i v6 iv6 V where the second chord is the minor dominant in 1st inversion.
Harmonizing a descending bass in that way would be very normal.
The important point to realize is that the proper dominant
V is used at the end of that example phrase to create a half cadence and in that place the raised leading tone is required to make a proper cadence.
If the music isn't forming a cadence then the treatment of the ^6 ^7 scale degrees become flexible in minor key music.
That sort of flips your question around. Rather than a reason for using the minor dominant, the reason for using the raised leading tone is what matters. You don't need reasons and rule for using any chord as the music unfolds. But, when you get to a phrase ending and form a cadence, you must follow the formula. At least in classical style.
On the other hand, if you aren't dealing with classical music, then such supposed rules and theories are simply being mis-applied.