In section "B," the C major tonality is somewhat reinforced by the F7(IV7/I in C). However, if one considers it a VII7, as a mixolydian substitute for V7, this F7 chord is the harmonic pivot leading back to the original tonic key of G. The second half of section "B" begins with a I - vi - iii progression that is not by itself unusual - in fact, this particular progression is found in a number of standards and popular tunes, especially after 1950 ("You Are My Special Angel" is perhaps the best known example). In context of "Stella," however, it has a less emotional and more "impressionistic" flavor - especially due to the chord that leads into the new, temporary key of "D" in section "C." In the original sheet music edition, this chord is identified as a second inversion Em7(b5). On one hand, this could be construed as a i in the key of D. However, the presence of Bb in the bass would seem to make this a "French augmented sixth chord" (Fr+6), which corresponds to a Bb7(b5) in the key of D. In terms of pitch classes, all three of these chords are identical, and in this case, serve an identical function - as a substitution of the ii7 chord. Bypassing the V7 altogether, the progression now turns very briefly to the key of D major. It does not rest there long, however; this new, extremely temporary tonic of D is followed by a third inversion vii˚7, created by diatonic stepwise descent of the bass line. Normally, the ear expects a vii˚7 to resolve to I. In this case, the resolution is to a chord that shares three pitches in common with the temporary I chord of D, but because the root is not present and the bass note is F#, the chord becomes a iiø7/III - essentially - being followed by V7/III - the pivot chord that eventually leads back to G major. This original tonic is not heard again until the end of section "C," however.

Some musicologists disagree that section "A2" is indeed an "A" section at all, considering it a "D" section with a reference to "A." It is useful to keep in mind that songwriters and composers of this period were true craftspeople, often with formal musical education. A trained composer would have striven to achieve some kind of compositional unity and balance through the use of structure. The difference between "A1" and "A2" is small, the variation being found in the last four measures. The melodic contour of these measures in section "A2" is nearly a mirror of that found in section "A1." The real divergence comes at the end. Whereas section "A1" leaps downward, "A2" remains on pitch.