The rehearsal process is an integral part of each conduction. Morris repeatedly goes over the signs and gestures with members of the ensemble, both familiarizing them with the vocabulary and imparting an intuitive sense of the spontaneous creativity the process attempts to inspire. Several weeks after the Stone Memorial, Butch returned to Tonic for an all trumpet conduction project curated by Dave Douglas, attempting the difficult task of acquainting 15 mostly unfamiliar musicians with the rigors of the process in a single one hour rehearsal preceding the evening's performance. The players had all received an email detailing the signs and gestures prior to the rehearsal and professed different levels of understanding. Morris explains that they will only utilize six or seven of the signs that day and begins running them down. There are questions from some of the trumpeters and some admonitions from Morris, but soon he is somewhat satisfied with most of the group's grasp of the material and begins the creative process. He tells the ensemble, "Have fun. Take a chance, challenge yourselves." The music they play pleases him. Later, he seems less content with the public performance despite the standing room audience's raucous approval.
The trumpet conduction (No. 134) differed from most others in that Morris chose neither the instrumentation nor the players. Typically a conduction begins with a sound that Morris hears in his head. Next he decides on the instrumentation he needs to get that sound. Then he selects the members of the ensemble based on the musicians' ability to go in the direction in which he wants to lead them. His next major conductions are at Joe’s Pub and the Bowery Poetry Club (BPC) and will definitely sound very different than the trumpet conduction, which was tonally limited by the nature of its instrumentation and improvisationally restricted by the inexperience of the performers with the process. The upcoming BPC Sheng/Skyscraper performances will utilize a wide variety of instruments, played by musicians who are already familiar with conduction, including Morris' long time collaborator J.A. Deane, whom he credits with exhibiting a rare humaneness in his use of sampling and electronics. The ensemble’s sound will be defined by its daring juxtaposition of seemingly disparate instruments (electric and acoustic, stringed and percussive, Western and Eastern), including guitar (Brandon Ross), bass guitar (Jesse Murphy), keyboards and drum machine (Shahzad Ismaily); trap set (Tyshawn Sorey), vibes (Matt Moran), and balafon (Abou Sylla); violin (Jason Kao Hwang), cello (Okkyung Lee), oud (Thomas E. Chess), kora (Balla Tounkara), di zi (Shu-ni Tsou), erhu (Guowei Wang), guzheng (Junling Wang) and Cooper-Moore’s teze, a harp-like instrument which Morris calls “home made thunder”. Where the music goes will be determined by the collective creativity of the fifteen players. And the incredible visionary imagination of one Lawrence “Butch” Morris.