From my familiarity with the tune and genre, I know that a jig rhythm would be inappropriate here, even though it is written in 6/8 time. Instead, I will assign basses in a basic unit of fundamental, chord, chord....similar to a waltz, with one bass strike for every 1/8 note. With this rhythm, the strong beats will be on beats 1 & 4 (also beat 7 for the measures in 9/8 time). Weak beats will be on 2,3,5,6 (8,9). Recall from our previous discussion, that the typical progression for E minor is I-IV-V7-I or Emin-Amin-B7maj-Emin. Also remember that the most important chords in this key are the tonic and dominant or Emin and Bmaj.

Lets look at measure 1. Having listened to this tune many times, in many interpretations and arrangements, I have made an artistic decision to treat this measure as a short lead in without bass accompaniment. Therefore, we will not need to select any chords. On to the next.

Measure 2 part a starts with an F# on the strong beat. No other notes come into play. Chords that contain an F# include Dmaj, D#min, F#maj, F#min, Bmaj, Bmin, and G#7. That's a lot of choices. From what we know of the key, the Bmaj seems the most likely, it also happens to be a chord that is available on the D/G melodeon, so lets go with that. Bmaj is available only on push, and fortunately, so is F#. So far so good.
Part b also starts with an F#, unlike part a it also has a G on the off-beat. G is not in the Bmaj chord. There is no "normal" chord that contains both F# and G. Therefore we will treat this G as a passing note and stay with the Bmaj chord since we can still play on the push...remember to give this a listen later to make sure it works.

Measure 3 part a starts with an A on the strong beat...no other information. Chords that contain A include Dmaj, Dmin, Fmaj, F#min, Amaj, Amin, B7. Of these, Amin and B7 seem the most likely from our key signature. Since A is possible in both push and pull, we could really go with either of these. We know that since Bmaj contains the leading tone to Emin, the B chord from the previous measure really wants to resolve to Emin, since that isn't one of the options, we're better off staying with B7. Our instrument doesn't have a B7 per se, but it does have Bmaj, and when we layer the treble A on that, it sounds as B7, lets go with B7 for this section.
Part b drops down to G for two beats, followed by A for one beat. There is only one chord that contains both, Amin7. But since Amin is the IV not the V chord, it doesn't normally function as a dominant 7 (exceptions to every rule, noted), so we will consider that unlikely, especially in light of the fact that the previous chord was B7. We just about have to go to Emin or stick with Bmaj again. The G gets the emphasis in this section, and it isn't found in Bmaj, but it is found in Emin. So lets resolve to Emin and consider the A another passing tone.

Measure 4 part a continues up to a B. Our likely choices (considering the capabilities of the instrument) include Emin, Gmaj, Bmaj. Emin and Bmaj seem most likely based on the progression we have going, although I feel it more likely that the Emin will sound good since that is the tonic chord and we aren't coming off a IV chord. Lets look to part b of this measure for a hint, and then come back to part a.
Part B drops down to an E. This could be an Amin or Emin or Cmaj. Hmm, Cmaj isn't within the progression. If we go with an Emin, we could keep this whole measure as Emin and firmly establish the tonic of the piece....since up to now we've been rather ambiguous by starting out the tune with Bmaj. (as an aside, more often than not, a piece will start on the tonic chord of the key it is written in, so you establish the tonic right away. This piece doesn't follow this rule, so it is important to really ground the tune by pounding on the tonic at the first opportunity). Furthermore, the whole measure could be done on the pull, which makes for a smooth passage (in keeping with the waltz-like nature of the tune). So far we have 1.5 measures of push, and 1.5 measures of pull (assuming Emin here) - good balance. Ok then, part a and part b will both be Emin.

Measure 5 part a starts on a rest! The off beats are E and F#. E is found only on the pull, so we can't very well go with a Bmaj here. We could try Amin, Cmaj, Emin, or Dmaj. Looking ahead to part b, we have G on the strong beat, A# and B on the off beats. Taken as a whole, this measure seems to indicate an Emin since we have E, F#, G, A#, B. Emin is the only chord that covers 3 of those 5 notes including the strong G. Last measure was also Emin, so it fits the progression. One little snag rears its ugly head, my accordion has reversed accidentals, so I can't play the A# on the pull, only on push. Emin won't work for beat 5. Now if you're playing a standard D/G the whole measure is pull, so everything is fine as proposed. So what do I do to make it work for my accordion? Well, my idea is, lets see if we can fake an Emin chord. One straight-forward way to do this is to see if we can arpeggiate it....in other words break it up so that the notes aren't played simultaneously, but one after another. For an Emin chord, we would need the fundamental notes E, G, B. We do have those. The E is a pull, and the other two are pushes. Well, we need a push on beat 5, so thats good. On beat 6, the treble note can be played either direction, so let's make it a push as well to match the bass. So, part a is normal Emin, and part b is an arpeggiated Emin run consisting of fundamentals E, G, B. What we've done here is taken a potential problem and turned it to our advantage. We got the chord we wanted, and as a bonus we added some variety to the texture of the bass, which was starting to look a bit bland with all those consecutive Emin chords.

Measure 6 jumps way up to G for part a. Again, a lot of options Cmaj, Cmin, Emin, Gmaj, Gmin, A7, Amin7. Looking for hints from part b, we see another strong G, followed by weaker F# & E. So we could be looking at an Emin here, or a Cmaj or Amin7 or A7. Still a lot of choices. Everything but the Emin is outside the 3 chord trick, but quite frankly, I'm thinking I'm getting a bit bored with all the Emin chords, and we need to add some harmonic interest. So lets focus on Cmaj or one of the A7 chords. We can do this measure all on the pull, or we can continue the push motion started in measure 5 through beat 5 and then go to pull again on beat 6. Neither one of these looks better than the other on paper, so time to get out the instrument and "ear test". Hint, the Amin7 is fudged by playing the A fundamental against the Cmaj chord.
After playing it through several times, I think I like the Cmaj chord best. It seems to flow nicely from the B fundamental at the end of measure 5, and it is a pleasant surprise after 15 beats of Emin chords. As an added bonus, it allows me to dump a lot of the air I accumulated during all those pull measures, by prolonging the push sequence started in measure 5.

Measure 7 starts with a D, which is a mandatory push note. Since we left the 3 chord trick pattern last measure, I'm half inclined to emphasize that departure by trying to make it seem like we modulate into a different key for a little bit. This would certainly add interest, and make measure 6 seem like less of an aberration, and more of a planned harmonic device. Let's see what we can do. A D note could be found in Dmaj, Dmin, E7, Emin7, Gmaj, Gmin, and Bmin. Lot's of options. Let's throw out the Emin7 immediately, since that gets us right back to where we started. Dmaj might work since that would imply that we've moved to the key of Gmaj (where Cmaj is the IV and Dmaj is the V). Dmin is no good since the V should always be major. E7 is also weak, because C and E7 don't go together in any normal key that I can think of. Gmaj is a good possibility (where Cmaj is the IV and Gmaj is the I or Cmaj is the I and Gmaj is the V). Gmin is no good, again, in the V role it would be maj, and in the I role, it would need a Cmin as a IV. Bmin in conjuction with the Cmaj would imply that we are in the key of F#min, so that's a possibility. Of all those possibilities, I like the Gmaj chord best since it would be a good progression with Cmaj establishing the new tonic, immediately moving to the new dominant Gmaj, which puts to rest any ambiguity about modulation. A nice strong statement of key modulation. Of course, my fingers are crossed that part b will cooperate with this idea. A measure and a half is really too short to make this convincing.
Part b presents us with a very strong E and weak C. I'd like to use either a Gmaj, Cmaj, or Dmaj to stay within the modulation framework we've set up. Looks like a Cmaj will work on the pull. That is also a good 2 measure progression I-I-V-I. We have managed to resolve the Gmaj back to Cmaj, wrapping up this little diversion nicely. Now we can go on to another key again in the next measure without leaving anything hanging. My guess is that we'll find ourselves back in Emin.

Measure 8 throws us a B. There's a few things we could do here, we could reestablish the tonic by using an Emin, ease back into the key of Emin by using a Bmaj, much as we did to begin the tune, or try to continue the modulation by using Gmaj here and then resolve back down to Cmaj again. Looking at the next several measures, it looks like we could play on the Cmaj chord for quite a while yet, but I don't really see much hope for further progression on that sequence. On the other hand, it looks like there is some possibility to work in some Amin chords for variety if we revert back to the key of Emin in the next couple of measures. Rather than mess around with Bmin, I think I'm going to jump right in with a solid Emin tonic so we can go ahead in the key of Emin. A short experiment on my accordion confirms that this is a reasonable thing to do....your mileage may vary. So, measure 8 is all Emin.

Measure 9 looks like a choice between Cmaj, Emin, or Amin7. Since we've cast our lot with Emin in the previous measure, lets throw out the Cmaj. Amin7 is a definite possibility, and so is Emin. I don't think either of these would be wrong, but I chose to stay with Emin for another measure.

In Measure 10 we change to 9/8 time, so we will have 3 parts to every measure. The strong beats in this measure are occupied by A and E. That would seem to indicate an Amin chord (at last). As you know, we don't have an Amin chord, so we'll have to fake it again. One way to fake Amin is to arpeggiate again. A, C, E fundamentals are available. Amin7 can also be faked by playing A fundamental followed by Cmaj chord. Amin7 sounds just a little more discordant than Amin, but other than that, your ear will often allow them to be used interchangeably, even if the theory doesn't quite condone it. More for the sake of example than any other overriding consideration, I'm going to choose Amin7 here. So measure 10 gets the following sequence AccAccAcc. This pattern allows us to play it all on the pull except the last note, but since this is a c chord, it doesn't matter for the bass.

Measure 11 heavily favors E, with the remainder evenly divided between C and D. It seems like Amin or Cmaj could harmonize well here. Now in the previous measure we used Amin7 which is just the same as Cmaj plus A. We also said that Amin and Amin7 could often be used interchangeably. Further, as we discovered previously, Cmaj is really part of Amin7. If that is true, can Cmaj be used interchangeably with Amin in some cases? What would happen if we would drop the A altogether and play this measure as Cmaj only, will it ruin the progression? Let's try it......my ear says it works fine. In truth, you could probably play measure 10 and 11 in any number of ways Amin7, Amin, Cmaj. You can decide what you like. I'm going to make measure 11 Cmaj just to demonstrate the creative flexibility you have with the process. If you decide to play it as Amin, do it like this ACEAECACE because beats 6 and 8 need to be push notes.

Measure 12 presents us with E and B as the strong beats, which implies Emin again. Works with the fingering, so lets leave it at that (a Bmaj in part a would have been nice to make a strong progression, but no such luck).

With Measure 13 we're back to 6/8 time. Strong beats are B, so lets consider Bmaj, Gmaj, and Emin. Bmaj or Emin seem obvious here. Lets say Bmaj since we haven't had that chord in a while, and we might be ready to dump some air.

Measure 14 part a has a strong D with weak C and B. I'm looking at Dmaj7, Gmaj, or Bmin. Bmin doesn't sound too good after a Bmaj, doesn't look right after Emin either (if we were to change measure 13). The other two chords are again outside of our 3 chord trick. I like the way Gmaj sounds against the D and B, but Dmaj7 doesn't sound bad either. Looks like a toss of the coin.
Let's look at part b. Here we see that the strong beat is A, so that could be Amin, Amaj, Dmaj, Dmin, or B7. Its looking more like measure 14 is favoring a Dmaj harmonization. Actually, looking back at measures 12 - 14, it looks like we might have another opportunity for a modulation. How about the following scenario: Measure 12 is harmonized on the tonic, so no loose ends there. If we go with Gmaj in measure 13 and treat that as the new tonic, then we could have 2 reasonable options in measure 14. Either part a Gmaj, part b Dmaj, or the whole of the measure Dmaj7. I think either option is fine, and will make a solid modulation to Gmaj. What I'm going to do in measure 14 is make the first half Gmaj, and the second half Dmaj. I'm choosing to do this in order to illustrate a technique to you. Our melody run consists of D, C, B. D is mandatory push, C is mandatory pull, and B is reversible. So how do we reconcile the bass we want to use (Gmaj), which is push only to this melody? We swing the melody. No problem with beat 1, bass and melody both push. Beat 2 is a problem, rather than play a D chord in the bass, which is what the instrument wants to force on us, we will slightly delay the playing of the melody note until after the bass strike is done. So push bass, pull melody, slightly staggered. In beat 3, the bass controls the direction, so we are back on push again. The timing of the melody now looks as follows: dotted 8th, 16th, 8th. As it stands now, the measure works, but it sounds rather haphazard with only half a measure in this unusual configuration. So, to make it seem more planned, I'm going to apply the same treatment to the second half of the measure even though it doesn't need it. In the next measure, we should look to complete the new progression by choosing a Gmaj if possible.

Measure 15 does indeed offer us a B, which sounds fine against a G, so we can bring our modulation full circle. Now, that B is held the full measure, but don't make the mistake of thinking that we have to hold the G bass the same length of time. If you look at the music closely, you might notice that measure 16 begins something of a recap of measures 9-15. The music doesn't show a repeat sign, because the recap is presented as a variation. As a rule of thumb, since we are ending a major phrase of music, we ought to be back in our home key of Emin, but since we want to create the feeling that there is more to come (that this isn't the end of the piece), we probably don't have to use a complete cadence. In other words, we can end the phrase on the dominant chord, which will give a strong feeling of something more to come. In this case, the dominant chord would be Bmaj, which obviously will work with the B melody. So to recapitulate, measure 12 is Emin, 13 is Gmaj, 14 is Gmaj Dmaj, 15 is Gmaj Bmaj.

Measure 16 is similar to measure 9, so lets see if the same harmony will work. In this measure we have strong G and weak E, F#, A, and B. Emin will cover E, G, B and that's what we used in measure 9 so let's go with that.

Measure 17 is similar to measure 10, so lets see if Amin works. Strong A, C, & E. Looks like a perfect Amin.

Measure 18 is again similar to measure 11. With strong C & E it could be Cmaj or Amin. With weak A, B, C, & D it looks more like Amin than Cmaj. So we will stay with Amin. You might be concerned that in measure 11 we used Cmaj, but remember we were using it as an experimental substitute for Amin7, so we're right on track here. Let's spice things up a bit. In 10 and 11 I chose to use chords to approximate Amin. Here lets use fundamentals. A, C, E are all available. The logical thing to do would be to make sure the A and E basses fall on the pull melody, and engineer it so the C bass falls on all the pushes. Trying this on the accordion confirms that it works, and sounds fine, but is slightly tricky to pull off. Wonder how it sounds if I just play ACE and let the pushes fall where they may. Well, it seems they usually fall on the E, turning it into a B. Actually though, it sounds surprisingly good. So why fight it, lets go with that pattern. In fact, I have an idea that if I slightly rearrange the last 3 beats of measure 18 I can get a 6 beat scalar diatonic run of CBABC which sounds really cool, and plays without too much difficulty. So measure 17-18 goes ACEACEACB|ACEACBABC.

On to measure 19. Here we can refer to measure 12 for a hint. Strong E, G, B confirms an Emin.

Measure 20 departs a bit from measure 13, but shares many of the same notes, so my guess is the bass will be the same, but let's check to make sure. Strong G, B, D indicates that, yes, a Gmaj is called for. Because of mandatory push and pull notes, we will apply the same melody swing technique we applied in measure14. (In truth, if you let the instrument force a Dmaj on you for all the pushes, it doesn't sound all that bad, so if you don't want to swing the tune, you don't have to.)

Measure 21 appears significantly differant from measure 14. We see a strong F#, A, C Which seems to indicate a Dmaj7. In measure 14 we chose to do half a measure of Gmaj and half Dmaj. I don't think that would work as well here, so we better go Dmaj all the way.

With measures 22-25 we find ourselves in an unusual predicament. Theoretically, these are a definite Emin, with a strong E, G, B. It is also the end of the tune (ignoring the repeat), so the Emin makes sense - remember, we almost always end on the tonic. Trouble is, we have an incomplete cadence leading up to the final chord. Normally we should have a final progression of I-IV-V7-I to give a sense of finality and resolution to the tune. Here we have I-III-VII-I. Looking back at the previous 2 measures, I can't really see any good way to impose the IV and V chords on them, given the melody we have to work with. I know that Ukrainian tunes often end in an incomplete cadence or a false cadence, so I'm not overly concerned, but it certainly warrants an ear test. According to my ear, it doesn't sound too bad. A bit wistful perhaps, but that is in keeping with the mood of the tune. I'm going to let it stand this way. I like it.