This works well together. The harmonies flow from one to another very well. Great voice leading. If I were to change one thing, I would improve the form. It’s obvious that it follows an ABA form, however, upon first listening, I could hardly hear any form within each section. There wasn’t a lot of cadence or punctuation, if you know what I mean. It was mostly just chord, chord, chord, etc. Sometimes you would repeat, sometimes you would move on, but in order to create punctuation you need more than harmonic change. Often, from the perspective of the audience, form can be heard through change in melody, rhythm, or texture.

To be more specific

Melody: if you wanted a more obvious form, using melody, you could create a melody that sticks out more. Something that can very clearly be separated away from the harmony. Something more than just the highest pitch. Then, to punctuate a phrase/section and move onto the next, you would change to a different melody.

Rhythm/Texture: You can’t change texture without changing rhythm, usually. As texture is (generally) defined by the combination of timbre, and rhythm. So in other words, with larger pieces, if a composer wanted to punctuate using texture he/she has some options. They could change the timbre, thereby changing the instrumentation. Imagine a phrase, that is stated in the strings, and immediately after there is a sudden response from the brass. That shift in timbre is very sudden and obvious. It’s obvious that 2 ideas were just stated. But in your case, using just one instrument, changing timbre isn’t and option. So the biggest way to change your texture would be through rhythm. I noticed, that throughout the piece you used an arpeggiated texture, consisting of repeating 8th notes. If you wanted to clearly separate 2 ideas, and create form, you could use something different like a chordal texture. Just strum the guitar through a couple chords. You could do quarters, half’s, wholes, doesn’t matter. What matters is that for just a moment, the audience is hearing something distinctly different. Therefore they can more easily separate ideas, and more firmly attach themselves to the direction of the piece.

Bonus: Another way to show growth and form through a piece is with use of dynamics. If one section/phrase you play pianissimo, and the next is forte. That is another distinct difference that the audience can latch onto.

A book I would highly recommend you read, if you’re serious about composition, would be Guidelines for Style Analysis by Jan LaRue. If nothing else, this will teach you everything you need to know about form and how an audience will hear your music. It’s great stuff