That was the place I mentioned in my first post. You know, the more I look at it, the more I'm inclined to advise you to stick with your original idea and resolve the tenor up to D-flat along with the soprano.
My concern was that your original progression involved hidden parallel octaves between the tenor and soprano lines, both of them resolving the same way, and my "solution" avoided that. But what I wrote was strange voice leading, trying to force a "legal" harmonic progression needlessly. Stick to your original idea...it's fine.
I'm glad you found a few of my suggestions acceptable. Have you studied much theory? Didn't you say somewhere that you're going away to university to study composition?