There is a direct correlation between the amplitude of the EMG signal of the right bicep and the intended dynamic (or intensity) level: the relationship appears to be proportional. Conductors seem to purposefully modulate the force output of their muscles when generating a beat gesture in order to indicate the overall loudness or intensity of the music at that beat. The amplitude of the beat-generating EMG spikes appears to indicate the intensity, sharpness of attack, or volume of the notes at that beat. For example, during the first two bars of the Allegro non troppo movement in to Tchaikovsky’s Symphony no. 6, subject P1 gives two consecutive crescendo–decrescendo pairs. The amplitude of the heights of both crescendos is roughly equivalent, and the relationship of the intervening beats is scaled evenly. Two smaller crescendi appear later, to give emphasis to the rhythmic texture. These, not marked in the score, are given with less emphasis.

In a second example approximately thirty seconds later, P1 gives a large-scale crescendo and decrescendo that takes nine measures to complete. Again, the relative scale between the softest and loudest portions appears to retain its proportionality. In Figure 22, below, P1’s EMG signals scale from pp up to ff and back down to pp; this corresponds to 1 before A to 12 after A in the fourth movement of Tchaikovsky’s Symphony no. 6. All four EMGs are shown – EMG0 is his right biceps, EMG1 is his right triceps, EMG2 is his left biceps, and EMG3 is his left triceps.

In a third example, subject P3 makes a graduated decrescendo and crescendo with his left hand during a segment from the Love Theme from "Titanic". Figure 23, below, shows his left biceps’ signal during this segment, demonstrating the extreme difference between various levels of tension in this muscle.