How can i apply arpeggios in a guitar solo?
What are the arpeggios a solo guitarist should know?
1. Any way you want as long as it sounds good to you.
2. That's like asking "what piano keys should a pianist use?".
Quote by Geldin
Junior's usually at least a little terse, but he knows his stuff. I've always read his posts in a grouchy grandfather voice, a grouchy grandfather with a huge stiffy for alternate picking.
Besides that, he's right this time. As usual.
You keep asking the same questions over and over. The bottom line is that there are no set "rules" on how to create a guitar solo. You can honestly do whatever you want to. You can use arpeggios any way you want to. Use your guitar to manipulate the music for you. Don't let the guitar play you.

And as I've mentioned to you numerous times, learn more theory. If you learn how to create chords you can easily transpose that knowledge towards creating arpeggios for solos and such.
Arpeggios can make a solo sound more melodic and more interesting than just running around a scale in a particular key.They are a simple and effective way to play with the changes,I.E you can play the correct arpeggio for the chord in which you are playing over.Jazz guitarists are an excellent example of when and how you can apply arpeggios,They use them alot.They are not limited to Jazz though,Just look at Vai,Satch,Gilbert,Chet Atkins the list goes on.....
I think I understand what you're asking. The short answer is that you use arpeggios over their corresponding chord. If you are in C major and the bass is playing a C, use a C major arpeggio. Now for the longer answers;

If you want to add more varied arps than there are chords, use them mainly as passing "notes". For example, you might have 1 bar of C then a bar of G, in which case it would be quite
acceptable to do 2 beats of C, 2 of F then the bar of G.

Be sure to know your keys; sometimes you might be playing over power chords or just a single bass note. Know which arps should be major, minor or even diminished. This gets even trickier with the latter (a single bass note at a time); consider the bassist playing C, B, A. Would the implication be C major, B diminished, A minor or C major, G major (with a B bass), A minor? It is usually the latter (look out for basslines moving by step), but that doesn't mean not to try the former, but just to be mindful that if it sounds wrong, there might be an inversion throwing you off the scent.

To complicate it further, a static harmony (ie, the same chord throughout) only implies one arpeggio. This could take a lot of experimenting, but depending on the style of the piece, you might have free run of what arps you can use, as long as they're in the right key.

If you are playing an atonal metal style piece, you're on your own, though I've heard quite a few examples just taking the root note of the piece as the key and basing solos on that. Hope this helped