Help On Piece

Hello, I've been working on something that I feel has great potential (I guess?), and I really want it to become a full piece. However, after some work on it, I got stuck. I usually give up by this point, but as I said, I want this idea to become a reality. I'm facing difficulty with measure 4, precisely. I like what the bass is doing, but I feel like the chords come in too early, but the 32nd notes in the treble clef end quickly, too quick before the bass could do anything if I were to change it. What should I do?

Also, this meter is giving me a really hard time. (No pun intended?) I'm always left with an extra 16th note at some of the measures and it irks me. However, it seems to be working at some times. (Again, no pun intended.)

Finally, what can I do to connect the beginning to the part that comes after the last Emaj chord? I feel like they are disconnected in a really bad way. Plus, what do I do with the bass in that section. I have melody, but I have no idea how to harmonize it, nor can I come up with a way to utilize the bass. Is that a bad thing?

How could I fix this score, both rythmically and structurally?

Note: Ignore page 2 and 3 of the score. I usually get ideas and put them in one score, not sure if it really helps me but it's a habit I've got.

Let's see. Well regarding M.4 I don't see any major issues but:

•  If you're not sure about 9/8 just change it to another that better suits the phrases you make. Perhaps 2/2 would be worth trying, it does indeed sound to me like 2/2 or 4/4 instead of 9/8 in the very first measures. The use of so many fermatas in the first four measures suggests that 9/8 isn't an adequate choice. Perhaps it is later, but nothing stops you from changing the tempo after the intro.
• For your next questions, there are a billion answers. You could use any harmonic progression that came to your mind, you could do a 16-bar bridge between that E chord and the melody at bar 12, hell or it could be 128 bars long! You could just use single notes in the right or the left hand for those two blank measures. Which one from the billions of things you can do is going to work? That's for you to discover, and perhaps what works for you is something I could never have guessed or that I wouldn't have used. The same goes for the harmonization of the bars from bar twelve and so on. There's again a LOT of things you could do: You could just repeat the structure and 8va or a perfect fifth, major or minor third below, you could add entire chords like C+ and F for that very first measure and keep going with that or switch to some ostinato in the left hand... You could NOT harmonize it. But again, since it's your composition it's for you to discover and choose. 

And no, it's not a bad thing that you now don't know how to keep going. Let the piece rest and think about it when you be eager to, just don't give up and ideas will certainly come like they did for the passages you have written already. I've briefly gone through your other material; perhaps M(22-27) is suitable to do some kind of bridge between your first measures and M12. If you are really out of ideas or just don't know how to work with the bass, well this is a piano piece so get yourself full of listening piano pieces by every single composer you know and don't know yet.

Finally, don't be afraid of "repeating" sections. If you find something that works, explore and develop it, and perhaps more ideas will come by just that development process.

Sorry if my answers didn't satisfy you, hope you keep trying in any case.

Kind regards ^^!

Same, there's nothing wrong with bar 4. As to joining bars 9 to 12, bar 9 needs a couple more deep chords then in bar 10 I felt some kind of repeat of bars 6-9 with a variation of some kind. Put the tune in the treble. an octave higher? and quiet, no more than mf but ending on a chord firstly in the treble then another on the bass with some lead in (do they call this a pick-up beat) leading to the tune that you start in bar 12 which looks like its in a different key/modality so the bar at the end of whatever you do to join needs some kind of modulation, can be an "official" modulation or just implied, the E chord with a 7th leading in to A minor. It also looks like your bar 12 tune should be more elaborate with 16th notes. On the 3rd beat you could hold the A (treble) and do something imitative in the left hand. Maybe you could double speed these bars (12, 13, 14).

Just some thoughts.