Music Composers Unite!
Amazing that you cut this in a single day. (Maybe we should have a similar contest on our forum here. Might be fun.)
I have to ask: what's the deal with instability? It's a serious question, not a rhetorical critique. I don't see or hear consonance until bar 25. Why?
I'm also intrigued by the decision to use V as the cadence rather than the tonic. Now, in this piece, I'm not sure there is a key to actually hang the tonic on, but my guess is that it's Gm. My real clue to this is the suspension in 35 that resolves to Gm (despite the F#). You then go back to V (or II if we want to use the actual key signature.) I'm also struggling with this suspension because the preparation looks like it has it's own leading tone. (Gm triad with its leading tone of F#) and yet the suspension is clearly A. Can't get my head around it. I get the feeling I'm not seeing this correctly.
It is kind of neat because it leaves you wondering. It allows uncertainty to linger. But, what were your artistic reasons for doing this?