Chord Tones: The Secret to a Melodic Solo
Landing on a chord's own notes on the strong beat (see [[targeting-chord-tones-in-solos:the article on targeting chord tones]]) is only one way to use them. The second, more melodic way is to play those notes back to back, one after another, as an arpeggio, rather than just grazing one of them in passing.
How an arpeggio feels different from a scale
A scale sounds like every available degree in a row; an arpeggio is only the three or four notes the currently-sounding chord is actually built from (see the article on triads). That's exactly why an arpeggio feels more 'purposeful' and 'correct' on that specific chord - there isn't a single note in it that falls outside the harmony.
An arpeggio doesn't have to sound 'classical'
The word 'arpeggio' brings up academic music, but at its core it's just playing a chord's notes in sequence - the same device works in rock and blues solos too, just with a different rhythm and technique (alternate picking, legato through hammer-ons and pull-offs - see the article on hammer-ons and pull-offs).
A short arpeggio inside a phrase, not a whole separate number
An arpeggio doesn't need to carry an entire phrase - more often it works as a short 3-4 note insert inside a wider melodic line built on a scale or pentatonic (see the article on connecting chords and scales). A sharp switch from scale to pure arpeggio right on a chord change is exactly what makes a solo 'melodic' rather than technical for its own sake.
Drill: an arpeggio on every chord change
Take a progression of two or three chords, and on every change play a short arpeggio of exactly the current chord (3-4 notes) before returning to the regular scale. Listen for how every chord change becomes a distinctly audible event in the solo, not unnoticed background.
Try it in practice
Open chord trainer