The reason for this is pretty simple, that is how they are most often used in Bebop solos as you can see in this transcription of Charlie Parker’s solo on the blues Billie’s Bounce. One of the first things that I learned from Barry Harris, that really was a game-changer for me was that you should practice the arpeggios as one-octave diatonic arpeggios in a scale. He showed us exercises that were tailor-made playing Bebop and that really helped my playing get a lot better. When it comes to learning Bebop then I always relied on analyzing solos that I transcribed myself or what I could get my hands on written out, but a major breakthrough was going to a Barry Harris workshop at the Conservatory in the Hague.
So transferred to music: Different exercises will be useful depending on what style of music you play. So even though we all use the same notes then we need to practice different words. But, it doesn’t really work like that, you don’t learn a language by only learning the alphabet, which is obvious because a lot of very different languages use the same alphabet,
When I was starting out trying to learn to play Jazz then I was doing the same thing that everybody else does, I was working on scales and arpeggios and learning some solos hoping to combine that into something that would be my own Bebop solos. Bebop was not invented on guitar, and some of the ways we usually learn things on the guitar works against learning to play Jazz or Bebop, but there are a few basic but important things that will help you think about playing Jazz in a different way so you don’t waste your time practicing the wrong things.