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https://youtu.be/Zi1dfkWvF5Q
For example if a song in C uses an A major chord you would want to use the C# and not the natural C?
There's less information in chords, arpeggios and pentatonic scales than there is in a scale (and key signature). Ambiguity can be good for melodies, but if not, you can use any two neighbouring diatonic chords (or arpeggios) to describe a scale, ( e.g. Cmaj7 + Dm-7 )
When we say "A major" in the key of C - an A major triad AC#E contains less conflicting information than a Major7th chord (AC#EG#). The first contains what the brain will probably interpret as a b9, the second contains b9 #5 (scrambled brain) .. and a dominant 7th (AC#EG) contains more diatonic notes hinting at C# being the odd-one-out and deserving of our special interest to make the audience love it - the writer put it there for a reason after all.
Playing the changes - the chord tones requires knowing the arpeggio patterns (1 octave is enough if you know the fretboard) - for country you'll want to play with 9th and 13th chord sounds (so an E minor or A minor arpeggio over C) favour strings 1-4 to avoid Clem (the bassist) from thinking you're after his job - the downside of playing the changes is you won't create a strong melody.
If you break the chord progressions into a couple of parts that can be explained by different keys (not necessarily equal lengths) you can pick the mode that makes sense and lead into the transition and prepare the audience for the modulation, preparing people for the modulation requires not being ambiguous and negotiating the point where some notes clash or jar, being country you can bend up or down to them.
One way to approach soloing in country or any style really is to think of any note as fair game to hit but not linger on ... So if you have a progression from Gmaj to Dmaj you can hot any notes on the way but if you stop on a note then it needs to make sense over the chord and for best effect the note would generally be the root, third or fifth of that chord. This isn't an absolute rule but observing this rule will instantly make your solo's far more melodic than a solo derived from playing a familiar shape with no thought to the actual notes.
So acknowledge the key of the song as a starting point but try and get the solo from a combination of playing what you hear in your head and choosing notes that work over the chord changes and compliment them.
It's also about the feel and phrasing as much as the notes (or it can sound too bluesy )
Incorporate all the Country tricks for the win :
Double stops and Double stop scale runs
Open string Cascade licks ( as Danny says ......using outside tones but make sure to resolve )
Double stop Bends
Also..........say Y'all and Yeehaa a lot as you play ; wear a check shirt and a Stetson and buy a pickup truck