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On the chord marking in the analysis of musical forms and works …
First of all, you should arrange the chords with inflection in the original position, that is, arrange the chords vertically into a solid relationship. For example, V56/III in g major may be misspelled here. It should be #4 #6 # 1 3, thus forming the major and minor chords, and the tonic of minor chords can be deduced from the pure fourth degree of the root sound. Here, the pure fourth degree of #4 is 7, and 7 is the third degree in G major, so this chord is subordinate to the third degree. Then, see which note the bass is (the bass is not the root). If #6 is in the lowest position of four notes, it is V56/III, if # 1 is in the lowest position, it is V34/III, and if 3 is in the lowest position, it is V2/III. To sum up, you should first arrange it in the original position, find the pure fourth degree above the root, and judge which tone shift the chord is, and the mark will come out. I wonder if you can understand this?