You are allowed to do exactly what you like in music! As long as no-one gets hurt.

There are many people like yourself who think there is a set of rules that must be followed. Please rid yourself of that notion. A lot of those 'rules' came about through certain things seeming to work well, but they're guidelines rather than rules.

It's your music, you can do what you like with it. If others like it, all well and good - if not, then there's your answer, sort of.

Now to the question! Usually, what sounds best is a change of notes when there's a change of chord. Otherwise there will be clashes. Sometimes, not always. Obviously the Em arp. works over Em. Then comes a C chord. Along with the Em arp., it can work, as it will produce not a straight C chord, but a Cmaj7, which sounds fine in that place.

The Bm chord that follows has B, D, F♯ in its make-up. None are the same as E, G, B from Em. So there will be clashes there. The chord G has G abd B, so against the Em arp. will make a G6, again, fine.

You are allowed to do exactly what you like in music! As long as no-one gets hurt.

There are many people like yourself who think there is a set of rules that must be followed. Please rid yourself of that notion. A lot of those 'rules' came about through certain things seeming to work well, but they're guidelines rather than rules.

It's your music, you can do what you like with it. If others like it, all well and good - if not, then there's your answer, sort of.

Now to the question! Usually, what sounds best is a change of notes when there's a change of chord. Otherwise there will be clashes. Sometimes, not always. Obviously the Em arp. works over Em. Then comes a C chord. Along with the Em arp., it can work, as it will produce not a straight C chord, but a Cmaj7, which sounds fine in that place.

The Bm chord that follows has B, D, F♯ in its make-up. None are the same as E, G, B from Em. So there will be clashes there. The chord G has G and B, so against the Em arp. will make a G6, again, fine.