Here's a couple of examples on how to improvise and flavor up your solos while remaining intact with the mode you're expressing.
We'll use the E Phrygian mode, which is a minor mode, as an example. The notes are; E-F-G-A-B-C-D
A great way to grasp onto this is to start out simple. Since we are using a minor mode, let's turn our focus to the minor Pentatonic scale. The notes of the E minor Pentatonic are; E-G-A-B-D
Now the D minor Pentatonic; D-F-G-A-C
And the A minor Pentatonic; A-C-D-E-G
All these notes relate to the notes in the E Phrygian mode. This can be a great help when trying to decide what chords fit best in a progression. We can see that Em, Dm and Am all work. What about Fm? No, it has an Ab. F Major? Yes, it has F-A-C. Is there a better fit that would include the Tonic from E Phrygian? Yes, FMaj7 has F-A-C-E. Any others? Yes FMaj9 has F-A-C-E-G and FMaj13 has F-A-C-E-G-D.
Try playing an FMaj7 and notice how it wants to resolve to Em.
I would like to point out another connection in regard to the FMaj7 chord structure when played at the 1st fret position. Notice how it is just an open Am chord with F as the Root. Even though the open A string is the 3rd of the F Major chord, it is not played (Deadened) by most, as not to emphasize a possible Am overtone from the F root note.
Next let's look at the E Phrygian and the E Aeolian modes, which are both minor modes.
