It almost seems too obvious to even require mentioning, but it’s the best advice I was ever given as a young musician:

Do less, and do it well

If in doubt, leave it out goes the old adage about instrumental soloing. It equally applies to composition as well – but what else is improvisation, if not instantaneous composition?

Think about what you’re trying to say, and be sure to communicate that message in a way listeners will be able to understand.

Imagine trying to listen to someone give a lecture, but the speaker in question spoke incredibly fast and never paused for breath. It’s exhausting to listen to. And sometimes, when you are trying to be get your point across, it can be better to say less.

This is why all those flashy million-notes-per-second solos are generally only preferred by other musicians. The best solos carry a song without filling the entire sonic pallete, leaving room for the listener to hear the context in which the solo exists.

“The most important thing I look for in a musician is whether he knows how to listen”

Duke Ellington

The great jazz improvisers such ad Miles Davies referred to this as ‘hot space’ and valued it as highly as – if not higher than – the notes being played in solos.

However, that’s not to say that the noodling doesn’t have its place. Of course it does. It’s certainly true that speed and long, winding melody lines have their place, but they need to be used sparingly, like spices which might otherwise overpower the dish when you’re cooking.

Naturally, there’s no clearly defined correct way to improvise. The whole point of improvisation is we literally making it up as we go along! Go out there and take risks – just leave room for everybody else!

And remember, context is key, always.