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Section E. is not at all complete yet. In the moment only this is available:  altered chords / sections 1-3, 5, and part of section 9
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1. general information
2. diminished third on #4^; 
score examples (choose examples from the list below):
 
Schubert, Gesänge des Harfners I and III (D 478 and D 480)  beginning of beide liederen
Am Grabe Anselmos (D 504)  beginning of the song		 Schubert, Piano Trio 1, D 896, beginning of the second movement
Schubert, Erster Verlust D 226 Mozart, Piano Sonata in A minor K 310, second movement, middle section (development)
Mozart, Piano Sonata in Bb major K 333, first movement, development section
Bellini, Dolente immagine di Fille mia Mozart, Symphony in C major "Jupiter", second movement    transition to the second theme, and final part of the middle section (development)
Schubert, Symphonie No. 5 in Bb major, first movement   transition to the second group Beethoven, Symphony No. 5, first movement, first theme
3. enharmonization of the double diminished triad and seventh chord, and of the hard diminished seventh chord
 
score examples
4. #IV and IIhv in other inversions
 
score examples
5. scheme of all altered chords
6. diminished third on #4^:
score examples
7. diminished third op 7^:
score examples
8. diminished third on 2^ in minor, and on #2^ in major:
score examples
9. overview of the enharmonizations and possible modulations
10. other issues?

 
Mozart, Symphony in C major "Jupiter", second movement  transition to the second theme, and final part of the middle section (development)
recording by Jaap Ter Linden/ 
Mozart Akademie Amsterdam
The second movement starts at 11'40'' on the recording.
recording by Nicolaus Harnoncourt/ The Chamber Orchestra of Europe
The second movement starts at 13'42''  on the recording.
recording by Charles Mackerras/ Scottish Chamber Orchestra
recording by Roger Norrington/ The London Classical Players
here is the complete score
of the second movement of the Symphony (pdf)
here is the text below als pdf (NL)
here is the text below als pdf (EN)
At the end of the first fragment we find a very characteristic application of an altered chord (here: #IV): The dominant in the new key is confirmed, at an important moment (sort of 'turning point') in the form.
  • The movement is in F major: This key is 'stable' until the end of the first theme. It ends in measure 11, with PAC. After this PAC there is a transition to the second theme, so: from measure 11 (with overlap).ann
  • The first measures of the transition quote the beginning of the movement, but from measure 14 things become less stable - as soon as the tone Eb changes the I6 at the beginning of the movement (msr. 4) to a secondary dominant. Nevertheless, we stay in the home key F major for the time being, until the half cadence in measure 18.
  • In measure 19 the key suddenly changes to C minor - without 'announcement' or transition (C minor being the minor dominant key).
  • After a pedal point on I in C minor V of this key is reached through chromatic motion, embedded in a faux-bourdon texture.ann The key, or rather: the dominant of the key, is confirmed by the German augmented.ann
(Andante cantabile)
F major:   I6/4                         V7               I             [ 6 ]                          V6/5   [ 2 ]
F major:  V7   [ 2..    4/3 ..]       I      (V2)                                                    IV6            (VII6)     (V6)   II6md  I6
                                                                                                                                   of IV       of V
                                                                                                                    faux-bourdon ------------------------------
 
   F major:  V4/3          6/5    I       I6/4           V   C minor:     I                             II2 
                                                                           pedal point on I -----------------------------------------------------------
The C major-chord after the HC at the end of the first phrase suddenly turns into a C minor chord. This is the beginning of the modulation to (finally) C major, the key of the second theme. 
   C minor: VII7                              I                                                                                I6                                 bII6/5 (!)
     pedal point on I -----------------------------------------------------------------------------
When the bass leaves the C-pedal we hear for a split second a Neapolitan 6/5 chord! (caused by chromatic passing notes)
 
In fact the complete section from I6 in measure 23 is based on a faux-bourdon. The easiest way to see this is by looking at the lowest string parts: Even though not all chords ar 6-chords, these parts move 'in faux-bourdon' until measure 25. The turning point is is (VII) -->  V in measure 26: here we change to contrary motion (see the viola and cello/bass).

C minor:  II6/5  I4/3 --> (V4/3)   IV6                  VII6/5eol  (VII6/5)         #IVdv6/5   V 7 - 8       C major:    V7
                                                                                        voor V                                6 - 5
From here we head to the dominant: via a secondary dominant we reach the subdominant, IV6. Finally the dominant, and the HC, is approached chromatically from VIIeol, via (VII) of V (see the line Ab - A - A - As - G in the bass). 
In the very last moment the German augmented, #IVdv6/5 , clearly confirms V in C minor; thereafter the second theme starts, in C major.ann
   beginning of the second theme
  C major:  I6       V6/4             I                 V6/5                                                 V2               I6            V4/3
The middle section or development (from measure 45, see below) starts in D minor; the materials are largely taken from the transition. 
  • We reach the key D in measure 45 through a prepared deceptive cadence: After V7 measure 44 we see A secondary dominant of VI (which will never be reached, by the way) 
  • Even though D minor as a key is destabilized through the evens from msr. 50, it stays largely in place until msr. 58: we could even go as far as stating that this middle section is completely in D minor until measure 58
  • The dominant of D minor is emphasized in the 'lock on V' from measure 56; in this lock on V the german augmented has an important role
  • The home key F major is soon reached thereafter, through a chromatic sequence of descending fifths (see measures 58/59) 
                                                                                                                                                       end of the exposition
C major: I6/4                                             V7          I  by adding Bb I of C changes to V7 in F
       Beginning of development section
F major: (V9/7) ---> VI
d minor:   V9/7                                                 V7                  I                                 II2
D minor:   VII7                   (VII4/3)
                                        to IV6 (that does not appear)

Eb minor:                          (VII6/5)                                             I6/4

                                                                               Bb minor:  IV6/4 ----------->  I 4 ----- 3

                                                                                                              F minor:  IV 4 ----- 3        I 4 ----- 3

                                                                                                                                         C minor:  IV 4 ----- 3
Other than in the               enharm. modulation         From measure 51: sequence of descending fourths; we could
transition, the bass is                                                  as well say: 'chain of subdominants'
moving now (chromatically)
c minor:    I 4 ----- 3
g minor: IV 4 ----- 3  I 4 ----- 3
           d minor: IV 4 ---- 3     I 4 ----- 3      bII6 [7 - 6 ]     (VII7)              V       #IVdv6         V
Finally, the sequence of descending fourths ends in D minor – so: in the end we do not really reach a new key.
From measure 55 we approach a 'lock on V' on A, the dominant of D minor (when we look at it from the home key F major: we reach the
'wrong' dominant, namely the dominant of the relative minor key).ann
The Italian augmented plays an important role here: V is reached several times from  #IVdv6, and is confirmed by this altered chord. 
  d minor: #IVdv6   V             #IVdv6         V                (V7)          V7                (V7)            (V7)           (V7) --> III
                                                                                                                                  F major:    V7
                                                                      Through a short chromatic sequence of descending fifths 
                                                                      the home key F major is reached at last.ann
 
      beginning of the recapitulation
F major: I                                 V4/3                                                 6/5                                              7