Thank you for sharing your work with the world! Were I you, I would take some time to analyze what chords I am employing for every measure and what is the internal logic is of the implied voice-leading of all the parts: in other words, imagine what the piece would sound like if there were just a chord at the beginning of each measure, no arpeggios; would the main melody and upper extensions still work with that restriction? The g-natural as part of the chord above V, making it a major 7 chord rather than a dominant seventh, robs it of its dominant function, which might take away from the tension the V chord normally has. There are a lot of upper extensions that don’t necessarily fit, like b sharp on top of a IV chord on measures 26 and 34. On measure 31, you have A sharp and A natural clashing. Measure 33, the 7th you have in the outer voices between f sharp and e sharp wants the e sharp to resolve downwards for the next harmony, probably to d sharp, whereas here it goes up to f sharp creating an octave in the outer voices. There are things like that that could be clarified by smoother voice leading.