The best solos will move amongst and between the various chord centers.
Sam showed an example of a pretty strictly chord-based Monroe-style break to "All the Good Times are Past and Gone" on his first Homespun series. I find when making up breaks that they are very handy for sliding into and out of and as landing spots. If you use them right, someone listening to you play will be able to "hear" the chords as they change, without a guitar or the actual accompaniment chords even being played. It is interesting how WSM's playing used the concept in such entirely different ways in both his playing with his brother Charlie and later on the Fifties. The former used alot of tremolo on closed positions (double-stops) while his later de-constructed blues style employed the more formal chop-chord positions.
Modern bluegrass mandolin draws freely from both approaches.
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