Simple dominant to tonic. V-I. Five to one.

However you want to say it, it's a great feeling at the end of a
piece. Sure, it's the most used (overused?) progression in all of Western music, but there's a reason for it.

As for more unusual harmonies, any major chord with an added 6th or added 9th (without the 7th) gives a
nice "shimmery" effect. Minor 7th chords are also great.

Also...there is no "saddest" major chord or "happiest" minor chord, if the chords occur in isolation. They're
all the exact same, just transposed to a different pitch level. It's about context - for example, a C major
chord in the key of G major begs to move to a D major chord (sometimes with an A minor in between, so
IV-V or IV-ii-V), whereas in the key of C major, a C major triad will feel like a secure point of resolution.

Or, for example, a G minor chord can feel like "home base" if the song/piece is in G minor. In that case,
it'll sound like a "sad" chord. If that same G minor chord is used as a dominant preparation chord in Bb
major (vi-V-I, or Gm-F-Bb), it may sound like a "happier" chord because of its secondary nature in the
context of the piece.

I - iii7 - ii7
VI7 - ii7 - iii7 - IVmaj7 <--- 3rd and 6th are non diatonic
I - iii7 - vi7
ii7 - IVmaj7
IV7 - iii7
ii7 - VII7
iii7 - IVmaj7
I
chorus

Imaj7
IVmaj7 - iv6 <-- non diatonic
I - iii7(b5) - VI7
ii7
iv6 - I

There is nothing remarkable to me about the Db9 - while it may not be strictly diatonic in Eb major the b7
is still pretty common... and it does have a leading tone towards the Gm7. It fits in that way for sure.

The C7 isn't necessarily expected.... but again, note how its third, E, becomes a leading tone towards the
root of the Fm7 chord. And again, with the G7. G -> Ab.

I find it very helpful to me when looking at chord progressions to focus on roots, thirds, sevenths,
extensions and suspensions, and fifths, in that order. The third and seventh are your color tones, and will
tell you the most about a chord's flavor (ie, major/minor), for instance. That last chord progression, C7-
Fm7, for instance, I realize quickly that the chord isn't diatonic because the key is Eb, and C major's third
is E.... knowing that this is different and will set up a tension within the song, I look for a resolution or
purpose for it, and whaddayaknow, the very next chord has an F in the root... perfect leading tone
resolution.

Leading tones are pretty big things, it's a natural resolution that our ears expect. Throwing in the
occasional odd chord can be a great way to spice up the progression and create musical interest.
I don't know how to correctly notate slash chords when using roman numerals - instead of guessing, I left
them out. There may be a few inaccuracies as well in some of the other chords - if so, I apologize.