You're on the right track but still thinking technically. As with painting or any of the arts the subject isn't the technique or the tool. The technique and tools are what you use to accomplish a work that communicates to others. It's a good exercise to limit tools and technique so that the emphasis becomes what you can do within those limitations that does communicate. Hearing what you're going to play and being able to execute that is 99.9% of what makes for a good/great improviser. It doesn't take great technique, but having it certainly helps.
Hearing harmony, rhythm, counterpoint, being able to spin melodies, blend, accompany, lead, etc. are what makes music, not cut and paste riffs, arpeggios and gimmicks that lack narrative, emotion or integrity. It's NEVER too early to think musically instead of technically. The tools and techniques are to be used in the service of musical communication. When the tools and technique become the subject is when you see your audience turn off. Our job is to entertain, tell stories, give emotions, not to try and impress. When you're successful at giving an audience a musical experience it's one of the best feelings in the world. If you're forever hung up thinking about technical issues and gimmicks, then you'll never get there.
Hearing harmony, rhythm, counterpoint, being able to spin melodies, blend, accompany, lead, etc. are what makes music, not cut and paste riffs, arpeggios and gimmicks that lack narrative, emotion or integrity. It's NEVER too early to think musically instead of technically. The tools and techniques are to be used in the service of musical communication. When the tools and technique become the subject is when you see your audience turn off. Our job is to entertain, tell stories, give emotions, not to try and impress. When you're successful at giving an audience a musical experience it's one of the best feelings in the world. If you're forever hung up thinking about technical issues and gimmicks, then you'll never get there.
