I learned recently in a Jazz improvisation class that in a major ii-V-i (2-5-1) it's possible to superpose the arpeggios in the V using the relative harmonic minor field in the same root note as the original key, for example:
Dm7 G7 C7M
G7 is played I can throw C minor harmonic arpeggio shapes, like
Fm7 or even
Bº (diminished), that it sounds good.
My question is: Is this
arpeggio superimposing technique only possible in major 2-5-1 kind of harmony and changing only for harmonic minor harmonic field?
- - EDIT - -
I forgot to add that this question is actually related to "Outside playing", and it kinda feels like the harmony is modular when the technique is applied.
The rationale beyond this was told to me by a lecturer that said that it was because generally a minor ii-V-i progression had to include a dominant 5th to ask for resolution, in the example, it would be:
Dm7b5 G7 Cm7
Having the same chord on the 5th, so the
C harmonic minor harmonic field is the "glue" that binds the two keys together, sounding really great when applyed.
The problem was when I tried to play this at home. It sounded great in this specific case, but it didn't sound very well when I inverted this, I found a C minor ii-V-i backtrack and tried to play using C major arpeggios on the 5th, and it sounded crappy.
Is this a very specific case that no one can explain or there is some higher concept here that I'm missing?