I totally understand where your coming from, all I'm saying is that your theoretical explantion does not decieve the ear, although I would have to hear the chord within the entire context of the progression to make a definitive decision, your statement about the cadance existing within the relative minor makes for a strong pt., but then again the Fmaj7/A could be acting as a transition chord to C major, again, I would have to see some more information.

- I never disagreed w/your analysis of the 1st chord being an E altered dominate, again..tension chords usually sound dominate in quality to me. I would only use an analysis of Cmaj7#5/E in an extreme circumstance. If C# was in the bass, i might consider this label, but to my brain it would just be a sub for E alt.anyway. My disagreement is within the 2nd chord of the cadance being labeled a minor chord, the interval of a major 3rd is much to strong to deny, it seems to me like trying to talk someone into believing a sunny day is cloudy.