1st (root) Ionian mode, 2nd Dorian mode, 3rd Phrygian mode, 4th Lydian mode, 5th Mixolydian mode, 6th Aeolian mode (Natural minor) and 7th Locrian mode. Many studies use the G Major scale as an example because the patterns can be started and completed on all strings until they repeat again at the 15th fret. Most studies include the key signature and the connection each degree has to it's mode. Example: G Major- Am- Bm- C Major- D Major- Em- F#dim (some classify the diminished degree as minor, some say it's neither Major nor minor). So the modes follow suit, G Ionian, A Dorian (minor mode), B Phrygian (minor), C lydian (Major), etc.....
The modes use all of the same notes as the Major (Ionian) scale, they just start their pattern with a different note, so what's the big deal??
Many players never grasp the concept of incorporating Modal Theory with their style because they view the mode only to the Parent Diatonic scale, not as it's own tonal center and surround it with notes that relate to it.
