So we have two ways of processing minor. One way is to raise the 7th, which works really well in 18th and 19th century styles where things like dominant chords and leading tones are important. Another way is to raise 6 and 7 ascending, which can help smooth out melodies.
I like what you wrote. I usually do.
I would add that there are two ways of approaching minor, both valid.
One is to use natural minor as a starting point, then begin adjusting degrees. This seems to be the way most theory books tackle the subject. When key signatures are stressed, it makes sense. This is also in line with discussing relative minor, and how there is exactly one major and one minor scale, *traditionally*, for each traditional key signature.
However, going in the opposite direction, using major as the “starting point”, the same results will follow. You just get there from the “opposite way”.
Having tried it both ways with many students of varying ages and ability, starting with major seems to get to where I want to get to faster. Using that I can start out with this idea:
1) It is the lowering of the 3rd degree that is the key factor. The one thing all traditional scales that have a minor feel to them share is this lowering of the third note of the scale. So the simplest form of minor takes major and lowers the 3rd. I call this “simple minor”. It corresponds to melodic minor ascending.
2) From here we can being playing with that concept, and this gets into your idea of different kinds of chocolate. We keep b3 as a given.
a) b3 and b6, harmonic minor.
b) b3 and b7, Dorian “minor”.
c) b3 plus BOTH b6 and b7, Aeolian or natural minor.
3) We can then point out that flatting 3, 6 and 7 results in the same key signature as another scale, a major scale. Traditionally those two scales, really the same set of notes, have been called relative major and minor.
4) Once these basics have been set up, you can go just about anywhere.
5) When degree 3 is not lowered, other modes can be related to major through a simple change. Major with #4 becomes Lydian. Major with b7 becomes Mixolydian.
6) The advantage to thinking this way is that all the above scales or modes are derived by using the major scale as a starting point. You get all those major scales in your fingers, in your brain, in your ear, then you simply modify them to get the minor-type scales and other modes.