This chapter discusses chamber music performance from the concept of discursive voice, previously proposed by the two authors. It takes two recently premiered compositions by David Gorton, for charango and soprano violin, and for two guitars, premioered by Östersjö, with Mieko Kanno and Jessica Kaiser in 2019, as point of departure. Different methods are used in the study of the two collaborations, combining qualitative and quantitative methods. The results suggest that the model of discursive voice is efficient in describing the nature of the interactions between the two performers and the score.