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Byrd has transposed Dowlands original piece to a new key Byrd has added ornamentation including trills and mordents Use of the harpsichord rather than voice and lute Structural change AA1BB1CC1 The use of contrapuntal semi quavers The use of harmony in the bass line as it moves away There is also a sense that the bass line answers the melody line and improvises around the main melody The piece has a broader texture as there is less sustained notes in the bass line so it becomes thicker The melody moves to the bass line on occasion making the piece move at a faster speed Use of Chromatic Fantasia - principal theme of a descending scale of 5 semitones covering a fourth and preceded by a canzona-like dactylic (one long beat followed by two short notes) presentation of its initial note. Use of a countermelody In the variation sections Byrd develops the original melody so much that it is almost unrecognisable in places Rhythmic changes throughout the piece