A BALLAD IN TIME AND SPACE  tenor saxophone and piano
		Fred Hemke Brewster Records [BR 1204]
	GAMBIT  solo percussion and 2-channel tape
		William Youhass CAPRA Records [CRS 1201]; reissued as [CRS 1210]
	IMAGINARY DANCES  solo piano
		Lois Svard With and Without Memory Lovely Music Ltd [LCD 3051] "My favorite piece, and the one that gave Svard the most emotional latitude, was William Duckworth's Imaginary Dances. The gentle, blues-tinged perpetual motion these nine dances set up offered even more goosebumps per movement than the same composer's famous Time Curve Preludes." Kyle Gann, The Village Voice,1991
	A MASS FOR THESE FORGOTTEN TIMES  SATB chorus
		Univ. of Delaware Recording
	PITT COUNTY EXCURSIONS  tenor saxophone and piano
		Steve Mauk Tenor Excursions Open Loop Records [019]
	POLKING AROUND  solo accordion
		Guy Klucevsek/Ain't Nothin' But A Polka Band Polka Dots & Laser Beams Wave/EVA, Tokyo [WWCX 2036]
	REEL MUSIC  saxophone quartet
		Chicago Saxophone Quartet Brewster Records [BRS 184]
	SLOW DANCING IN YUGOSLAVIA  solo accordion
		Guy Klucevsek Transylvanian Softwear John Marks Records [JMR 4]
	SOUTHERN HARMONY  SSAATTBB chorus
		The Gregg Smith Singers Lovely Music Ltd [LCD 2033] The Rooke Chapel Choir (selections) Albany Records [TROY 098] "William Duckworth has effected a small secular miracle... Go for this one." Fanfare, May/June 1994 "The overall effect os extraordinary...this is music of great beauty and substance." Option, Sept./Oct. 1994
	TANGO VOICES  solo piano
		Yvar Mikhashoff Incitation to Desire New Albion [NA073CD]
	THIRTY-ONE DAYS  any solo woodwind
		Michael Swartz, alto saxophone Lovely Music Ltd [LCD 2032] "Duckworth's composition asks a very pertinent question about the art of the improviser: whether familiarity opens the door to rampant cliches. The success of Duckworth's score is that it purposely engineers detachment....A Classic." David Ilic, Wire Magazine (England), 1988
	THE TIME CURVE PRELUDES  solo piano
		Neely Bruce, piano Lovely Music Ltd [LCD 2031] "Whatever you choose to call it, it is something special." Keyboard Magazine 1983 "The piece is moody. It is frenetic, then mantric, then lyrical, then chaotic, then silky." Option Magazine 1984 "a work of captivating beauty. One has the impression of hearing a kaleidoscope." Musical America 1986