some of PB's music with a concertina in my hand, the more I realise I didn't understand his stuff as well as I thought).

I've just got my Crabb out and tried the song; D isn't a good key on my C/G (by no means impossible, but limited and thin-sounding), so let's put everything into C, including my analysis of PB's arrangement, which sounds as though it's in D, but isn't in concert pitch - could it be an old pitch C instrument?

Here's what PB does - I said the chords are following the tune because, every time the bellows reverse to accommodate his playing the melody on the right hand, a chord change is forced on him, so he chooses C on the push and either G or F on the pull (so, yes, he's using the three-chord trick):

C    G      C            F      C   G C
When you're sad and when you're lonely

C   G   C F   C    G C
And you cannot find a friend

C    F C G   C    F       C   G   C
Just remember that death is not the end


Here's what I would do, not trying to play the melody, but just changing chord within the I, IV and V when I feel like it:

C    G      C            F      C
When you're sad and when you're lonely

G       C      C    G C
And you cannot find a friend

C    [F]G          F       G       C
Just remember that death is not the end

I were trying to make it a bit more interesting, I would substitute an Am for the C on 'friend', and maybe do some other stuff. That's just my take on it - Peter's was different, and so would another musician's be. But does that make it any clearer?

As to playing a single sustained chord under the whole first line, this could work if the chord was a nice stark one without the third note, but I would probably only use that for the first verse of an arrangement that then built up to more varied chording over subsequent verses.