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Oboe
Studies in
Musical Expression
from the works of Barrett
edited by
William R. Higgins
2001
William R. Higgins
848 Arlington Road
Camp Hill, PA 17011
Musical Expression
Expression in music refers primarily to the creation of a mood or emotional state in the listener
brought about by the performers regulation of stress and release within the musical line. While all
music has at least some degree of emotion, cantilena or song music generates the greatest amount of
expression. Bravura music such as marches, all types of dance music, and popular music is of a more
stylistic nature and intended to accompany a physical activity as opposed to conveying an emotional
state or meaning. Musical expression, therefore, should not be confused with musical style.
Note Grouping
Contemporary notational practices dictate that notes are to be barred in relationship to the meter of
the pieces duple or ternary divisions. While mechanical subdivisions aid in the counting of music and
assist in ensemble unity, they interfere with the underlying musical grouping of the notes. Whereas
young students must rely upon artificial groupings for a sense of pulse and meter, more advanced
students should concern themselves with musical note grouping as the primary guide to expression.
The goal of musical expression is to create motion in music. Motion infuses the musical line with
life and thereby gives it an expressive quality. The creation of this motion inherently lies with the
treatment of the anacrusis or upbeat. If the upbeat is stressed and the downbeat is de-emphasized,
motion will occur. In printed music, notational practices visually give emphasis to the beat. Students
should learn to look between the beats, to the notes that move the music forward.
Example of unexpressive grouping which is standard in printed music. Note that the grouping
is from the strong beat to the weak beat
SB WB SB WB SB WB SB
SB WB SB WB
SB WB SB
Example of expressive grouping. In this more musical grouping, note that the weak beat, not the
strong beat, is at the beginning of the group.
SB WB SB W B
SB WB SB
SB WB SB W B
SB WB SB
SB =
Strong Beat. (beats 1 and 3 in duple meter; beat 1 in triple meter, beats 1 and
4 in compound meter.)
SB
SB
SB
SB
SB
SB
SB
SB
SB
SB
SB
SB
SB
SB
WB
Weak Beat. (beats 2 and 4 in duple meter; beats 2 and 3 in triple meter, beats 2, 3,
and 5, 6 in compound meter)
WB
WB
WB
WB
WB
WP =
WB
WB
WB
WB
WB
WB
WBWB WBWB
WP
WP
WP
WP
2 2 2 4
SB
WB
SB
WB
SB
Example of a Weak Part of a beat to a strong part of a beat: ( Upbeat to Downbeat movement )
WP
SP WP SP
WP
SP
WP
SP WP
SP
WP
WP
WP
WP
WP
WP WP WP
3 3 3
SB
WB
WB
SB WB
WB
SB
Example of two levels: (1) weak beats to strong beats and (2) weak parts of the beat to the beat
WB
WP
SB WB WB
SB WB WB
WP WP
SB
6 12
Compound Duple Meter (grouped in 2s and 3s) - 68 12
8 4 4 etc.
At a fast tempo, 68 flows in two beats to a measure. At slower tempi, 68 flows in two groups of
three notes acting like both a duple and a triple meter at the same time. Since most expressive
music is at a slower tempo, a combination of 2s and 3s is most common.
WB SB WBs
SB WBs SB WB SB WBs
SB
WB
WB
SB
WPs
WP
WB
WP
SB
WPs
Articulation
Ta
Da
Ta
Ta Da
Ta
Da
Dynamics
Duration
Accentuation
Tone
da de da de da
de da de
da
da de da de da de da de da
Tempo
move forward slightly
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26
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30
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J
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20
23
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Cantabile
16b
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p
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20
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p
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f
Allegretto
17a
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q
A
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17
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22
26
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30
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a tempo
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34
.
j
J
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B
n
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n .
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j
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j >
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>
Allegretto
17b
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p
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13
17
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22
26
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30
J
a tempo
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34
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p
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p
18a
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13
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22
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26
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31
35
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18b
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26
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31
35
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19a
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12
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24
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28
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32
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19b
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12
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16
24
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28
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32
Moderato
20a
&c
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10
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15
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25
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40
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45
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35
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c
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20b
J
p
5
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10
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20
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30
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Moderato
# n
&
#
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S
p
40
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&
p
.
45
.
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J
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p
S
50
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J
J
35
21a
6
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6
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p
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# . .
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11
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p
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21
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16
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26
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36
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40
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p
31
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21b
6
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11
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21
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26
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36
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31
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& 8
22a
.
J .
p
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12
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20
rit.
24
&
27
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###
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J
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31
# n
p
Coda
.
J
a tempo
22b
### 6
& 8
Andantino
J
p
..
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# J J
&
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J
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J
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1
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12
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16
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a tempo
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20
24
&
27
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31
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p
.
p
b
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B
2
1
n n #
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b 2
b
& b 4
23a
Allegro
. .
.
.
.
#
b
b
b
&
f
S
12
n
n .
bb b # n # n n n # # n # # # # n . # n n .
&
18
bb b n # n . # n . # n .
n
&
23
28
&
33
&
bbb
bbb
. . . .
n . n . n # .
F
cresc.
#
S
.
A
bb b n n n . b . n .
&
40
bb b A . . n . . . . . . .
&
45
23b
6
&
b 2
b
& b 4
. .
.
p
Allegro
n n # 1
.
bbb
n j
..
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.
.
.
#
b
b
b
&
S
f
12
#
p
n .
n .
n .
bb b # n . # n n . n # # n . # . . . # . # # n . # n n .
&
18
bb b n # n . # n . # n .
n
&
23
28
&
bbb
b
& b b - n
33
. . . .
n . n . n # .
F
cresc.
p
S
bb b n j n n . b . n .
&
40
bb b A . . n . . . . . . .
&
45
Adagio
24a
bb c
b
& bb
..
j
.
.
R
p
bb
&bbb
. . .
bb
b
& bb
S
. n
11
b
& b bbb . n
>
15
bbb
b
& b
F
19
> .
..
R
T
.
. . .
n
.
b
. . . .
n
j
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3
b
& b bbb . n
24
..
R
r
Coda
>
J
p
>
> >
>
n b
bb b b j > >J r
n n
& b
27
> >
bb b b j J j > >J r . . . n n
& b
30
n b
.
bb b b
R
& b
33
.
J R
Adagio
24b
bb c
b
& bb
..
R
j
. . .
bb
&bbb
. . .
bb
b
& bb
S
. n
11
b
& b bbb . n
>
15
bbb
b
& b
F
19
> .
..
R
T
.
..
R
. . .
n
.
b
. . . .
n
j
. .
3
b
& b bbb . n
24
>
J
p
>
n b
bb b b j > >J r
.
.
. n n
& b
27
> >
bb b b j J j > >J r . . . n n
& b
30
.
bb b b n b
R
& b
33
.
J
R