Around the Bunka era, kengyo ICHIURA exercised his ingenuity in creating melodies differently from the shamisen melody of the original song when playing the koto for jiuta song (we call this "kaede shiki sokyoku" (koto music with accompanying melody style)) and enhanced the ensemble effect.
文化頃に大阪の市浦検校が、地歌曲に箏の手付をする際、原曲の三味線の旋律とは違う旋律を工夫し（これを替手式箏曲と呼ぶ）、合奏の効果を高めた。