@MichaelCurtis It definitely recalls 1890s popular song. There is an error, of sorts, in the accompaniment, however. The "problem" is actually that the arrangement of "Daisy Bell" you used as a model is misleading. The original publication iis near entirely comprised of a note-chord-chord (oom-pah-pah) accompaniment. Although that's present in the model arrangement, the arrangement doesn't illustrate just how present.

Not only "present", but ubiquitous — both in "Daisy Bell" and in the 1890s style in general. In the collection Favorite Songs of the Nineties: Complete Original Sheet Music for 89 Songs (ed. Robert A. Fremont, Dover, 1973) Almost every tune is dominated by oom-pah or oom-pah-pah with arpeggiated bass parts appearing in any form in maybe a dozen, and dominant in only three or four.

However, it's also the case that every one of the songs was published for voice an piano, and while the left hand is oom-pah-based, the right hand has more freedom, including enough arpeggiation to justify your piano solo arrangement and make it sound like an 1890s piece.

A "Daisy Bell" original can be found on IMSLP. And the right hand generally doubles the voice in the main melody.

That arrangement of Daisy Bell is from a book edited by Denes Agay, not mine. I only added the volta endings. But, point taken about the accompaniment pattern. In my song I did originally use the oom-pah-pah pattern (I call it waltz accompaniment) but it sounded too stiff so I broke up beats two and three by arpeggiation. I restored that with just a few chord voicing tweaks. Revision below.

FWIW, that rolling chord arpeggio pattern I tried is more appropriate for a nocturne, or some similar genre. I should be more careful about those choices, at least if I'm trying to hew closely to the historical styles.