At first I did not think that changing the notes in between the first and last chords of each measure would make that much of a difference, but it actually has. I somehow managed to make the phrase and chords sound more sinister. In measure two I decided to use notes that function as approachers to the last note in that measure. In the bass clef/left hand (since this is a piano piece) I also used the major and minor third together. As for verticality we now have some different chords as a result of the bass notes changing. It really stuck out when I used both the major and minor third in the middle sections of the measures; I think this is what led to that sinister sound I was describing above. But since it still starts and ends on the same chords as the original, it could still be seen as a variation of the original. In the 2nd measure the right hand changes quite a bit from the original in that it contains a D naturual instead of a D#, and there is a leap of a perfect 4th whereas in the original all notes in the right hand played in measure 2 are moving by step. Also in both clefs in this measure there is an A natural instead of A# in the modified version here. In the original version measure 2’s notes make it sound more like a harmonic minor feel; in this modified version it is so dissonant that it sounds like notes are outside of the key. So yes, I have succeeded in making music that is less tonal here. I am still not 100% sure on the spelling of some of the accidentals and the implied tonality especially at this measure 2. In the modified version it sounds like the D is functioning as a b9.