The obvious one is using ii as a minor triad and IV as a major triad but are there some progressions where the raised ^6 is in the bass? I guess the ii and IV would be in inversions then but I can't make them seem to sound as good as when I use them in root position. What other common chord progressions are there in minor with the ^6 as a raised note.
Sort of related question I posted a while back with some examples...
I think that you want to look at the ^6 and ^7 degrees, in bass, in minor, from a linear perspective.
Also, while the ^6 degree is part of subdominant harmony (although it can be part of dominant harmony with
viio7), you should also pay attention to the handling of the ^7 degree in relation to ^6 and whether ^7 is raised to a leading tone for a dominant chord.
Direction of the bass part is a big factor. If ^6 descends to ^5, then ^6 is usually the lowered form.
When ^7 is raised for a leading tone in dominant harmony the ^6 often is raised for an ascending or auxiliary move to ^7.
Sometimes ^6 is lowered and ^7 raised for dominant harmony, forming an augmented second, and you could say the harmonic minor scale is being used. But you can also look at it as chord tones
^2 ^4 ^5 ♯^7 with
^1 ^3 ♭^6 as various passing tones.
A concise way to see the bass in step-wise motions with common practice harmonization is the minor form of the rule of the octave.
I guess the ii and IV would be in inversions then but I can't make them seem to sound as good as when I use them in root position.
Yes, like in the example rule of the octave the raised ^6 is in the bass, forming inverted chords, and giving
IV6 V6/5 i in mm. 6-8.
If you used root position chords for
IV V I, minor or major, the basic voice leading for
IV V would be to move the upper voices in contrary motion to the bass, so those upper voices will descend, in which case the ^6 will go down to ^5 where the normal treatment is to make ^6 the lowered form for the descent to ^5, like in the last three measures of the example rule of the octave.