...antecedent and consequent phrase in minor scale?
I think you are asking about minor key music, so let's skip over modal music (Dorian, etc.)
Antecedent and consequent phrases are essentially defined by cadence types. The typical thing is an antecedent phrase ending with a half cadence on the dominant chord and a consequent phrase ending on the tonic. That model applies to minor key music too.
EDIT it seems part of your question is more generally about minor key harmony and how to handle the dominant chord, the antecedent aspect of harmony.
At the heart of dominant harmony in minor keys is raising the seventh scale degree to form dominant chords.
C minor - with a key signature of three flats - the seventh degree is
Bb. When you build a triad on the dominant the unaltered chord would be
G Bb D. But the conventional thing to do is raise the seventh to make the chord
G B D.
In technical terms the lowered seventh
Bb one whole step below the tonic is called the subtonic, but the raised seventh
B natural is a half step below the tonic and called the leading tone. The leading tone distinguished the dominant chord.
The leading tone triad is a diminished triad built on the leading tone. In
C minor the leading tone triad is
B D F. The leading tone triad is often considered an incomplete dominant seventh chord and can effectively function as a dominant chord. So, in minor key harmony there are two diminished chords: