60s Motown meets Classical Electronica
In the first half, the extended melody steps gradually downward, whereas in the second half it climbs back up, experiencing some struggle and tension along the way.  The piece concludes with a jazzy cool-down, serving up some possibly deserved relief.

Reach Down Reach Up

A set of celebratory dances, creating a disturbance in the market square and causing tourists to flee back to the safety of their respective cruise ships.

Petite Suite Idiotique: From the Old Country

Waltz from Chicken White
Here is a short but sweet waltz in an early 20th century style.  It’s a bit of pastiche, but I don’t think that hurts its appeal.  I had intended for it to be a part of the yet unfinished ballet “Chicken White,” for which I came up with a series of ridiculous plots, none of which proved acceptable.

Waltz From Chicken White

Here we return to a more cinematic or story-like style.  There is a mischievous opening, then a percussive chase scene, a nostalgic tune (the core of the piece), then a triumphant little coda.

The Adventure of LC Knoor

A warm and "dry" sounding track from about 30 years ago that compares common 80's synthesis technique to later, sample based techniques.  Part one is rhythmically folk-like and light.  In part two, Count Basie arrives in the desert and gives us a simple variation.

Death Valley Boardwalk (two parts)

Mr. Otis Presents:
I composed this tune in 1996, just after returning to Virginia.  With no acoustic drums or percussion parts, all the rhythmic action consists of wave sequences provided by a Korg Wavestation, a wonderful but specialized instrument that was mostly neglected by musicians, because it was a bit difficult to integrate into pop music, especially in live performance.  I would classify the tune as electronica, although it is more closely related to the early ‘60s British hit “Telstar” by the Tornados.  I use quirky melodies with a few odd twists and turns, along with some restless, searching harmonies, but it’s all simple and straightforward, although a bit ecstatic, especially at the end.

Mr Otis

This is a tune from the yet unfinished pantomime/ballet “Chicken White,” in which Elvis the Rooster discovers a three foot tall chocolate egg one Easter morning, circumscribed by three layers of wavy marzipan, like a wild, trombone blast represented on the raised grooves of a 78 rpm record.  Unable to resist the chocolate goodness, Elvis ends up with gobs of melted chocolate all over his feathers.  The music reflects his initial joy upon his spotting the marvelous egg, which, unbeknownst to Elvis, contains the yet unborn “Chicken White.”

Rooster Luck

An imaginary cruise to the true Deep South.

Tierra del Fuego

Here is an upbeat piece for electric viola, African drum rhythm and chamber strings.  I call it True Spring.  Think of it as an extended improvisation rolling along a series of hills and valleys.

True Spring

Up North

This tune was composed back in ‘76 and has evolved since, stubbornly refusing to go away.  I recorded this version some years ago, which contains a lively, somewhat humorous solo for two pianos, three hands and two feet.  A restless drummer tries to change the tune at the conclusion, but no avail.

Peter B. Williams