These Four Etudes for Vibraphone were written by special request of Philippe Limoge, to whom they are dedicated. Each piece follows an algorithmic process which explores a particular aspect of the instrument; the whole could be thought as a set of variations of a reduced number of harmonic and rhythmic materials. Etude #1 is based on the principle of missing fundamental: pairs of high notes (played on the crotales) are harmonically related to the ones bowed on the vibraphone forming subsets of a harmonic scale. Based on a multi-layered chromatic descent, Etude #2 explores polyphonic and heterophonic textures taking advantage of wide intervalic leaps only possible with four-mallet technique. Etude #3 is an homage to French composer Gerard Grisey. In this piece the instrument is used in a purely harmonic fashion, with a perpetual chromatic descent hidden in the inner voices of the chords, demanding extremely wide and narrow intervals to be played on each hand. Etude #4 is a study in speed and morphology. A simple descending arpeggio is repeated broken into groups of 4, 5, 6 and 7 notes, the harmony is gradually transformed from a pure harmonic scale into a quite inharmonic one which at its turn gets erased by a high-pitched chromatic scale played on the crotales.