While there are no absolute rules concerning expressive playing and phrasing, this innovative series clearly lays out basic concepts that help players become good musicians. The series focuses on the natural relationship between meter, rhythm, contour, tonality, style and historical period, and guides the player to a greater understanding of factors that can improve performance. This one of a kind text, written for teachers, woodwind, brass and percussion players, will help stimulate and cultivate more musical playing by individual musicians and by ensembles as a whole.

Acknowledgements
Introdiction
Imagery and Expressive Phasing
The Mechanics of Expressive Playing and application
Music Notation and Expressive Phrasing
Focus on the performance goal
How to use the text
The teachers mannual
Recorded Examples
Online Supplementary Examples
Support Breathing Explanation and Diagrams and Individuals and Ensemble Tuning
Ensemble Tunning Chorale Number 1: Diatonic Harmony
Ensemble Tunning Chorale Number 2: Chromatic Harmony
Meter in 2
Meter in three
Meter in four
Meter in two
Meter in three
Meter in four
Pulse and Subdivision in 2
Pulse in two and subdivision in three
Pulse in four and subdivision in four
Accent and taper style articulation meter in 2
Accent and taper style articulation meter in 3
Accent and taper style articulation meter in 3
Bold Accents
Dramatic Accents
Inflection and emphasis two techniques
Performing Silence playing an upbear entrance or tones on the off beat
Naturally unstressed and forward looking half beat subdivisions
Naturally stressed tones occurring on the pulse half beat subdivision
Phrasing stressed and unstressed short tones half beat subdivision
Phrasing of stressed and unstressed short tones one third beat subdivision
Rallentando
Accelerando
Rubato phrasing and tenuto
Crescendo and diminuendo by beats
Crescendo and diminuendo by subphrases
Natural tendencies of rising and descending lines
Light high tones
Silence within phrases
Phrasing within and over slurs
Leaps within phrases
Phrasing when there is little or no rhythmic variety
Phrasing that begin with an anacrusis
First tones of phrases
Connecting upward Scale lines and wide leaps
Sequence
Disjunct Melodies
Arpggiated Melodies
Repeated tones
Repeated Phrases
Melodic Tension and resolution
Subordinate lines and expression
Imitation
Ensemble balance and indicated dynamics
Harmonic tension
Four Meter three eight note hemiola pattern
Four Meter latin syncopated patter
Four Meter Syncopated pattern
Four Meter quarter note pattern with two interpretations
Three meter walts patter
Two Meter with subdevision of the pulse in three
Meter in five eight and seven eight