As an essential tool, the Harmonic Minor Scale, along with Melodic Minor and the Major Scale derived minor modes - Dorian, Phrygian and Aeolian (aka Natural Minor) - has been a traditional favorite among improvisers and composers for expressing minor tonality.
This has been particularly true for the early Bebop pioneers, in that Harmonic Minor - while possessing several "avoid notes" (as does the Major Scale), also contains all the required diatonic tonal relationships to form a complete "in house" minor ii-V7-i cadence. This includes a b5 in the ii7 chord (D-F-Ab-C in C min), as well as the altered extensions b9 & b13 of the dominant V7 (G-B-D-F-Ab-Eb).
While it is common to express a tonic minor (i) chord with a Melodic Minor scale - in order to "avoid the avoid note" (Ab in C Harmonic Minor) - the interval of an augmented 2nd (Ab - B) thus created between Harmonic Minor's 6th & 7th scale degrees give this scale its soul and identity.
Ex. 1 below illustrates and names the 7 modes of the C Harmonic Minor scale (aka C Aeolian Natural 7). The most commonly used mode in the system, aside from the first, would most likely be the 5th mode (G Phrygian Natural 3) which is a dominant scale, containing the altered extensions b9 & b13, as mentioned previously.
Ex. 1.
Harmonic Minor contains 2 minor triads (scale steps i & iv), 2 Major triads (V & VI), 1 augmented triad (iii) and 2 diminished triads (ii & vii).
Ex. 2.
Ex. 3
Ex. 4
B. Stern