@ABitRusty -

Sorry, I hadn't thought about it (usually don't when I first 'sample' tunes) - I just play what I hear. 

Yes, it's in Emaj - but SURPRISE!!! it moves from B down to G (instead of the G#*), an augmented third.  Then gets more in our face when that G up to C# is repeated (reinforcing a tritone), before it walks up & back down all in Emaj.  For that brief period it's in Dmaj/Glyd (the tritone) - which isn't the closest neighbor on the circle of fifths, and not a relative or parallel key. 

So, who thinks up modulating to a tritone in an unrelated key???? 

...those crazy Swedes & Norskies!  🤭

I LOVE IT NOW!

There's no flats in Emaj - just C#, D#, F#, G#. 

I only played the melody notes & ornaments out (along with the recording) on keyboard to make sure of the key & the 1st modulation.  The only other odd note (besides G) is at approx 2:12 - E to F, but really something inbetween(?)  Don't think an ornament, but hey... listening to pipes here! 🥴

I see a mistake in my previous post - the difference between the 1st & 2nd phrases: the 1st descends A to F#, the 2nd phrase descends B to G (B to G#, not F#, would be expected), then does the tritone from G to C#, etc...

Whatever you figure out with chords is great! 

I just never think of chords until I'm done memorizing the melody & ornaments - need to decide if I'll keep it in the original key, first.

...kinda sneaky, getting me to learn this tune!  Was going to work on Grabbarnas intåg i Medeltiden, before this. 

Sorry, I'm trying to understand what you are saying about Ebmaj... there's no C# in Ebmaj.  Are you hearing a C natural somewhere?

I mentioned all the accidentals of the Emaj scale, because it not only includes Eb as D#, but also G# - NOT G (where the modulation begins).  

The 2nd phrase starts like the 1st, but D# begins the descending part of the 2nd phrase - D#, C#, B, G.  The modulation starts with that G and follows with the tritone interval - G up to C#/C# down to G.  

The only scale with G and C# is Dmaj (G lydian, if G is considered the tonal center of the modulation here - it's still same notes as Dmaj).  

It's definitely back in Emaj by the end of the 2nd phrase, with playing E, half step down to D#, resolving back to E.  Is this what you are talking about?  

Appreciated your thoughts! 

Yes, Bb (as A#) - unless you're getting down to cents, with Bb not equal to A#... 😖

Heard that one 'F' (about at 2:12) - but may be microtonal.  I did slow the video down to .25 to try to catch hearing all the pipe-playing tonal quirks & ornaments. 

Geez... these pipes don't have sound control like Uilleann pipes, more like they're chock-full of inherent audio artifacts!  It's why they are so appealing to me.

I do think the chords are important, but I'll have to leave it for down the road... had to go play with the cat. 😁 

Thanks for stirring the pot!