Melodic Minor Scales

I am trying to get my head around chords for use with a melodic minor scale, or more precisely what I have seen referred to as "classic" melodic minor where the scale has different notes ascending and descending. Most of what I have found simply says use the "jazz" version of the scale which is the same in both directions and therefore straightforward but I rather like the "classic" scale even though its awkward.
 
It seems the classic version is mainly used in classical music and Bach was one of its greatest exponents. I suspect the scale is better harmonised with counter melodies that with chords in the conventional popular music way.
 
Any tips would be welcome.

For a general jam band, sharping the seven makes it so it has to be a minor jam. Most jam bands use harmonic minor and melodic minor without worrying about ascending and descending.

Consider green sleeves. What child is this... This is E harmonic minor. It makes your V chord a B7 rather than a Bm7 to sharp the 7 in the scale.

It helps to know every chord in the key is made up of every other note in the scale. The name of the chord is the note your start on. If the third is a step and a half away, it is minor. 2 steps it is major. When the seven is 1/2 step from the root it is major seventh. Full step, dominant seventh.

Anyway, when you alter a tone in the scale, you alter every other chord. Melodic minor has 2 tones shifted and this alters every chord in the key.

From my perspective, i like teasing harmonic/melodic minors because it makes it easier to resist major melodies on the minor changes.

Sometimes, just jamming, without harmonic or melodic shifts, the band will bag a minor jam and resolve to the major. Maybe it is just the cats i jam with.

For lots of keys, there will be only one major dom 7 chord and this chord tells you the key. I think, and correct me where I'm wrong, using the Berklee method, you want to choose notes both in the song over-arching key and in the temporary key. Tones that are in both. I've been corrected in the past when the song shifts keys and i play all the tones in the new key, abandoning the starting/ending key.

So, for me, playing those tones and chords in harmonic and melodic help pin the jam as minor in a friendly way.

The OP is actually a good question I never really gave much thought to. When I first learned it, the reasoning was given to lessen the gap to hit the tonic from below for vocals. As it doesn't affect the bottom of a chord, I have always considered its usage akin to accidentals (which are used all the time) rather than linking it to chords, per se. In other words, it might be better not to associate this "variable" scale to chords specifically, but use it when it works sonically.
 
The second post in this thread might be a better synopsis of the same idea.

+ 1 for Rick Beato's vid (in fact most things he posts are worth watching)

How it is used depends on context. If you're writing baroque music the ascending and descending rule makes sense and will sound musically appropriate. If you're doing jazz or contemporary music I wouldn't worry about switching, or switch when you feel like it and don't worry about acceding and descending. That said don't be afraid to use older techniques in modern music, often it creates an interesting texture. 
 
There is actually a good reason why melodic minor is different ascending and descending, but I it takes a while to explain and IMO isn't that helpful for making music. 

jamesg1213
+ 1 for Rick Beato's vid (in fact most things he posts are worth watching)

This^^^^^^^^^

Good thread. That's for asking the question Glyn. And thanks for all the responses.
 
Thanks for the Rick Beato video. Nice!