Originally Posted by: light487Now let's look at it like this: E Ionian, E Dorian, E Phrygian, E Lydian, E Mixolidian, E Aeolian, E Locrian. Each mode here is based on a different major scale.[/quote]
Good identification.

Originally Posted by: light487(EDIT: Just to clarify a little further.. the E Dorian in relation to the key of E is I-II-iii-IV-V-VI-VII.. so it's an E Major scale with a minor 3rd)

Two problems here.

1. In music Roman numerals are typically used to represent chord functions and not scale degrees. If you are trying to represent scale degrees say, "root, major 2nd, minor 3rd ..." and so on. Otherwise it gets confusing.

2. E dorian is essentially an E major scale with a minor 3rd and a minor 7th.

This is a good way of looking at the modes, though: how they differ from unaltered major and, or minor. From this perspective though, I'd say that the minor 3rd is the most crucial "hinge". So I would say that dorian is natural minor (aeolian) with a major 6th.
[QUOTE=light487]now.. play all these through while you have a E bass note sounding as a guide, so that the relative major scale doesn't confuse you.

This is exactly one type of approach that some players use it order to switch modes in the same solo. From Van Halen to John McLaughlin, these guys will make sure that the other instruments (bass, keys, etc.) are only playing a limited amount of notes that do not interfere with the switching of modes.

So if the bassist is only playing an E, D and B, then the guitarist can effectively switch between E dorian, E phrygian, E mixolydian, E aeolian at will.

This is an example of ornamental use of modes.

Suppose a song is in the key of E major and the melody or solo line uses E ionian. Then the melody or solo line switches to E lydian, that implies a modulation to the key of B major. Then the chords actually change to the key of B major and the melody or solo line uses B ionian.

This is a frequent technique of classical guys like Beethoven, Haydn & Mozart (maybe you've heard of them? :) ) that can be found in any one of their works from piano sonatas to symphonies.

This is an example of structural use of modes.