well, in that case...
Modes are, essentially, scales (a lot of classically-minded theorists are already scoping me with their rifles for that statement) derived from parent scales (the most common of course being Major). Each mode uses the same notes as the parent scale, but starts on a different note. The order of modes (by scale degree is:
I- Ionian (major scale)- 1 2 3 4 5 6 7
ii- Dorian- 1 2 b3 4 5 6 b7
iii-Phrygian- 1 b2 b3 4 5 b6 b7
IV-Lydian- 1 2 3 #4 5 6 7
V-Mixolydian- 1 2 3 4 5 6 b7
vi- Aeolian (natural minor)- 1 2 b3 4 5 b6 b7
vii- locrian- 1 b2 b3 4 b5 b6 b7
(modes with a minor quality are lowercased roman numerals, major are upper case)
So suppose we are in the ever so difficult key of C. The modes would be:
C Ionian- C D E F G A B
D Dorian- D E F G A B C
E Phrygian- E F G A B C D
F Lydian- F G A B C D E
G Mixolyian- G A B C D E F
A Aeolian- A B C D E F G
B Locrian- B C D E F G A
The thing I got caught up with when I was learning the concept of modes was how to name them. I understood the order Ionian, Dorian, etc.....but I wasn't sure what note name to put in front. For example, I thought the second (dorian) mode derived from C major would be named C dorian instead of being named D dorian when in fact the latter is correct. To sum up this last paragraph with a single sentence that takes much less time to type: when naming a mode, use the note that mode starts on rather than the note name of the key it's derived from.
A big problem with guitarists just starting their exploration of modes is that they see them as fingerings of the parent scale and nothing more. Modes are musical devices unto themselves and should be treated as such to get the most use out of them. What these people will do, for example, is take a C major chord and solo over it using C Ionian fingerings, D dorian fingerings, E phrygian fingerings, etc. When you practice and apply modes in that way, then all you are doing is playing different fingerings of C major and fooling yourselves into thinking that you're doing something more advanced when you're really just playing c major.
Modes SHOULD be practiced from the same root. For example, play over a sustained low C note. Over that note, play C lydian, C Ionian, C Mixolydian, C dorian, C aeolian, C phrygian, C locrian (you can probably figure out the logic in that order, if not ask). REALLY pay attention to how each mode sounds against the tonic and what sort of sound/mood it evokes. To take that a step further, play over a sustained C major triad. Over that, play C lydian, C major, and C mixolydian (all the modes with a major quality). Again, pay really close attention to the characteristics of each mode against the chord, which is a more specific context than the single note. Do the same with a C minor triad, using C dorian, C Aeolian, C phrygian. Then (if you want) do it with a C diminished triad using locrian. In all honesty though, the locrian mode isn't very important and does not get a lot of use in actual musical situations. Never hurts to practice anyway though.
Then you can take it even FURTHER and do the above process with Major 7th, Dominant 7th, Minor 7th, and half-diminished 7th (minor 7 b5). By the time you get to this point, you should be able to figure out which modes go with which chords. You can even get to the point of having something like a Cmaj13(#11) where the chord defines things to the point of only having one of the aforementioned choices, which of course is lydian.
Now, I only used the modes of the major scale here for two reasons: 1. it's the most common and 2. they are the only modes that have universally accepted names. You get modes from Harmonic Minor, real melodic minor, and whatever other scales you can find/make up. Frank gambale discusses modes in his instructional material a lot and has a video out called "Modes: no more mystery". May not be your cup of tea in terms of style, but it's easily the best material available on this subject.
thus ends another longwinded and potentially typo-ridden post
, if i butchered my explanation let me know and I'll try again!
well, I operate under the same "definitions" you listed there.......but i know plenty of people who just use the terms interchangeably. They're slang terms really so I don't know that there is any set-in-stone differences...or even definitions for that matter. Though I suppose a quick trip over to urbandictionary.com can change that....
(I'm doing Jazz in a year or 2 at uni... 
