The building blocks of composition 106 It depends on the style of music of course, but when you add the harmony, avoid having the bass constantly following the chords in root position. One way to get a more interesting harmonic structure is through careful construction of the bass line. Make it distinctive. Give it a life of its own and where possible, and appropriate, have it move in the opposite direction to the melody. This will nearly always give a good result. This movement inevitably provides interesting inversions and passing notes. · Load exile/dullbass and play it through. The guitar is playing this chord sequence: Dm /A7/|Dm///|Dm/A7/|Dm///|F/ Gm/|Am///|C/E7/|Am///|| The chords are OK, simple yes, but it's a rather plaintive melody and doesn't need complicated chords. Not quite right though, is it? How can we make it more harmonically interesting? · Switch to exile/exile (the previous song) and play the opening measures. By having the bass move, for the most part, in the opposite direction to the melody we have created the following: Dm/A7/|Dm7//Bbmaj7|Dm/A7/|Dm//Gm9| F B C C# C AF/Gm7/|Fmaj7///|C/E7/|Am/Am/|| That's better. The bass is now playing a kind of countermelody ­ appropriate here because the drums have yet to enter ­ and created several inversions, new chords and interesting passing notes along the way. Modulation is another way to make the harmonic structure interesting. It's often best to write what the melody suggests and the modulation should be smooth and natural sounding. The listener will