: I need help analysing weird chord progression Here is the progression, bar-by-bar (newline after each 4 bar phrase): Verse: D | Bm7 | Gmaj7 | Em9 D | Bm7 | Gmaj7 | Fmaj7 Chorus: Abmaj7 | Abmaj7 | Abm7 | Abm6 Ebmaj7/G

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Yes, the chorus is in Eb, and it starts on the IV chord:

Chorus

IV7 | IV7 | iv7 | iv***

I6/5 | I7 | V/V | V/V

ii7 | ii7 | iiø7 | viio4/3 ** V7

**Here the Bo7 is operating as an approach from above to the Bb7, as well as arguably adding a tinge of diminished to the Bb7 sound itself (could be construed as a Bb7b9, which actually has all the notes of a Bo7 chord built-in). The reason it is notated as a chord built on degree vii (instead of #V , as B is the #5th note of Eb) is because the notes in Bo7 are also in Do7: B D F Ab -> D F Ab B. Do7 is the fully-diminished leading tone chord in Eb, so I just took it from there and indicated it was in inversion (the 4/3), which gives the correct "layout" of the chord to make Bo7.

*** The Abm6 could be construed as an inversion of F-7b5 (iiø7) for analysis purposes but I'm leaving it as a minor iv chord for simplicity/practicality.

And for the verse (D major):

I | vi7 | IV | ii9

I | vi7 | IV7 | bIII7

The Fmaj7 (bIII7) chord is indeed a modal mixture chord (arguably borrowed from D minor).