B

Section
The B section should be contrasting.
Change the bass and chord pattern.
You could try a bass note followed by three chords, or you could try performing
the chord as an arpeggio (Joplin does these things).
You could have the bass do a walking bass which is where the bass walks
through the notes of the chord (crotchets) or walks through the scale in the
direction of the next chords root note (if you are walking from a C chord to an F
chord the bass would rise from C to F C, D, D#, E; F).
You could have the bass and the melody play in unison octaves. In other words,
make the bass play the melody and octave lower. Joplin does this too.
Change the rhythm of the melody
Change the melody of the B section by changing its rhythm -use a different
syncopation- or have no syncopation at all, or only in every second bar.
Perform an arpeggio of the chord as a melodic motif, or create a scale by filling in
the chord with passing notes (Mozart does this and so do many composers). If
you use an arpeggio or scale, this will take the melody in a direction (up or
down). Answer this by going in the opposite direction if you go up, then come
down.

It is important to remember that this section has to lead into a repeat of the A
section, so make sure you end on a chord V. Create a Modulation to the
dominant (chord V) by going through a dominant second. A dominant second
is the chord ii of your key (which is a minor chord), which you alter it to be a
major chord. When you do this, the chord II becomes the dominant chord of your
dominant chord.
For example, if you are in the key of C, then G7 is your dominant chord and D
minor is your chord ii. In the key of G, D is the dominant chord, so we alter our
minor chord ii (D min) to become a major chord II (D maj) and this pushes the
music to modulate to the key of G.