1. And Impress

2. Here are the chords added to the melody C chord = C E G G chord = G B D F chord = F A C G7 chord = G B D F

3. Instead of chords try creating a single note bass-line  This is a good idea to use but on its own it is very boring  Try using it at the same time as another accompaniment  Try varying the rhythm

4. Try using the other notes of the chords to vary your single note bass-line E.g. C chord is made up of the notes C E and G C chord = notes C E G G chord = G B D F chord = F A C G chord = G B D F= F A C G= GBDF C chord = C E G

5. Once you have worked out the basic chords there are many ways of changing them to make them more interesting

6. Break up the chords so that the notes are played one at a time instead of all at once Try breaking them up in different directions- ascending and descending AscendingDescending

7. If you like the sound of block chords try varying the order of the notes to make them more interesting GECGEC ECGECG CGECGE ECGCECGC GECGEC ECGCECGC ECGECG DBGDBG GDBGDB CAFCAF FCAFCA DBGDBG GDBGDB CAFCAF FDBGFDBG

8. Dotted rhythms make the accompaniment more interesting Because the rhythm of the melody is different to the rhythm of the accompaniment we call this a cross- rhythm

9. A long, low, sustained note is called a pedal note Try adding a pedal note underneath the chords

10. Condensing the pedal note onto the same stave as the chords look like this

11. Try changing the rhythm of the accompaniment to triplets This creates more cross-rhythms

12. If you change the broken chords to sixteenth (semiquaver) notes the accompaniment sounds much busier and more detail can be added to them Try varying the direction of the notes (ascending, descending, mixed) Ascending Descending Mixed

13. Here is an example of a sixteenth note (semiquaver) accompaniment using ascending, descending and mixed patterns