txtCommentary1=In most discussions of music, the term \'93color\'94 applies exclusively to {\uldb timbre}{\v 99845}, also known as tone color. Timbre enables us to distinguish between the brilliant {\uldb tone}{\v 100650} of a trumpet and the mellow tone of a clarinet. In Mozart\'92s {\uldb string quartets}{\v 154839}, color in this traditional sense means little. The tone color of a string quartet is intentionally blended and even, from the lowest {\uldb register}{\v 93789} of the {\uldb cello}{\v 76489} through
txtChapterHead=Color
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txtCommentary2=\par\par\par\par the highest register of the {\uldb violin}{\v 105626}. Instead, color in quartets takes on subtle qualities that would ordinarily be subsumed under other categories. The qualities exploited most intensely by Mozart in {\uldb K.}{\v 137211} 465 are {\uldb scoring}{\v 157258} and the contrast between the {\uldb major}{\v 86320} and {\uldb minor}{\v 88035} modes.{\fs24\uldb \'80}{\v next}
