No reason to be sorry. If you look at the gibberish from a theory standpoint, it's pointing to the importance of modes and the ability they have outside of their "Parent Scale". Modes have the potential to carry their own identity and allow creative relationships to other scales (both Major and minor).
Modes can be expressed in many ways, from songs written in a mode, to modulation.
When studing parallel modes, the subtle change in intervals build other relationships;
The only difference between the C Major (C Ionian mode) and the C Lydian mode is a #4th interval.
C Ionian = 1-2-3-4-5-6-7
C Lydian = 1-2-3-#4-5-6-7 (relative to G Ionian)

The only difference between C Ionian and C Mixolydian is a b7th interval.
C Mixolydian = 1-2-3-4-5-6-b7 (relative to F Ionian)

The only difference between C Mixolydian and C Lydian Dominant is the same #4th interval common with C Ionian and C Lydian.
C Lydian Dominant = 1-2-3-#4-5-6-b7 (relative to G Melodic minor).

There are many other combinations and relationships that derive from modes.

The point of all this gibberish is to offer a way in viewing the powerful role modes have as their own entity in regard to composition.
Both CMaj7b5 and C7b5 chords are considered Major by composition, however, playing the C7b5 over the C Lydian Dominant mode will bring interest when incorporated in a minor progression.
When creating a progression that you want to reflect your mood, look toward modes for assistance. They allow passages in expression going from a Major sound to a minor to a Major, etc.... with flow.