The confusion about the labeling of modal scales comes from the fact that they were supposedly conceived before our standard notational system. The way of identifying them came about later by relating them to the C major scale. Then, subsequently, to the other keys. The best way to identify a mode is to ignore the scale it's derived from. To call, for example, an A dorian in the key of G is unnecessary unless you are concered with modulations as in jazz. It's best to consider the A dorian as it's own entity and forget the G major scale.

A good way of identifying the pitches to the respective modes would be as follows. Alter the A dorian scale from the D major scale. It would look like this:

1,2, b3, 4, 5, 6, b7, 8. Altered from the D major scale it would be D, E, F natural (altered from F#) G, A, B (the distinctive dorian note) C natural (altered from C#) and the octave D. This is a good way to understand it through ear training. Hear the alterations from the major scale.

Phrygian mode: 1, b2, b3, 4, 5, b6, b7, 8 Lydian mode: 1, 2, 3, #4, 5, 6, 7, 8 Myxolydian mode: 1, 2, 3, 4, 5, 6, b7, 8 Aeolian mode: (same as a natural minor scale) 1, 2, b3, 4, 5, b6, b7, 8 Lochryian mode: (A theoretical mode, not found in folk music) 1, b2, b3, 4, b5, b6, b7, 8

Do the respective alterations in each key and you will begin to hear these modes.

Frank