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Charm

for solo vibraphone
Level: Medium
Duration: 6:15
Release Date: 2022
Product ID : TSPCS22-004
Price: $17.00
Item #: TSPCS22-004

Formats Available:


Description

Kyle H. Peters drew inspiration for Charm from two places. For one, he felt inspired by some of his favorite soundtrack music; additionally, he cites a certain definition of the word "charm" itself: "the chanting of a magic spell." Peters succeeds in writing a piece that reflects this meaning - this work is a haunting, wondrous journey that showcases the lyrical nature of the vibraphone.

The piece provides the opportunity for players to explore the technical aspects of the instrument, too. Dead strokes and dampening are effectively used throughout to contrast with the pedaling, which may be interpreted freely to give a unique feel to each performance. A version with suggested pedaling is included as a springboard for interpretation. Full of enchantment and wonder, this work is a touching, expressive addition to any student recital!

Charm ships as a printed, professionally-bound folio with a full-color cover.

Instrumentation

Vibraphone

Reviews

“Charm” is a great vehicle for high school or early university students to develop their approach to the vibraphone. The charm of “Charm” is that the six-minute vibraphone solo is written for (and should be played with) just two mallets, allowing performers to focus on their sense of touch and spacial awareness around the instrument without the added distraction of the four-mallet techniques that so often dominate our practice hours.

Of further use to developing vibes players is that two versions of the score are provided: one without pedal markings and one with suggested pedalings. The piece’s frequent repetition of its melodic content, along with its overt programmaticism (the composer’s note alludes to it as having been “inspired by some of my favorite soundtrack music”) make it all the more accessible to intermediate students.

However, the piece’s accessibility, avoidance of four-mallet techniques, and determination of “medium” difficulty by the publisher are a bit misleading. For performers who have previously spent little time behind a vibraphone, “Charm” will require the development of vibraphone-specific skills before they can implement the various mallet dampening and dead-stroke techniques comfortably and seamlessly. This is a good thing! So often in large and small ensembles, we percussionists overlook opportunities for expressivity in vibraphone parts (which are, more often than not, written for two mallets), and “Charm” seems custom-built to address that need.

-Brian Graiser
Percussive Notes
Vol. 60, No. 6, December 2022

Description

Kyle H. Peters drew inspiration for Charm from two places. For one, he felt inspired by some of his favorite soundtrack music; additionally, he cites a certain definition of the word "charm" itself: "the chanting of a magic spell." Peters succeeds in writing a piece that reflects this meaning - this work is a haunting, wondrous journey that showcases the lyrical nature of the vibraphone.

The piece provides the opportunity for players to explore the technical aspects of the instrument, too. Dead strokes and dampening are effectively used throughout to contrast with the pedaling, which may be interpreted freely to give a unique feel to each performance. A version with suggested pedaling is included as a springboard for interpretation. Full of enchantment and wonder, this work is a touching, expressive addition to any student recital!

Charm ships as a printed, professionally-bound folio with a full-color cover.

Instrumentation

Vibraphone

Reviews

“Charm” is a great vehicle for high school or early university students to develop their approach to the vibraphone. The charm of “Charm” is that the six-minute vibraphone solo is written for (and should be played with) just two mallets, allowing performers to focus on their sense of touch and spacial awareness around the instrument without the added distraction of the four-mallet techniques that so often dominate our practice hours.

Of further use to developing vibes players is that two versions of the score are provided: one without pedal markings and one with suggested pedalings. The piece’s frequent repetition of its melodic content, along with its overt programmaticism (the composer’s note alludes to it as having been “inspired by some of my favorite soundtrack music”) make it all the more accessible to intermediate students.

However, the piece’s accessibility, avoidance of four-mallet techniques, and determination of “medium” difficulty by the publisher are a bit misleading. For performers who have previously spent little time behind a vibraphone, “Charm” will require the development of vibraphone-specific skills before they can implement the various mallet dampening and dead-stroke techniques comfortably and seamlessly. This is a good thing! So often in large and small ensembles, we percussionists overlook opportunities for expressivity in vibraphone parts (which are, more often than not, written for two mallets), and “Charm” seems custom-built to address that need.

-Brian Graiser
Percussive Notes
Vol. 60, No. 6, December 2022


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