I felt that way too. But it's pretty, so what you weigh over what isn't really my business.
In measure 25, I'm wondering why you chose to put Cb instead of B natural, because you have the D natural coming after it, and it would make more sense for it to be a B minor going to G major.
This is kind of a piece I had written before knowing much about theory, but knew enough about composition and form to formulate a coherent piece. It didn't help me get into Oberlin so I'd love to hear why from you!
It sounds nice, I just have a couple issues with some of your contrapuntal stuff; some of your passing tones conflict with a harmonic tone and other times your suspended tones clash with the bass line, mostly in your Andante section (i.e. m. 40 and 43).
Pretty good voice leading for the most part. I just have to say that there's a couple "jazz-chord" notations issues, most of them dealing with diminished chords rather than minor chords, for example, measure 4.