The instructions call for a four-voice harmonization for the theme; I would recommend putting it in "keyboard style" as defined

in Theory I and II—three notes in the right hand,

and one note in the left (with the inner voices stemmed down)
For the variations 1 and 2, the underlying structure of
the original melody isn't coming through as clearly as it
could (and as it typically would it an Classical All Through the Night
variations set—particularly for the early variations); I
might be inclined to make revisions accordingly, but It's easy to run into illegal parallels //8's tricky to avoid, but not
you may want to consult your instructor to see how he here in four voices, but there's a impossible; I'd check with
feels about this  = 96 way around it that involves a your instructor about this
particular inner-voice leap

4      
 
 4             
            

 4      
4          
retrogression from V-IV is nearly
unavoidable; this is fine with me in this
10 particular context, although I'd check this
by your instructor to be safe
                 
            
      
 
    
contrary 8ves

                
  
I'd change the harmonic support here (this
may affect some or all of your variations as
well)
18

      
             

                          
           
     
parallels broken up by the figuration
pattern, so I'm not worried about them //8ves
  (double-check with your instructor, though

      
temp. LT doubled

23

   
             

    
   
  
  
 
   
  
       
 
     
        
 
//8ves
        
 
(Since these parallels are more readily apparent on the musical surface,
I'd find some way to eliminate them)
temp. LT doubled
28

                 
    
                       
    
        
   
 Much of the variation works in invertible counterpoint, although you may have
The issues marked in the first variation will mostly apply here, so I haven't
to make some adjustments throughout to address a few things (like the direct
gone through and marked every error exhuastively for this variation
octave marked below)
33
    
    
doubled LT, etc.

              
                  

             
            


38
    
     
//8ves
          
                    

  
                

I might avoid even the temporary
doubling of the leading tone here

43
   
      
//8ves doubled LT, etc. dir. 8ve again
                             

                       
   
I'd expect a half cadence here based on
the contents of the theme, but this isn't temp. LT doubled (a change to the RH for this note
projected well due to the lack of root- will make for a quick fix)
48 position harmony
 3 3 3 3 3 3 3 3
                                   
//8ves
 
   

    
  
Lower neighbor to 5 should probably be
chromatic; chromatic neighbors are less
rampant in 18th-century music than they are
in fight songs, but this is a good place for one
51
3 3 3 3 3 3
        
      


 3
  
      
parallels sufficiently broken up by the figuration 3
Same thing about chromatic lower neighbors in this measure
2
53 See comments on mm. 49-52
3 3 3 3 3 3 3 3
      
                              
  
  

55 Under construction, I assume?

3 3 3 3 3 3
           

                 
 3
  

       
3

60 See comments on mm. 49-52

3 3 3 3 3 3 3 3
                                 
   
     
  

63 3
3 3 3 3 3 
    
             
 
          
 
3
this repeated note sticks out a bit to me

//5ths (changing one note will fix these easily enough)

It's more typical to actually change the key signature for the variation in the parallel mode
65
     

              
    
        


          
 
  
               
I'd keep ^6 and ^7 raised here to support
the harmony
dissonant 4th repeated notes in a 3
sticks out a bit mostly scale-and-
arpeggio figuration
pattern will stick out a bit
 dissonant 4th sticks out a bit; if doing truly invertible counterpoint, you'll need to
change this, as well as eliminating the fifth in the original version (or you can make
some slight tweaks to the hand-flipped version here and leave the original as-is
68
see comments for mm. 65-68


 
       
 
             

      
                       
 


dissonant 4th in a metrically strong position I'd probably go with A-naturals in this measure
71 //8ves
   

     
     
 
       

                         
    

//8ves A-natural for the first,

74 A-flat for the second

                
               

      //8ves
            

augmented fourth leaps stick out a bit; consider reworking the figuration in this
measure

...and also here

76

                       
   
          


     

Again, I'm expecting a half cadence here

78
     

      
              
  
 

  
                      
  

4 I probably wouldn't end with the minor variation; perhaps swap it with the previous one?