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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: 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?

 
 
Schubert, Gesänge des Harfners I and III (D 478 and D 480) beginning of both songs
recording by Hermann Prey and Gerald Moore
No. I is at the beginning of the recording; No. III starts at 9'05''
recording by Thomas Quasthoff and Julius Drake
No. I is shortly after the beginning of the recording; No. III starts at 10'14''
recording of No. I by
Stefan Bevier, Baß-Bariton
Horst Klammer, Hammerflügel
here is the complete score
of all three songs (pdf)
Below you see two short examples from Schubert's Gesänge des Harfners. The issue in both fragments is the piano-'intro'.

In the first example, Gesänge des Harfners I, a French augmented chord (or:  IIhv4/3 ) is used as neigbouring chord between two dominant harmonies, thus emphasizing the dominant.ann It is pretty striking that we find an altered chord almost immediately at the beginning of the song: in pre-Romantic times this is highly unusual - however,  in the 19th century, and especially after 1850, such apearances of altered chords becomes less and less exceptional.ann

In the second example, Gesänge des Harfners III the dominant is reached from the subdominant through an altered chord, Italian or French augmented (#IVdv6 or IIhv4/ 3 ).ann Here the function of the altered chord is similar to a secondary dominant, because of the leading tone D#, and also because the altered chord follows immediately after the subdominant.
                       A minor:         II4/3   I6/4      IIhv4/3        I6/4       V 9 -- 8             I 
                           I pedal point ---------------------------------------------------
                                                                    French
 A minor: I6/4                      V7         VI                 bII6     II6                V7                                I
                                                             Striking: First 
                                                             the Neapolitan
                                                             then the 'normal' II
 
                       A minor:  I [VI6 ] V VII4/3 I6 VII6  I        VI
                                                 or (VII6) III ?
                                                                        C major:  IV [ VI ] V VII4/3md I6 VII6 I (V2)   (V7)   II  II4/3md
                                                                                                    or (VII6) -->III ?      for IV6
             V7       I    VI
                 A minor:  I  V6eol  IV6                  #IVdv6         V 7 - 8   Measures 9-12 are repetition of 1-4
                                                                   or with B:            6 - 5 
                                                                       IIhv4/3

                                                                Italian or French
                                                         No        I           V6  (VII4/3) IV6 (VII6) IV IV2  VII6/5        7 turns into V6/5
                                                         Bb!
             I     6    V
Schubert, Am Grabe Anselmos D 504 begin van het lied
recording by Birgid Steinberger and
Ulrich Eisenlohr, Fortepiano
(2004)
recording by Dietrich Fischer-Dieskau eand Gerald Moore
recording by Gundula Janowitz and Charles Spencer
recording by Kirsten Flagstad and 
Edwin McArthur
here is the complete score (pdf)
Below you see the beginning of Schubert's Am Grabe Anselmos. As with the Gesänge des Harfners I and IIIann an altered chord occurs in the piano-'intro'.ann

In this song, unlike in the Gesänge des Harfners I and III  the altered chord, German augmented ( or: #IVdv6/5 ), is reached from the tonic. We can therefore say that the altered chord in this case 'replaces' the subdominant, or has subdominant function itself. As in Gesänge des Harfners I it is pretty striking that an altered chord appears almost immediately at the beginning of a composition.ann
                       Eb minor:     V6/5   I  #IVdv6/5  I6/4     V7     I                     V6/5   I           6    I6/4     V7 
                                                           German
                                                                                                            The harmony in measures 4-6 is a
                                                                                                             "simplified version" of the harmony
                                                                                                              in the piano intro in 1-3, but with an
                                                                                                              unexpected ending, the deceptive cadence on VI.
                                                                                                              Presumably this ending relates to the text ...
 Eb minor:     VI                    VI         (V4/3)        IV                (V2)           III6        (V6/5)  III
                                            'link in 10ths' between 
                                             the outer voices
 
   Eb minor:  III6 V VI   IV6         V    II6       7    (I6/4            (VII7)  VI )         VII4/3     I6               II6/5
                                                                                                        = IV
                                                                                      IV is reached via a 
                                                                                      prepared deceptive 
                                                                                      cadence (actually the
                                                                                      chord at first acts as VI of VI)
   Eb minor:   I6/4                V7          I                               II7    VII6/5
                                                                                              = (VII7md  V6/5) ---> III
                                                                                           enharmonization
                                                                                           in diminished
                                                                                           seventh chord