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Wow. What a great, nice job. This Form works fine with this language. And I think you've fulfilled the expectations of the Mosaic Form (every part is part of a cointinuum with no beginning-no end). I'm glad you've used this contemporary harmony. Very well balanced, it's modern enough but it has also a classic feeling. I suppose you studied that Stravinsky's symphony... The score is full of indication, as it has to be. Congrats! I love it.

This is what happens when you have to write daily pieces and you get bored with writing crap. I'm quite proud of this work, even though it may not be conventional in any sense of the word. I hope you enjoy this one!

Hello, I interpret the 'I kind of like it, which is bit unusual for me.'' as a compliment. Thank you! Philosophising about music is a daily accupation for me. I realised that balance and recognition are two elements that in my opinion cannot absent in music, so one of my main goals when composing is to always remain a certain balance through the entire work. You are right that some moments break the flow, but this doesn't have to be wrong. I like how mosaic form can break the flow, but the musical arc still remains clear. Actually, I don't hate to write orchestral music, but I will hate it in the long term. Maybe I should have written: I like to write orchestral music, but finishing it is a task that I don't see as enjoyment. Anyway, I am glad you liked it! Maarten

Hmmm...I kind of like it, which is bit unusual for me. I tend not to like contemporary orchestral musical, maybe because of the complexity involved. But I feel there is somehow a fine balance in this piece, despite its many "flowbreaking" moments. I don´t know if flowbreaking is the right word, but I hope you get what I mean. I can´t hear on the music, that you hate to make orchestral music. It "sounds" like you had fun doing this. :-)

The result is nice. Yes, the last chord is a bit odd in this context. I'm not afraid at all of hearing a Fmaj7/D, but if all the piece is tonal and functional, it makes less sense a chord like this at the very end. Besides, the interval is quite big. I think Monarcheon is right in the suggestions. In that sense, for example, the last part m 25-31 would be a chance to enrich your chords (not only octaves).

Whoa that last note, what? Anyway, more so than jazz, it had a bit of a ragtime feel. You're going to want to experiment with more chord extensions with not such a clear tonicized bass line at all times. Syncopation is key, with some element of it sounding like it was improvised, as that's definitely a major part of how the genre started. What's here is fine, there are some weird inversions/spacings of chords here and there, but I'm just not totally convinced it was what you were going for. Cheers---

You don't have to use the Hartmann pictures. You can use any piece of visual art.