There are two far crazier chords here - the Gm and Fm (in 2nd inversion no less) what did you call them? This is not a Common Practice piece, so analyzing it with Common Practice concepts and terminology might not be all that illuminating. In this light, should we talk about chords in the traditional way in this piece? My own analysis implies that we can but that there are several distortions of traditional progressions. Anyway, the comment is worth reproducing here. I'm not absolutely certain, but if my hunch is right, this respondent is one of the big names in the pedagogy of music theory today. It got a response from the moderator there which seemed apropos here. Someone was asking about the penultimate chord of the A theme (the F#7), saying that was the only one that didn't fit a traditional analysis. I was searching around the web for other analyses of Hedwig's Theme and came across a thread in a music theory forum.
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