I'm only going to do the first bit as to demonstrate how you find the harmony and then you can do the rest yourself. It is not that hard and a really good skill to learn.
You seem to have an upbeat. In bar 0 you seem to be in the dominant chord of A major, the a being an escape tone, this being an escape tone on the strong part of the beat it is an appoggiatura and not an echappee.
In bar 1 you have an E, G#, B and a D, clearly the dominant seventh of A major.
In bar 2 you seem to still be in A:V but now for the first two beats you have the B in the bass (4/3) and then for the third beat you go to the root position.
In bar 3 it looks like your are either in the tonic chord of f sharp minor or the vi chord of A major. I'm feeling more inclined to A major as the tonic with it's seventh is rather unusual and that e is not raised.
In bar 4 it loooks like the tonic chord in second inversion.
In bar 5 it looks like Dominant again, thte f sharp again looks like an escape tone.
In bar 6 it looks like chord repitition.
In bar 7 we finally see the dominant chord resolve to the tonic. You can see that the g sharp that has been building suspense the previous two bar resolves to the A and eve the seventh of the dominant chord (D) resolves to the C
In bar 8 it looks like the tonic chord in second inversion again. We have the f sharp being an escape tone again. (See the pattern) and we also now have the g sharp as another escape tone with a slight varation this time.
In bar 9 it looks the same as in bar 1 A:V7
In bar 10 something interesting happens. The g sharp thats was the leading tone of the previous key is held and the e sharps probably want to tell you that we have modulated to thet relative key (f sharp minor). You can also see the seventh of the previous chord resolves like it should.
This could either be the dominant chord of A major or thte Leading tone chord of f sharp minor, either way an excellent modulation done trough the use of a pivot chord.