Nice transcription, and I like your analysis of the line.
My only suggestion, and this is coming from a professor who would hammer this stuff into me: make sure your bassline matches your interpretation. In bar 3, you analyze the 3rd beat as a flat 9, yet the note you wrote is a D-sharp rather than an E-flat, which is the true chordal ninth.
In bar 4, you analyze beat 1 as a natural-7th, yet notated a D-flat. While enharmonically correct, you may want to notate that as a C-sharp, since D is the root of the chord, and any alteration of the note D would technically be an alteration of the root of the chord, and not one of the other tones. Also, the natural-7th of a D7 chord is a flat seven; the C-sharp in this harmony would more correctly be termed a raised-7th.
One more suggestion regarding the G-sharp on beat 4 of bar 25: traditionally, when you're chromatically descending between 2 notes like that, the middle note is the preceding pitch flattened (A-Ab-G). If you're ascending, the middle note is raised from the preceding pitch: G-G#-A. The reason is that in traditional theory, flattened pitches are usually resolving downwards, while raised pitches are moving up.
This probably seems like nitpicking, and I totaly agree with the interpretation. Like I said, this comes from studying with professors who were very strict with correctly notating things, and eventually agreeing with their reasoning.