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Where can I find that composition? I am curious now! I didn't hear about it neither until a few weeks ago. Luis introduced the Mosaic Form to me when I asked for feedback on my Saxophone Quartet No.3 ''Medea.'' Another name for Mosaic Form is indeed Moment Form. The principle of Moment Form is that you compose many different and contrasting themes or elements, which are all very characteristic so that they can be recognised very easily when played again. Instead of a continual rondo (ABACABA), the themes can be placed in a somewhat random order. The theme scheme of this symphony would be: A B A' C D C' E F G B A'' H I C E' F' G' B' J K L B C' Luis recommended me to study Stravinsky's Symphonies for Winds. The master uses Mosaic Form in this piece, which can be found here: https://www.youtube.com/watch?v=J4381PcVUrU The score with music (piano reduction and played by piano solo) can be found here: https://www.youtube.com/watch?v=EwxpCaLScy8 I hope this helps! Good luck! Maarten

This is the last piece. Using mosaic form, that I love. I've taken some phrases from past exercises (recycling!).

Well, first make sure your clarinet is actually in Bb. Currently it's written in C. The figure of a dotted quarter then a half note should be notated as a dotted quarter, eighth, dotted quarter tied together. It's nice when a phrase seems to have some sort of non-functional resolution, and the homophony was lovely. Some of the ornamental wind stuff against the piano I heard as kind of filler for space sometimes. The counterpoint was okay too. Cheers-

For woodwinds and strings, this was inspired by a Tom Waits song that poses the question, 'Who will put flowers on a flower's grave?' I'm kind of fond of it, but my opinion doesn't count cuz I'm the composer. What do you think, YC's? Here is a youtube video of the music:

Thanks for your comments, Fellas. I’m glad you liked the work. Luis, it is an elegy, as you say. The chordal gestures represent a cry or a sob or a sigh, something that can happen in a single human breath. And right again, it is a piece where dissonances figure prominently. Because grief is a strange thing and a tear is oddly satisfying in its catharsis, though on the whole, crying is a profoundly painful thing. I felt that the gestures should contain elements of each, consonance and dissonance, both of equal value. Mark, it sounds like you would have preferred proper phrases and more continuity instead of the gesture approach which is more episodic. That's a good point.

Very nice. I like the chordal feeling and coming of the violin. Good lesson this is about the control of dissonance. For me is an "elegy"...Nice!