I chose this example as I thought the major key would make it easier to derive a harmonic progression. For the introduction, I took a few bars towards the end of the folk song and added a bass part to create contrary motion between the two parts. I was then able to use this same bass part when the vocal line sang that melody. I felt the important thing for this song was to create a piano accompaniment which had a lot of movement, but didn't over power the vocal line. This was easier for the bass line than the treble line of the piano, and I regularly found that block chords were easier in the write hand rather than an elaborate counter-melody.
I repeated the introduction as a bridge passage between the two verses, then kept the majority of the music the same for the second verse. The dynamics are different and the chords leading up to the fermata have more chromatic notes added to create tension; this is something I've found that Peter Warlock does to good effect in his strophic songs. The introduction is repeated to create a coda, but the melodic line is altered to create a definite end to the song.
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