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This melody fits beautifully under the fingers for my usual first position chord harmony treatment. I have added a new structural element however. (I got this from listening to ali Bain play the tune on the fiddle!)
At bars 19-21, instead of repeating the melody as played at bars 11-13, he refigures the melody line to run stepwise over the 3 bars with a G pedal. To this I have added a stepped bass line a 10th below the melody . This is a lot easier to play than to describe.
The main point here is that for these three bars I am not thinking chordally for the harmony , but just using fixed interval steps and a middle voice drone.
The hardest technical move in this piece is recovering back to the G chord from the second position Bm at bar 11-12 while maintaining the beautiful flow of the waltz. You'll notice that I 've employed the open string D bass instead of the G root, as getting the G was always a bit of a scramble.
This is an example of an expedient move being also a good musical option, as the subsequent stepped bass line to the D chord (bar 13) works quite nicely.
