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I think this is the chart... | ii V | I V vi | | ii V | I III VI7 | | ii V | I ...I'm not exactly sure of your barlines. The part I V vi can be called a deceptive progression. The part I-III …

| C | Ebmaj7 Dm7 | C | Ab Gm7 ...And then the verse starts on a C chord. It isn't clear if the verse is in C major or just starts on a C major chord. Knowing what happens in the verse might help …

From just VII III... no. You need more context. In some kind of circle of fifths or other sequential passage, it doesn't necessarily make sense to label any descending fifth progression as a key chang …

I have not tried a survey of scores on this particular point, so this is a bit of guessing. You might not see analysis of, for example Am: viio/III III, because it might get labeled as a modulation C: …

One way to approach the analysis is how the chord fits into the progression. In major keys iii often progress to vi, roots by descending fifth, working in the secondary/modal chords region. Of course …

My first reaction to your question is simply you have used the wrong enharmonic spelling. Without any other context, and working with the basic description that the music is in mixolydian mode, the ch …

The passing 6/4 chord is probably best understood as voice leading motion. Start with understanding that "strong" progressions of roots by fifth/fourths involve two voices moving, one held. The non-pa …

...interpreted in terms of harmony I suppose you mean an interpretation according to common practice or functional harmony. But that isn't the only way to analyze harmony. I think it might help to t …

Yes. i v6 iv6 V where the second chord is the minor dominant in 1st inversion. Harmonizing a descending bass in that way would be very normal. The important point to realize is that the proper domi …

TLDR; a sharp or flat before numeral mean raise or lower the chord root from its normal diatonic spelling In the usual Roman numeral analysis we have these conventions: First we have to give a l …

I sense that seeing the actual music would help. Just listening to the reduction as is - all in root position, no rhythm - it sounds like bar 4 could be a half cadence, after that could be a continua …

The Db in the bass helps shift the tonality to Eb minor at least because it's part of the Eb minor key signature. But, it doesn't seem to imply a chord. It's just part of the bass stepping up to Eb at …

Let's set the key to C minor. When the given key uses a minor key signature you don't need to prefix a flat on the Roman numeral, it's assumed from the key signature. So, in C major C: bVII the flat …

Tonicization using a secondary dominant versus modulation defined by a cadence is pretty much how I understand the distinction. For all practical purposes tonicization with a secondary dominant would …

ii -> V -> I -> vi (or V/ii) -> (starts over on ii) Because of the repeat you could hypothetically reposition the bar line and have... vi -> ii -> V -> I ...which should make is clear that the pro …