The Harmonic Minor Scale is one of very few scales in western music that is not directly related to the major and minor scales. It is also common in middle eastern music.
12-7-63-F a.k.a. Harmonic Minor Family
Ionian-type 12-7-63-340 a.k.a. Ionian Augmented 5 = 2 3 4 #5 6 7
Dorian-type 12-7-63-311 a.k.a. Romanian Minor = 2 b3 #4 5 6 b7
Phrygian-type 12-7-63-208 a.k.a. Spanish Gypsy a.k.a. Ahaba Rabba = b2 3 4 5 b6 b7
Lydian-type 12-7-63-403 a.k.a. Lydian Augmented 2 = #2 3 #4 5 6 7
Mixolydian-type (with root moved) 12-7-63-146 a.k.a. Diminished Heptatonic = b2 b3 b4 b5 b6 bb7
Aeolian-type 12-7-63-300 a.k.a. Harmonic Minor = 2 b3 4 5 b6 7
Locrian-type 12-7-63-169 a.k.a. Locrian Major 6 = b2 b3 4 b5 6 b7
The notes altered in contrast with the church modes are marked with red.
Chord structures in Harmonic Minor are:
i The root tonality is minor. When coloring chords, use mM7 (minor major seventh). Safest to use minor third and perfect fifth. You can also add the major seventh and major ninth.
ii°/2 The supertonic is half diminished. Use minor third, diminished fifth and minor seventh.
III+ The mediant is augmented. Use major third and augmented fifth. This structure is self-inverting.
iv The subdominant is minor. Use minor third, perfect fifth, and minor seventh.
V7 The dominant is dominant. Use major third, perfect fifth, and minor seventh. If you include the ninth, use a diminished ninth.
VI The submediant is major. Use major third, perfect fifth, and major seventh. Also, the ninth is augmented.
vii° The subtonic is diminished. Use minor third, diminished fifth, and diminished seventh. This structure is self-inverting.
Note that the tonal structures include fully diminished and fully augmented tonalities possible, This is about as far as western music will safely take you in terms of chordal richness. The church modes do not offer tonalities other than major, minor, dominant, and half diminished.