Great bit of work Jack. I've bookmarked it and intend to give it a good, thorough read.

But as to changing the names, why? The Greek names for the modes have been around for a couple of millennia now, and although they've been through some re-shuffling at various times, there is historical context for the names and most musicians with some training in music theory know what each one of them means in terms of scale structure. What would be accomplished by changing them?

If the names were to be changed, presumably the purpose would be to make them more descriptive of the scale structure each mode consists of. What would one change them to?

Don Firth