Chaz Stuarttwenty-Six Muted Colors

CHAZ STUART
Twenty-Six Muted Colors

For String Quartet
(2013)
Full Score
CHAZ STUART
For String Quartet
(2013)
approximately 17-18
Chaz Stuart 2013

chazstuart.com
for string quarte

I.
Performance instruction for Twenty-Six Muted Colors

Throughout the piece, abbreviations and symbols are used when indicating a special effect that
applies only to one note being treated. Use the following guide for reference:
C.L.
N.
O.B.
O.P.
ViolinS.P.
S.T.
Col legno tratto (always tratto)

Natural, normal
On the bridge
Overpressure, or distortion
Sul ponticello
Sul tasto
6
&4
Often, a dotted line with an arrow links two of these, indicating that a gradual shift is to be made
from on to the next.
5
& 12
23
Vln.
The 5/12 time signature may be confusing at first, however it is quite simple. The
denominator 12 signifies the construction of a measure based upon triplet
eighth notes. In a 4/4 bar there would be twelve of these, however here there are
five.
The following is a guide to the symbols used throughout the piece:

Half note with overpressure or distortion
12
&
Quarter note with overpressure or distortion
Quarter note on the bridge
! tone flat
! tone sharp
" tone sharp
16
& 1
Approximately 1/8th tone sharp

Approximately 1/8th tone flat
for the Centre Street String Quartet
Chaz Stuart
For String Quartet

I.
Destructive q=144
Violin I
4
&4
Violin II
4
&4
? 44
Cello
&

>
>
>
>
>
f
f >
>
B 44
Viola
sul pont

>
>

&
>
>

>
>
>
>
>

>
>
>
o 5 o

>
>

>
>
sul pont
>

>
f nat.
j .
overpressure

>
>
>

>

>
>
>
>
>

>
>
>
B
&

>
>
>

nat.
?
11

>
>
>

>
>
>
>
B
&

>
>
>

sul pont
? w
nat.

>
>
>

w
overpressure
nat.

>
>
>

>
>
>

>
>
nat.
>

Chaz Stuart 2013
chazstuart.com
16
&
sul pont

>
>
>
>
>

>
>
>
B
&

>
>
>

>
>
>

sul pont

>
>
>

>
>
>

!
B
21
&
nat.

>
>
>
>
>

>
>
sul pont
>
B
&
26
&

>
>
>

>
>
>

>
>
>

>
>
>
>
>
nat.

>
>
>
B
&

>
>
>

>
>
nat.
>

>
>
>

>
>
>

>
>
>

C
31
&
sul pont

>
>
>
>
>

>
>
>
>
>
o o o
o
B
> 3
>3
?
!
!
&
36
&

>
>
nat.
>

? J J J J
-
41
&

>
>
>

>
>
>

J J J
J J J J
J J J J

>
>
>

nat.

>
>
>

>
>
>

J J J
J J J J
J J J J
J J J J
nat.

>
>
>
>
>

>
>
sul pont
>
B
&

>
>
sul pont
>

>
>
>
>
>

>
>
>
B
&
sul pont

>
>
>

>
>
>

>
>
>

sul pont

>
>
sul tasto
>

J J J
J J J J
J J J J
J J J J
-

J J J
D
46
&
sul pont

>
>
>
>
>

>
>
>
B
&

>
>
>

>
>
>

>
>
nat.
>

? J J J J J J J J J J J J j .
overpressure
nat.
51
&
nat.
? w
56
&

>
>
>

w
overpressure
nat.

>
>
sul pont
>

>
>
>

>
>
>

nat.

>
>
>
>
>

>
>
>
B
&

>
>
>
>
>

>
>
>
B
&

>
>
>

sul pont

>
>
nat.
>

>
>
>

>
>
>

nat.

>
>
sul pont
>

J J J
J J J J
J J J J
J J J J
61
&
sul pont
sul tasto

>
>
>
>
>

>
>
>
B
&
?
66
&

>
>
>

>
>
sul tasto
>

sul pont
nat.

>
>
>

>
>
>

&

>
&

>
>
>
sul pont
sul pont
>

J J J J J

>
>
nat.
>

J J J
J J J J
E
Violent q=98
^ ^ ^ ^
"
" " "
5
4
b >- > m
martel
^
^ ^ ^
nat.
5 " " " "
4
b
>- > m
martel
nat.
^
^ ^
"
"
"
4
>- > m
martel
^ ^ ^ ^
>- >"
b
5 " m " "
martel

>
>
>

>
>
>
>
>
?
J J J J
71

>
>
>

sul pont

>
>
sul pont
>
B
&
nat.

>
>
>

J J J
-

J J J
^
" 15 ^ ^ ^ ^ ^ 5 ^ ^ ^ ^ ^ 2
16
8
4
. b. . m..
b n
"^ 15 ^ ^ ^ ^ ^ 5 ^ ^ ^ ^ ^ 2
16
8
4
b
. b. . m..
n
S.P. N.
S.P. N.
^
^ ^ ^ ^ ^
^ ^ ^
^
"
15 . b .
5
2
16
. . . 8 b n 4
^
^
^ ^
"
15 . b . ^ . m ^ . ^ . 5 ^ ^ ^ b n ^ 2
16
8
4
& 24
76
^ ^ 15 ^
5 ^ #
12 j
16
b

m.
>
5 ^ ^ ^ ^ ^ 15 ^
12
16
b
m.
S.P. N.
^ ^
^ ^ 15 ^
5 b
12
16 m .
^ ^ ^ ^ ^
O.P.
n m
5
2 ^ ^ ^ ^ ^
&4
n m
^ ^ ^ ^
B 24 n m
5
5 ^
&4
b
5 ^
&4
b
^
5
B 4 b
S.P.
^
? 45 b
& 24
84
^ ^ ^5 ^ ^
2
&4
b n m
^ ^ ^
^
B 24 b n m
S.P. N.
^
? 24 ^ b n ^ ^ m ^
5
^ ^
. . b. n.
S.P. N.
^ ^ ^ ^
. . b. n.
45
5 ^ ^ ^ ^ ^
8
m n
5
4
58 ^ ^ ^ n ^
m
45
58 ^ m ^ ^ ^ n ^
45
O.P.
^ 2
4
m
^
^ 2
4
m
^
^
5 ^ ^ m ^ b 5 ^
24 ^ n ^ b ^ ^ 12
8
^ ^ ^ m ^ 2
4
N.
^ ^ ^5 ^
^ ^ ^ ^ ^ 5^
5
2
4 n b 12 m b 8
^ ^ ^ ^ ^
45
b n
^ ^ ^ ^ ^
45
b n
^ ^N.
^
^
^
5
4 b n
S.P.
^
54 ^ ^ ^ b n ^
N.
5 ^ ^ ^ ^ ^ 5^
2 ^ ^ ^ ^ ^ 12
4
8
n b
m b
S.P.
^ m ^ ^ ^
^ ^ ^ ^ ^
b n m
^ ^ ^ ^ ^
85
m n
^ ^

^ ^
. . b. n.
5 ^ ^ ^ ^ ^ 5
2 ^ ^ ^ ^ ^ 12
4
8
n b
m b
>
m
^
N.
^
5 ^ ^ ^ ^ 15 m ^ . ^ . ^ . b . n ^ .
12
16
^
^
? 24 ^ n ^ m ^
80
N.
^ ^ ^
m 24
5 ^ ^ ^ ^ ^
15 ^ ^ ^ ^ ^ 12
16
b
m. . . . .
5 ^ ^ ^ ^ ^
15 ^ ^ ^ ^ ^ 12
16
b
m. . . . .
24
24
^ ^
^ ^ 2
5 b
15 . ^ ^ . ^ ^ . 12
16
4
. .
S.P.
m ^ . ^ . ^ . ^ . ^ .
15
16
N.
5 ^ ^ ^ ^
12
24
O.P.
^ ^ ^
& 24
m b n
>
^ ^ ^ ^ ^
85
m b
N.
^ ^ ^ ^
58 ^
m b
88
2 ^ ^ ^ ^ ^
&4
m b n n
5
^ ^ ^ ^
B 24 m b n
S.P.
5
^
? 2 ^ m ^ b n ^ n ^
4
5
N.
5 ^ ^ ^ ^ ^
8
m b
S.P.
^
5 ^ m ^ ^ ^ b
8
5 ^ ^ ^ ^ ^
12
m
5 ^ ^ ^ ^ ^
12
m
5 ^ ^ ^ ^
12
m
N.
5 ^ m ^ ^ ^
12
15 ^ ^ ^ ^ ^
16
m. b. n. m. .
15 ^ ^ ^ ^ ^
16
m. b. n. m. .
^ ^ ^
^
15
.
16 m . . n .
.
S.P.
N.
^
15 m ^ . b . n ^ . m ^ . ^ .
16
45
5
4
45
5
4
5 ^ ^ ^ ^ ^
&4
b n
^ ^ ^ ^ ^ 15 ^
^ ^
16 j
b . . ..
m
>
^ ^ ^ ^ ^ 15 ^ ^ ^ ^ ^
16
b. . ...
^
? 5 ^ ^ ^ b n ^
4
^ ^ m ^ ^ ^ 15 b ^ . ^ . ^ . ^ . ^ . 5 ^ ^ b ^ n ^ ^ 5 ^ n ^ ^ b ^ 2
12
16
8
4
92
5 ^ ^ ^ ^ ^
&4
b n
S.P. N.
^
^
^ ^ ^
B 45 b n
5 ^ ^ ^ ^ ^ 2
5 ^ ^ ^ ^ ^ 12
8
4
b
n
m
N.
5 ^ ^ ^ ^ ^
8
b n
S.P. N.
S.P. N.
^ ^ 5 ^ ^ ^ ^
^ ^ ^ ^ 15 ^ ^
m 16 b . . . . . 8 b n
5
O.P.
2 ^ ^ ^ ^ ^ 15 ^ ^ ^ ^ ^ 5 ^ ^ ^
&4
16
8
b
.
.
.
m
..
m b n
>
97
3
4
^ ^ ^ ^ ^ 15 ^ ^ ^ ^ ^ 5 ^ ^ ^ ^ ^ 3
& 24
16
8
4
b
.
.
.
m
..
m n
5
^ ^ 5 ^ ^ ^ ^
^
^ ^ ^ 15 ^ ^
3
.
B 24 n 16
b. .
. . 8 m b n 4
N.
S.P. N.
5
4
N.
S.P.
S.P. N.
^
^
? 2 ^ m ^ ^ ^ n ^ 15 b . ^ . ^ . ^ . ^ . 5 ^ m ^ b n ^ ^ 3
4
16
8
4
5
^
54
m ^ b ^
^ ^
m b
N.
Tempo I
III:
5 - > - >
4
IV:
5 ^ ^ ^ ^ ^ 2
12
4
b
S.P.
^ ^
^
^
^
5
12 m n b 24
5 ^
4
- -
^ ^
m b
^ b ^ ^ m ^ ^
^ n ^ ^ b ^ n ^
b ^ n ^ ^ ^ ^
^ ^ m ^ ^ ^
^ ^ ^ m ^ ^
5
24
24
& 12
85
45
102
5
S.P.
^ ^ ^ ^ ^
^ ^ ^ ^ ^
^ ^ ^ ^ N.^
^^ ^ ^ ^
5
2
5
2
& 12 m 4 b m 8 n b n 4 m
5 ^
4 b
5
B 12
45
S.P. N.
24
S.P. N.
85
S.P.
24
5
N.
O.P.
^
^
^
^
^
^
^
^
^
^
^
^
^
^
^
^ ^
^
5
? 12
24 b
24
j 85
b

n n
m
m
>
5
^ ^ ^ ^
n
S.P. N.
S.T.
54 b ^
O.P.
n
>
^ ^

N.
^ ^ b ^ n ^ ^
^ . m ^ . ^ . ^ . b ^ . 2 ^ m ^ ^ ^ ^ 5 ^ b ^ ^ ^ ^ 5 ^ m ^ ^ b ^ n ^ 5
5 m
15
& 12
16
4
8
4
8
107
^ ^ ^ ^ ^
^ ^N. ^ ^ ^
^ ^ ^ ^ ^
^
^ ^ ^ ^ ^ 5
^
^
5
15
2
5
5
.
& 12 m b n 16 . m . . . b 4 . m 8 b 4 m b n 8
S.P. N.
5
B 12
15
16
S.P.
S.P.
2
4
5
8
^ ^ ^ 5 ^ ^ ^ ^ ^ 5 ^ ^ ^ ^ O.P. 5
8 b 4 m b n 8
>
5 ^ ^ ^ ^ 15 ^ ^ ^ ^ ^ . 2
? 12
b n 16 . m . . . b 4
>
b ^ . ^ . ^ . ^ . m ^ .
^ ^ m ^ ^ n ^
5
15
&8
16
^ ^ ^ ^ ^
^ ^ ^ ^ ^
5
15
& 8 m n 16 b . . . . m .
S.P. N.
B 85
15
16
^ ^ ^ ^ 15 ^ ^ ^ ^j ^
?5
8 m 16 b . m
5
8
N.
N.
O.P.
112
5
4
^ n ^ b ^ ^ m ^
5
4
^ ^
5 n b ^ ^ ^
4
m
S.P. N.
45
S.P.
^j 5
^ ^ O.P.
4 n b y
>
^
^
" . "^ . " . "^ .
15
16
S.P.
N.
^ ^ "^ "^
" "
15 . . . .
16
15
16
^
b " .
^
"
b.
N.
^ ^ "^ "^ "^
"
"
15
16 . . . . b .
II.
Static, almost motionless e=60
#o
3
&8 R $
%
S.P.
Con sord.
"
3 r$
&8
%
C.L.
Con sord. "
B 38 $
%R
Con sord. C.L.
3 #r $
& 8 b
%
Con sord.
Violin I
Violin II
Viola
Cello
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$
S.T.
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b b O $ &
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4
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Uncomfortable q=72
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#
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5
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4
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(grace notes always before the beat)
arco, C.L.
31
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45
p
III
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85
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45
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41
5
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5
4
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5
4
III gliss
5
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5
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F
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4
&
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44
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4
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? 64 > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > >

Chaz Stuarttwenty-Six Muted Colors

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Chaz Stuarttwenty-Six Muted Colors

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CHAZ STUART

Twenty-Six Muted Colors

Chaz Stuart 2013

for string quarte

Performance instruction for Twenty-Six Muted Colors

Col legno tratto (always tratto)

The following is a guide to the symbols used throughout the piece:

Quarter note with overpressure or distortion

Quarter note on the bridge

" tone sharp

Approximately 1/8th tone sharp

for the Centre Street String Quartet

Twenty-Six Muted Colors

For String Quartet

Chaz Stuart 2013

Twenty-Six Muted Colors

Twenty-Six Muted Colors

Twenty-Six Muted Colors

Twenty-Six Muted Colors

Twenty-Six Muted Colors

Twenty-Six Muted Colors

Twenty-Six Muted Colors

Twenty-Six Muted Colors

(grace notes always before the beat)

Twenty-Six Muted Colors

Twenty-Six Muted Colors

Twenty-Six Muted Colors

L Static as before, but uneasy e=60

Twenty-Six Muted Colors

nat., non vib.

Twenty-Six Muted Colors

Twenty-Six Muted Colors

Twenty-Six Muted Colors

Twenty-Six Muted Colors

Twenty-Six Muted Colors

Twenty-Six Muted Colors

> > > > > > > >

> > > > > > > >

Twenty-Six Muted Colors

Twenty-Six Muted Colors

> > > >

Twenty-Six Muted Colors

> > > > > > > >

Twenty-Six Muted Colors

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