# What's wrong with my harmonic analysis?

Similar to my last post, I'm having trouble looking for my mistakes here. The big red 2 means I have 2 mistakes apparently but I don't know which ones are wrong. Or maybe I have more mistakes? Please help me. In the second measure, I originally made the second chord an A dim/C. (Note: the circled notes are not included in this analysis)

• A°/C was correct. But there is a paasing tone G in the soprano (without circle) it has to be assigned as a A°7/C or like Richard says: ii65 (1st inversion of half diminished ii7) Commented Nov 8, 2021 at 17:05
• Who added the big red "2" for two mistakes? Did they not explain where the mistakes were? Commented Nov 8, 2021 at 21:45

Based on the circled non-chord tones, you should be including the G in beat two of the first full measure in your analysis.

Instead of this just being an A diminished triad, the inclusion of the G makes this an A half-diminished seventh chord in first inversion (6/5 position).

Presumably your two errors are related to that chord: one error in the Roman numerals below the staff, and one error in the chord labels above the staff. (Note that the chord label should also list C as the bass, not G.)

• If you include the G (I agree) shouldn't you also take notice of the Bb? That makes more sense in a C-rooted chord than an A-rooted one. Commented Nov 8, 2021 at 18:12
• @LaurencePayne Since the B-flat is circled, I viewed it as a non-chord tone and didn't consider it in the harmonic analysis. Commented Nov 8, 2021 at 20:54

A°/G is an obvious slip, the bass note is C. And I'd be more inclined to call it a Cm chord, decorated by the 6th as a passing note.

Your F#°/A is technically correct. But as a definite dominant-function passing chord between the two inversions of the tonic, I'd find it more useful to call it D7, even if the root IS omitted.

• vii° is commonly categorized as a dominant-function chord, and it's commonly found in the first inversion, especially in this context. (In fact, that move predates the development of tonal harmony.) It's certainly not unreasonable to note the relationship with the dominant seventh, but I suspect that marking it as such would increase the number of faults in the exercise rather than decreasing it. Commented Nov 8, 2021 at 18:43