I agree with leightwing on a lot of points. I think he pretty much has his head screwed on tight when it comes to musical knowledge, so you should listen to him
. Reguarding the time signature, I really think you could EASILY transpose this to 6/4 or 6/8. Maybe even 3/4 if you really felt like it. The point is...it doesn't feel like 7/4. You can look at it as a hemiola, but i highly doubt that was your intention.
Requarding the piece itself, I think your overall feel is pretty good. However all the details like you know...the notes, are kind of skewed. What I mean by this is: you have a good idea of what your piece should sound like, and the mood of it is almost there, but when you go put it on paper, it almost fails.
It's a rather dissonant piece, whether this was intentional or not, but i thought it was kind of cool. 7/4 + dissonance =
. It grabs your attention, which is good, but it really kinda gets
[<--boring]. I don't think this piece had any kind of form, which is ok, but it was kind of pointless. It's hard for me to say that because every piece of music has a feel, so it has a point, but what I guess I'm trying to say is it didn't go anywhere. Dissonance can be cool and all, but bunches of unnecessary randomness just...doesn't make for good music.
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I think if you keep at it, you could become a decent composer. Study some Schoenberg if you're going down the dreaded path of atonalism (as i like to call it), but even Schoenberg knew what he was writing, pure dissonance or not.
~Nico