Traditional cadences aren't as important in modal progressions as they are in diatonic major and minor. Check this G Dorian song I wrote for example.


Section A
Gm7 to Am(b13) (nice, slow fingerpicking
|-------1----------------1---------|
|-----3-----3----------5-----5-----|
|---3---------3------5---------5---|
|----------------------------------|
|------------------0-------------0-|
|-3-------------3------------------|

Section B
Bb to C to Gm (slap/pop guitar)
(note, that's not 11 or 33, it's two quick slaps)
|----------------------------------------|
|------3--------5------------------------|
|------3--------5--------------3---------|
|------3--------5---------5---x---5--3h5-|
|-1-11---1/3-33---3----------x-----5-----|
|--------------------3-33---x---3--------|


Now, the first section is a vamp on the i and ii

The second section is a "modal cadence" of III, IV, i. This is not a traditional cadence, BUT IT SOUNDS GOOD. That is the test. When working with modes, you have to test out various progression to see what works with what.

With some experimentation, I've discovered a couple good "cadences" for some modes. I will write the chords IN RELATION TO THE IONIAN MODE FOR EASE OF UNDERSTANDING. So, that Dorian progression would be IV V ii.

Ionian - I, IV, V (DUH!)
Ionian - ii, V, I (another duh)
Dorian - IV, V, ii
Phyrgian - iii, IV, V, IV, iii
Lydian - IV, V, IV
Mixolydian - V, IV, I, V
Aeolian - vi, V, IV, III
Aeolian - vi, ii, vi, iii
Aeolian - vi, iii, IV, V, #Vdim
Locrian - I don't like this mode, and haven't messed with it much

Anyone with any other ideas feel free to add ideas, comments, criticisms, etc...