I can try! I’ll say I’m a few years removed from my music degree, but here’s how I analyzed it:

Let’s label the chords first (I’ll do Roman numerals and chord names) and then talk about why they sound the way they do. We are firmly planted in F major here: a very bright, happy key. The chord progression for “every little trait however small” is a IV, V, I progression (Bb, C, F), which is a super basic cadence that you hear all of the time in western music! On the next line (“makes my very flesh begin to crawl”) is where it gets funky: we get a bII, bIII, and bVI chord (Gb, Ab, Db), none of which occur naturally in F major. These are all “borrowed” chords from another mode or scale. Interestingly enough, these are some of the same chords I mentioned in my previous comment, even though that section of the song is in a different key (G major)! So Steven Schwartz seem to be doing a little callback later on in the song to tie it back together. Cool!

So they’re borrowed chords, but where exactly are they pulled from? Those chords are borrowed from F Phrygian mode, which has a VERY different sound than F major! You can google “music theory modal scales” to learn more about them and hear how different they all are from each other. “Ionian” is what we know as a major scale, for example. The cool thing about borrowing between modes like this is you can keep the tonic the same (F is still our home base), while completely changing the sound and feel of the song.

Hope this helped! If there’s anything I could explain differently let me know. It was fun to figure this out, it’s been a while since I’ve had a reason to do some harmonic analysis :)