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00:56 starts the measure 9 the Cm/eb , G7/D ..( is the 7th measure from the picture but I called it measure 9 because in the actual song it's measure 9 )
I feel there is some concept going on here that I'm not getting.
And at measure 14 I don't know what that second chord is..(Ab D F#)
and at measure 15 I can't understand how we could go from Ab7 to D7
what is this chord progression at measure 13 to 16 ?
to make it clearer I'll write your chord signs and bar numbers:
bar 13:
bar 14:
bar 15:
D7 => (V)
yours Ab7 => ab,eb,c,f# (the augmented sixth is (fa,la,do,ri) = #IV5+6)
ab,(c),d,f# => Fr +6 is fa,(la)ti,ri) => inversion of d,f#,ab (Vb5) here without 7th (the tts of ab7)
d,f#,c => (V7) of the dominante G, (here without 5th)
to proof my argumentation I copy this excerpts of wiki:
https://en.wikipedia.org/wiki/Augmented_sixth_chord#Italian_sixth
Standard function From the Baroque to the Romantic periods, augmented sixth chords had the same harmonic function: as a chromatically altered predominant chord (typically, an alteration of ii4 3, IV6 5, vi7 or their parallel equivalents in the minor mode) leading to a dominant chord. This movement to the dominant is heightened by the semitonal resolution to scale degree 5 from above and below (from ♭scale degree 6 and ♯scale degree 4);[12] essentially, these two notes act as leading-tones.
This characteristic has led many analysts[13] to compare the voice leading of augmented sixth chords to the secondary dominant V of V because of the presence of ♯scale degree 4, the leading-tone of V, in both chords. In the major mode, the chromatic voice leading is more pronounced because of the presence of two chromatically altered notes, ♭scale degree 6 and ♯scale degree 4, rather than just ♯scale degree 4.
In most occasions, the augmented-sixth chords precede either the dominant, or the tonic in second inversion.[8] The augmented sixths can be treated as chromatically altered passing chords.[8]
Augmented sixth interval
The interval of the augmented sixth normally resolves outwards by semitone to an octave. The augmented sixth interval is typically between the sixth degree of the minor scale, ♭scale degree 6, and the raised fourth degree, ♯scale degree 4. With standard voice leading, the chord is followed directly or indirectly by some form of the dominant chord, in which both ♭scale degree 6 and ♯scale degree 4 have resolved to the fifth scale degree, scale degree 5. This tendency to resolve outwards to scale degree 5 is why the interval is spelled as an augmented sixth, rather than enharmonically as a minor seventh (♭scale degree 6 and ♭scale degree 5).
Even in wiki and the English terminology it is said that the augmented Sixth chords are a VIb and a #4th chord is more correct to say:
ab,c,eb,f# = the aug.56 of #IV (German+6)
ab,c,d,f# = (French +6)
ab,c,f# = #IV+6 (Italien +6)
in German terminology:
the It+6 = #IVü6 übermässiger Sext-Akoord that means an augmented IV in 1st inversion ü=(übermässig)
the Ger+6 = #IVü56 übermässiger Quint-Sextakkord* that means an augmented IV7 in1st inversion
the Fr+6 = übermässiger Terz-Quart-Akkord that means this is lu,do,re,fi in major or fa,la,ti,ri in minor
In the broadest functional terms, the four-measure progression starting at sforzando is a decoration of V-of-V, that is, a secondary dominant function. I would pay attention to the voice leading in these bars, in order to distinguish melodic from harmonic features. The alto G at sforzando is a melodic decoration, an appoggiatura. The prevailing harmony in these bars is the augmented sixth.
As for how the music gets from this harmony to D7: this is a simplification of the chromatically-coloured secondary dominant to a pure secondary dominant, which strengthens the cadence.
The slow descending bass and relentless soprano are fitting for this little funeral piece.
