In the mid-1980’s when Lawrence D. “Butch” Morris began exploring Conduction® with ensembles, first in San Francisco, and later New York, USA he was aware of its potential as a crucible for the exploration and expansion of musicianship, musical expression, and interpretation. In this brief, I will outline the basic elements of Conduction®, how it works in performance, and how it empowers improvisers, challenging them to become members of a self-regulating ensemble where virtuosity is measured as the sum of the individual’s actions, and their contribution to the whole of the emergent work. Further I will address how it may be used in educational settings affording student musicians the opportunity to informally explore sound production, technique, interpretation, improvisation, and listening in a creative context where traditional confines of ensemble practice are suspended and individual expression, empowerment, and critical assessment are praised.