When expressivity (ignited by imagination) is incorporated into the learning process for both the conductor (teacher) and player (student), the qualities of movement, communication, instruction, and ensemble sound all change for the better, often with less work. Expressive conducting allows the conductor to feel more connected to the music and the players; it can also result in better ensemble sound. There are, however, inhibitors to expressive conducting that break down gestural communication, waste rehearsal time, inhibit creativity in performance, and influence ensemble sound for the worse. This article identifies seven misconceptions and offers practical solutions.