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Ok J, I'll take a stab.
Four movements - All in the same key (signature), same time signature, same tempo, same dynamic (one dynamic, I can't help but notice), same articulation (that would be none), etc... Maybe you should put them all back into one peice.
Why did you put it all in 7/4? You NEED to have a reason for picking such a time signature. Oh, I don't know? ..something like .."It's easier for musicians to read this peice in 7/4 because there is an overarching feel of a down beat every 7 beats." I'd say It looks more like an arbitrary decision that you made because you somehow found the time signature tool; and yes, sometimes it seems to have dictated where you put the black dots, but many times it doesn't . Like in movement two where you get this um-pah thing going over many bars. Um-pah is a duple thing. I.e. put it in 4/4 or 2/4 for a while.. I don't know that I'd want to be the musician reading that that in 7/4. I'd beg you you to put it in four for 10 or 12 measures. Generally speaking, musicians would prefer their music in separate measures of 3 and 4 alternating rather than what you have. Even 5 and 2 could be preferable. You need to get inside the head of the musicians that might play a peice like this. Have you every performed a peice in 7/4?
Not that you need to have a melody to make music, but... if you don't, it can very quickly turn into meandering dots on the page with no meaning in thier little black-dotty lives. Now you may think you have a bunch of melodies in there, but I barely recognize consistent use of the simplest of motifs in your pieces. And there's certainly nothing I'll walk away from my computer humming after I write this critique.
I reccomend that you try taking a simpler appoach to composition. Try writing a single melody, harmonize it, and think about what performer(s) might enjoy playing and how they might prefer to see the music presented.
Good luck.
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