Anahata,

The point is that the chords are not implied, they are spelled out--of the four phrases in the melody, three are simply horizontal, broken chords, arpeggios, if you will.

I am not saying that the shift from e minor to D major is unusual(as Greg Stephens so rightly points out, the shift is very common in fiddle music of a certain period), all that I am saying is that it is a bit odd to find a melody that is basically arpeggiated chords(which was commonly in "classical" music after about 1700) but that shifts tone centers in a way that is common to modal music, which, as pointed out a number of times above, does not incorporate the idea of chords--

No big thing, anyway just an observation--