The pair of chords we used in the last three modules - D minor, with C major a whole tone below - have a direct parallel a fourth below, with A minor and G major a whole tone below, so we can use our broken material in a different key without much difficulty.
But we're going to change the rhythm anyway - into four-four. So we need to make at least one of our three triad chord-tones longer to fill the four-quaver groups.
This in turn leads to some syncopation, which we practice in this module using counting and together-left-right (TLR) analysis.
Remind yourself of the module riff. Perhaps you can 'get the rest' by ear.
If not, go onto the detailed teaching of Parts Two and Three. (Breaking it down and talking about it methodically will improve your creativity anyway!)
Work through this video to get some basic four-four broken chord patterns here's the 'skeleton music' - just the chords and bass - for the next phrase, followed by the teaching video.
Here's the chords-with-BMT illustration.
Here's the 'actual music', with the BMT spelled out and TLR and count for detailed study.
Here are the music and teaching video for the last line.
Up and down the broken-chord minor triad inversions over a descending bass line - you'll hear that construction everywhere once you've worked through it once.
Here's the whole riff at performance speed again. If you can't play it through, make a critical analysis of what's tripping you up - finding the inversions, fingering, rhythm, TLR syncopation? - and work through the build-up videos until you can tick the riff off as DONE!