-------- C Dm Em F G Am and Bo.
figures
figures: I ii iii IV V vi vii o.
-------- Am Bo C Dm Em F G.
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figures: vi Vii o I ii iii IV V
------- G Am Bm C D Em and F#o.
figures
figures: I ii iii IV V vi vii o.
------- Am Bm C D Em and F# o G.
figures
figures: ii iii IV V vi vii o I .
------- Am Bo C+ Dm E (E7) F and G#o.
figures
figures: i ii o III+ iv V VI vii o .
------- Am Bm C+ D E (E7) F#o and G#o.
figures
figures: i ii III+ iv V vi o vii o .
Aeolian ------ Am Bo C Dm Em F G.
Harmonic ------ Am Bo C+ Dm E (E7) F G#o.
Dorian ------ Am Bm C D Em F#o G.
Melodic ----- Am Bm C+ D E (E7) F#o G#o.
A realy good example is Greensleeves.
-- a section starting out in Aeolian will become Harmonic at the climax --
-- a section starting out in Dorian will become Melodic at the climax --
One last point. At any one time the key or mode will be purely Dorian, or purely Melodic, or purely Aeolian or purely Harmonic. You won;'twon't ever see for example F AND F# in the same chord or G AND G#. You can combine these musical structures horizontally but not vertically. (Well you can do what you like, but good luck with your audience!)