The harmonic minor scale is similar to the natural minor scale but with the seventh degree raised to a major seven.

This scale has a more exotic feeling than the natural minor scale, it sounds great of a minor II-V7-i progression.

The scale is R, M2, m3, P4, P5, m6, M7, R

A harmonic minor (A, B, C, D, E, F, G♯, A)

This scale is like the major scale with a minor 3rd. In the baroque period it was different ascending to descending. Playing the scale ascending we have: R, M2, m3, P4, P5, M6, M7, R

Descending the scale is the same as the natural minor scale (R, M2, m3, P4, P5, m6, m7, R)

More modern used for the scale ignore this, which makes the scale less disodissonant and more usual and pleasing to our ears

A melodic minor (A, B, C, D, E, F♯, G♯, A)

This scale is the fifth mode of the harmonic minor scale or like the phrygian mode with a major third.

It is middle-eastern sounding scale and is also used a lot in heavy metal music It's formula is R, m2, M3, P4, P5, m6, m7

A phrygian dominat (A, B♭, C♯, D, E, F, G, A)

The altered or super locrian scale is good sounding over the dominant seven chord in a jazz progression, especially if the V7 chord has been altered. It is a mode of the melodic minor scale. You may have noticed that the fifth and the ninth are either augmented or diminished, just like in an altered dominant or tritone substituted chord. It's formula is R, m2, m3, D4, D5, m6, m7, R

A super locrian (A, B♭, C, D♭, E♭, F, G, A)

These two scales are modes of each other, the are constructed by moving a tone, then a semi tone (whole/half) or a semi tone, then a tone (half/whole). Theses chords work well over a diminished chord. These scales have 8 notes,

A whole/half (A, B, C, D, E♭, F, F♯, G♯, A)

The half/whole scale

A half/whole (A, B♭, C, D♭, E♭, E, F♯, G, A)

The whole tone scale is made of whole tones, it's one of the scales that works great over an augmented chord. It's formula is R, M2, M3, D4, m6, m7, R

A whole tone (A, B, C♯, D♯, F, G, A)