Before this thread went mad, Brian wrote:

The most basic way to work out tunes on an anglo (as GSS said above) is to stick to a given row and work your way up and down it, which inevitably means a lot of alternation between push and pull - sometimes changing with almost every note. The simplest way to accompany a tune played in this manner is to grab a handful of buttons on the left hand and more or less stick to them, which (because the LH buttons are push-pull as well) inevitably means changes of chord - and quite possibly involuntary discord - on every switch between push and pull. I discourage pupils from doing this since it gives very little control over the chords you're playing, can give quite unmusical accompaniments, and is the opposite of the kind of sustained chording that slow songs in particular often benefit from.

and I've been thinking about it, with particular reference to the choppy (in fact harmonica-like) accompaniment Bellamy put to songs like Death is not the end. It struck me that, if you're playing a tune in C on one hand, holding down C and G on the other hand is always going to give you something - it may be a sus chord (C/D/G), it may be a minor seventh with a note missing (A/C/G), but it'll sound "chordy". If, when you hold down C & G on the push, you're also holding down G & D on the pull, so much the better - again, you're always going to get something.

And I guess that is more or less what Bellamy was doing. (Incidentally, I hadn't realised the two sides of an Anglo were so close together tonally - I'd assumed the LH would be big, throaty baritones like the LH on a Duet.) Duplicating the effect on the EC, ironically, would take some very nifty fingerwork.