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Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.
The approach from first principles, like what @daveww says, is, for Major, minor and diminished;
Ionian (Major): MmmMMmd
Dorian: mmMMmdM
Dorian is the 2nd mode of Ionian and therefore is offset by one chord:
Phrygian: mMMmdMm
Lydian: MMmdMmm
Mixolydian: MmdMmmM
Aeolian: mdMmmMM
Locrian: dMmmMMm
There is a quicker way to do it on the fly, which is to know the major and minor harmonies, and then deviate from them for the modes. Rules:
Ionian, Lydian and Mixolydian are major scales.
Aeolian, Dorian and Phrygian are minor scales.
Ionian is the parent major scale and Aeolian is the parent minor scale.
Remember that Aeolian has lowered 3rd 6th and 7th chords compared to Ionian. These are not pointed out for Aeolian as it’s a parent scale - however deviations from this default are, for the other minor scales. Where a chord deviates from its parent (major or minor) scale, we put R for raised and L for lowered.
Use roman numerals, capitals for major, small letters for minor.
The signifier chords that really characterise the modal sound are in bold.
Ionian: I ii iii IV V vi vii(d)
The vii(d) is never actually played in real life by the way - it just becomes an inversion of the V7.
Lydian: I II iii (R)iv(d) V vi vii
Major, except the II is major. And unlike Ionian, the vii is a genuine chord and has a perfect 5th. The raised 4 is almost never played as a chord, though as a melodic note it’s fundamental to Lydian.
Mixolydian: I ii iii(d) IV v vi (L)VII
Major but the VII is lowered and major, and the v is minor (though is often majorised). The iii(d) doesn’t really exist, it’s just part of the I(b7) chord.
Aeolian: i ii(d) III iv v VI VII
Has a mournful minor iv. The ii(d) is important in a minor 251. The v is often majorised by the way.
Dorian: i ii III IV v (R)vi(d) VII
Minor, but the IV is major, and the ii has a perfect 5th. The (R)vi(d) is never played as a chord - though as a note it’s critically important. The v is often majorised.
Phrygian: i (L)II III iv v(d) VI vii
Minor, but with a lowered major II chord and a minor vii. The diminished v is quite important and shouldn’t be majorised.
Locrian: can’t be bothered to write down.
Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.
I think the chord progression will dictate what mode you play in ..unless it's a vamp or some chords specific to that mode ..to create some sort of mood in your playing ....I think to me you can start on any note and finish on any note depending on what you want to achieve...I understand that by starting on certain notes the intervals will change and sound different ..and it works great for film musicvect ..again to create a mood ...I do think with modes it's got a lot to do with the underlying harmony than just the notes as in a scale ...
So for me to sum it up ..I do understand them but don't really use them a lot ..at least not intentionally ...