Can you help me analyse some Baroque playing?

Question

im trying to make serious study of Ted Greenes Baroque improvisation lessons on Youtube, and am hoping someone more experienced can tell me the function of a particular two chords;

The section of the video I'm talking about starts with an ascending bass line at 00:59 and ends at 1:09 (the chord with a C# in the bass), my analysis so far is;

(These are the notes in the order Ted plays them, first note is always bass)

First chord: F# A D# E#(F) F# A - F# Minor (tonic) with the 6 and 7 from melodic minor

Second chord: G# C# F# E# G# B - C#7 (V7) with the 11 added

Third chord: A C# F# G# A C# - Back to tonic (F# minor) with the added 9th

So far the progression is just I-V-I, but i'm unsure of how to look at the function of the next two chords:

Chord 4: B D D# F F# G#

Chord 5: C# A B G# A F# C#

Im sure they could be named many things but for me there are too many embellishments and i'm trying to understand what the function of the chords were when Ted played them, i'm not very experienced with this and was hoping one of you fine folks would know, I've linked the video below and i hugely appreciate anyone that could give me some answers! Thanks, Jay

Answer 1

When you listen to this music you don't only hear chords. He plays a melody with passing tones (like chromatic approaches, passing notes and turnarounds):

Your chords are correct as far:

1. F#m A D# .... - but the E# is surely not (F)!

This E# in the first motif la do fi si la do is the 7th (E# = si the leading tone of F#m) and just a passing tone which you don't have to harmonize: F#m6 (omitted 5th!)

2. The second chord is a V7 (C# E# G# B) F# you say is a added 11 or approach (appoggiatura suspended 4th- unprepared) from above.

3. Yes, this is F#m, the tonic, 1st inversion,, G# is a passing tone (9)

4. D = Cx (double flattened) F = E# (both tones are chromatic approaches to D# resp. F#! (The chord could be analyzed as major IV in F#m - G# added 6th)

5. Don't harmonize B and G# here, they are just approaches to A from up and from down (I'm not sure whether "turn around" is correct to terminate this figure!*1) but you know what I mean.) So we have again the tonic: F#m.

May be you better transpose the whole sequence to Am for better understanding what happens here!

Im sure they could be named many things but for me there are too many embellishments.

*1) here they are named: Double Neighbor Figure (DN)

http://openmusictheory.com/embellishingTones.html

Yes, there are embellishments and you can ignore them when analyzing!