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:30 is a little weird because of the doubling of the leading tone without the actual use of the tonic. So the chord feels a little incomplete. It makes more sense whenever it comes back because you make a related chord (#vii) out of it, but the first time, the audience isn't introduced to that possibility.
The phyrgian dominant sound used in the second half of the piece to me sounds a little to distant from the other mode in the beginning, but it works fine. I would try to avoid accentuating the augmented second as a melodic component, though.
Good work.

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