Musicians, in the discussion and teaching of their art, commonly make use of vocalizations in order to demonstrate a particular melody or musical phrase. In the present study, we consider the use of these vocalizations as part of embodied depictions, and the role that these embodied communication practices play in music instruction. Data drawn from video recordings of private lessons between a clarinetist and his instructor demonstrate that these enactments are used in order to (re-) represent the experience of both performing and listening. The music instructor makes use of these embodied depictions for a number of actions central to teaching the art, including assessment, direction, and displays of understanding. In considering body-based communicative practices as an instructive tool, we consider both simulation and social action based cognitive perspectives through application in the analysis of goal-oriented interaction.