It sounds like the benefit of only playing notes in the pentatonic scale would be that you will have no “wrong” notes.
The only wrong notes are the ones played without conviction. :music::rock::music:
To elaborate on my previous response, consider a 16-bar I-IV-V progression in the key of G (call it a blues progression if you wish, but this would be at home in any American roots genre):
| G Maj | G Maj | G Maj | G Maj |
| C Maj | C Maj | G Maj | G Maj |
| C Maj | C Maj | G Maj | G Maj |
| D Maj | D Maj | G Maj | G Maj |
Before we can outline our solo, we need to lay a little groundwork. Three pentatonic major scales can be built on the tonic, subdominant, and dominant of the scales for each of these chords as follows:
Pentatonic scales for G Maj:
G - G A B D E
C - C D E G A
D - D E F# A B
Pentatonic scales for C Maj:
C - C D E G A
F - F G A C D
G - G A B D E
Pentatonic scales for D Maj:
D - D E F# A B
G - G A B D E
A - A B C# E F#
Lastly, the avoid notes for these chords are as follows:
G Maj - C (sometimes F#)
C Maj - None (rarely B)
D Maj - G
Now that all of that is out of the way, we can consider a few different ways to apply these scales to the progression...
First we have the KISS approach: play the G pentatonic scale over the entire progression (avoid notes in parentheses):
| GABDE | GABDE | GABDE | GABDE |
| GA(B)DE | GA(B)DE | GABDE | GABDE |
| GA(B)DE | GA(B)DE | GABDE | GABDE |
| ((G))ABDE | ((G))ABDE | GABDE | GABDE |
To add a little interest, we can change our scale choices to match each chord. In this case, the B of the G pentatonic is augmented to become C in the C pentatonic, and the G is diminished to become F# in the D pentatonic. Playing a V pentatonic over a V chord is general best practice in I-IV-V and ii-V-I progressions, and these small changes can be powerful in the context of the progression:
| GABDE | GABDE | GABDE | GABDE |
| CDEGA | CDEGA | GABDE | GABDE |
| CDEGA | CDEGA | GABDE | GABDE |
| DEF#AB | DEF#AB | GABDE | GABDE |
To change things up a bit more, we can switch between the I and V pentatonic scales over the I chord to create more melodic variety:
| GABDE | GABDE | DE(F#)AB | DE(F#)AB |
| CDEGA | CDEGA | DE(F#)AB | GABDE |
| CDEGA | CDEGA | DE(F#)AB | DE(F#)AB |
| DEF#AB | DEF#AB | GABDE | GABDE |
If you still want a bit more to work with, try changing scales with every bar:
| GABDE | ((C))DEGA | GABDE | DE(F#)AB |
| CDEGA | GA(B)DE | DE(F#)AB | GABDE |
| CDEGA | ((F))GACD | GABDE | DE(F#)AB |
| AB(C#)EF# | ((G))ABDE | DE(F#)AB | GABDE |
This is nothing more than a very cursory primer to pentatonic soloing, but I hope that helps!