I'll admit, my reaction was poor. I profusely apologize.

Modes are not used in the Classical sense. Modes are used in a functional sense in todays modern music. Music theory can get in the way of actual sound. To better understand my logic is to deconstruct in terms of function, not modes. The presentation of modes is classical, but not functional in terms of modern music. Understand the intervals, the physics or the theory doesn't say anything to the playing or listening. Understanding modes in terms of function will improve the ear. Which is what music is about. Theory can be an inhibitor. Music physics is a wonderful cerebral subject, but it doesn't make a salary unless you are already tenured. The system I espouse will improve playing.
Understanding why or how it works is a latter and later contemplation.
Simply put, a D7b9, a pentultimate, has a variety of options.
It could be approached modally or chordally, even worse, simply. But still, in terms of function. I rarely play these modes from the root. More often, I play from 3rd, 7th or extension. Bass players play root, especially when needed. It gives a modicum of freedom. Love your bass players, they can save you when you're wrong.
The initial request was to get out of the box. To be honest,
play a G and run through the system and hear what occurs.
You will see function. Modal writing in reality, is quite rare.
I am extremely sorry to cause such a fuss.
Please forgive me of my errant way and response.