ptabMARGWALTkArrangement Ideas: 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. CGuitarmelodyh@Standard@;72-( CGuitarIn CTempoMarkerx CSectionSymbol CSection2 CStaff0 CPosition CLineData  B` b @ B B  B @b@B`  ! B#`&b'@( B  `#% CMusicBar`M MMM" 2  $6 !#  B@`  B@`  !#% ! ##&'bd`  ``d#`%'MM MM M" 2 x 6 #!#B   !   !B@B  !#!  #!@! "!#! b``bMMMM 2 A $3B  !# @  @  @ @ @ @# @! @ !! B! " B$`'b(@) B`  `b``$&MM MMM# 2[ " 0 !b#d   B@``MM Untitled!h@Bass+&! 2 }  ArialTimes New RomanTimes New Roman