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You have got to stop being so negative

Whether it's harmonically correct, Johan, depends on you as the composer but it's not technically correct. What you have here is not basic harmonic fare and the chord names are not technically correct.

Changing to F major when the melody is G on M2, beat 1, means it's actually F add 9, F A C G. An F9 chord, as any chord with notes beyond the octave, requires the seventh. Without the seventh it's an added ninth. Putting those notes closer together gives F G A C and the F G and A clash harmonically. This would be a suspended second if you dropped the A. The suspended G would resolve normally to F or A and in this context it would be the A on the second beat. By adding the ninth instead of the second there is a greater distance between the A and the G and the dissonance is less severe.

The G major at the end of the bar while the melody is C the chord becomes G add 11. Playing all those notes together, G B C D, would also be a discord and the third, B, would again be dropped to form a suspended fourth.

If you're starting out in harmony it might be better to stick with simple triads while you're finding your feet and learning the theory. Change chord only on the first and third beats in common time and use a chord based on the melody note.

The bar lines do note divide the music up to make it easier to read. Along with the time signature they distribute the accents, strong, weak, medium, weak, and these accents form the pulse or beat. Quavers (eighths) or smaller note values between these notes would be unaccented. This is important.

This post, again, will not solve all your problems and will likely raise more questions than it answers. That's OK. It's an interactive forum. Keep asking the questions until you get it.