lost a longer answer due to a lock up of my browser by acrobat trying to tell me it need another player for a pdf (but failing to do so - a bug in the pdf plug-in)
modes are simply the same key signature based scale starting on the next note in the major scale, as such we can shift/transpose the chart you are talking about to the new center simply by changing its position within the mode
i.e. the Dorian starts on Note 2 and is a minor mode
| Dorian | i-ii-bIII-IV-v-vib5-bVII |
|---|
| Phrygian | i-bII-bIII-iv-vb5-bVI-bvii |
|---|
| Lydian | I-II-iii-#ivb5-V-vi-vii |
|---|
| Mixolydian | I-ii-iiib5-IV-v-vi-bVII |
|---|
| Aeolian | i-iib5-bIII-iv-v-bVI-bVII |
|---|
| Locrian | not normally used for harmonisation |
|---|
so the new chords are i-ii-bIII-IV-v-vib5-bVII (they were ii-iii-IV-V-vi-viib5-I) - substitute the new numbers into the existing chart: i replaces ii and so on - i.e. the tonality of the chords used do not change but their numbers do
there is a typical cadence also found in each mode (this differs according to the mode)
some examples
aeolian (mode 6 aka natural minor) bVII-i is preferred to v-i (the perfect cadence)
mixolydian (mode 5) bVII-I is preferred
phrygian (mode 3) bII-i is preferred
I can write some stuff up about the other typical cadences and movements in each of the modes but not until Friday
in the meantime get a hold of Ted Pease's book Jazz Composition: theory and Practice from Berklee press - it provides a much more thorough explanation, although it does take a sideways move through modal quartal harmony, before getting to the meat and potatoes we are looking for
