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As we've discussed previously, the chosen selection of comping chords can help provide the basis for a solo. That's especially true when you're improvising with triads -- every new chord provides a new set of three notes to ride on!

Lines built solely around triads can sound especially dry and boring if you don't inject personality and a compelling rhythmic feel to them. Once you get comfortable with the voicings and fingerings of various triads, start working on dynamics and phrasing. In the video and notation, I show just a few of the rhythmic variations possible.

Your first challenge, though, is to start seeing and hearing triads up and down the neck. The more familiar you are with these shapes, the better you'll be able to grab them without thinking too much. Here I'm showing triads alternating between F and Eb, ascending in pitch.

Work them from the bottom up, from the top down, and all around. Then find another pair - like Cm and F, or Bm and E - and figure out where they are all over the neck. It sounds like a lot of work, but if you know your chords, you'll quickly start recognizing triads from inside those familiar shapes.