This paper continues a previous one which described performances of the Bourré I form the Suite No. 3 in C Major for Solo Cello by J. S. Bach, by Paul Casals, Pierre Fournier and Yo-Yo Ma. In this opportunity, two attributes of the micro structure of other by Maurice Gendrom, Mitslav Rostropovich y Paul Tortelier. The main goal of this is to describe the individual characteristiscs of the use of dynamics and timing in expressive performance. A proportion of deviation of the actual performance from the nominal value was obtained. These values were graphically represented as profiles of expressive timing and dynamics. A description of each of the selected performances is presented according to the following categories: relationship dynamic profile / timing profile; 2) Relation between both profiles and grouping structure (Lerdahl & Jackendoff, 1983); 3) Relation between both profiles and metrical structure; 4) Relation between both profiles and tonal structure (Prolongational Reduction, according to the voice leading principles (Schenker, [1935] – 1979). Data seem to indicate that both components tend either to compensate each other or to compensate other structural attributes. However, an observed non systematisation of this use, seems to account both of its unconscious nature, and its origin in the search for the homogeneity of the personal touch.