This is a concept that I hear a lot in playing by modern blues players like Matt Schofield, Robben Ford, Larry Carlton, and others.
It involves using a bit of music theory to “borrow” the arpeggios from other chords within the key, not the chord that is being played.
What that does is create a situation where you are tending to focus on the “colorful” chord tones, and not so much on the traditional ones.
Used with purpose, and resolving this correctly, yields a really cool sound – doing it wrong, tends to sound wrong 🙁
This is just one of the topics in my new “Modern Blues Soloing” course, which is here: