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Hey Aaron,

This one is a very nice attempt! It’s a nice attempt on Sonata form! I am happy you are trying to extend your form, material and harmonic progression!

It’s clever of you to use C major in b.9 as the pivotal chord for modulation! Very smooth there. It’s nice to use the deceptive cadence in b.22! The development is great when you move on to G minor and have the subdominant F major playing the theme!

I think in the recapitulation of b.51 you may just cancel the F sharp, and change b. 54 LH to G B D G to signify the return to tonic!

You keep improving in every pieces, congrats in that!

Henry

Very lovely piece - I want to play it! 

I enjoyed your piece, I'm getting Sonata form, but it's short, so I'd call it a Sonatina. 

Your harmonic progression is very clever and well written as previously stated by @Henry Ng Tsz Kiu. Your development section is probably my favorite part of the whole piece - it's so different, but in an interesting way. Your harmony is immediately so different from that of your Primary and Secondary themes, which instantly changes the mood of the piece before settling down some - it's just enough to signal the change of section. 

Random, but your scalar figures remind me of "Ripping Spring Waltz" by Estelle Ricketts. It's a different style, but those runs reminded me of that.