I'm trying to analyse the harmony of a piece I've been given and I'm having trouble rationalising its use of non-diatonic chords.
For context, I figured I should show the chord progression of a phrase from this piece. The piece is in C major and the phrase is:
| C . . . | Eø7 . A7 . | Dm7 . . . | Fm7 . G7 . |
| C . Bb7 . | A7b9 . . . | Fm7 . . . | G7 . . . |
I attempted a Roman numeral analysis below:
| I . . . | viiø/IV . V7/ii . | ii7 . . . | iv7 . V7 . |
| I . V7/iii . | V7b9/ii . . . | iv7 . . . | V7 . . . |
(I'm also not certain that my Roman numeral for A7b9 is properly notated, feedback there would be much appreciated)
I'm concerned specifically with the viiø/IV -> V7/ii progression. I've learned that secondary leading tones are meant to resolve to a minor or major chord where the root is a half-step above, and as far as I can find, deceptive resolution works only with secondary dominants, not with leading tones. Is there an explanation someone could provide, or better, a resource that may help illuminate what's going on here?