OK I know major and minor modes will produce different chords but what about other modes? How to derive chords from dorian, phrygian? Lydian? Mixolydian? Locrian?
Edit: The chord order in A minor is i - ii - III - iv - v - VI - VII and C major is I - ii - iii - IV - V - vi - vii... What is the order of major and minor (and diminished) for the other modes? That's my question.
No difference! The chords associated with C Ionian are those which are found in D Dorian, E Phrygian, F Lydian, G Mixolydian A Aeolian and B Locrian. Reason - they all emanate from the same parent key - C major.
EDIT: it occurred to me that you are considering modes with the same tonic.
Different tack here. Let's go from key C major to mode C Dorian. Parent key here is B♭. So all of the chords associated with B♭ will apply. And so on. C Mixolydian has the notes from F major, so all the chords found in F major work.
Presumably you are referring to chords formed from the notes in the mode itself. For example, a scale played in D Dorian will be D E F G A B C (D). Comparing the notes in this scale to the regular D minor (Aeolian), the primary difference will be the chord formed on the fourth degree of the scale: in D minor, the chord is iv, G minor, G Bb D, whereas in D Dorian, the chord is IV, G major, G B D. This chord in fact is the distinguishing chord of D Dorian.
Also the chord formed on the second note of the chord will be different: in D Dorian, it's an E minor chord (E G B) whereas in D minor, it's an E diminished chord (E G Bb). Basically any chord that contains the B note will be different between D Dorian and D minor.
The same goes for the other modes, although of course this depends on the 'distinguishing' note of the mode.
In addition to the other answers, a possible misconception is that there's such a thing as a "Dorian chord" and so on. Individual chords are still just major or minor (or diminished), and any given key or mode will contain both. In fact, every mode, not just Ionian and Aeolian, is classified into major or minor depending on its third and thus the quality of its root chord.
The chords in a diatonic mode are the triads built on its scale degrees, that's it.
I would like to elaborate on the correct answers by Tim and No'am to provide some additional information.
First I want to mention the concept of 'cadence chords' that No'am already touched on. As he explained, every mode has exactly 1 distinguishing note. The diatonic chords containing this note are considered 'Cadential' chords, with a high tension to resolve to the tonic and further establishing the mode you're in. The other (non-tonic) diatonic chords, the ones not containing the distinguishing note; are then known as 'Non-Cadential chords'.
You can draw somewhat of a parallel to the II-V-I progression, where the II (subdominant) relates to the Non-Cadential chords and the V (dominant) relates to the Cadential chords. This website does a good job of explaining this relation in depth: https://www.thejazzpianosite.com/jazz-piano-lessons/modern-jazz-theory/modal-jazz/.
Secondly, you can of course add tensions to your chords once you're comfortable. More specifically, adding the distinguishing note as a tension in the right context can make for interesting combinations that wouldn't work so well in a purely functional context. For example, adding the the the distinguishing note to the tonic in any mode communicates the sentiment of this mode pretty well in one chord; eg D F A B in D Dorian, or E F G B in E Phrygian.
I think of it like this. A modal scale will have seven notes. Let's assign a number to each note in the scale, so if your scale is C major (C D E F G A B), then C becomes 1, D becomes 2, and so on.
Each of those notes will have a triad (three-note chord) associated with it. That triad will be that note (the chord's root), that note plus 2 (the chord's third), and that note plus 4 (the chord's fifth). (Remember, these numbers refer to the position of the note in the scale, not keys on a keyboard.) You might prefer to think of it as just skipping every other note in the scale. So your triads are going to be 1-3-5, 2-4-6, 3-5-7, 4-6-8, 5-7-9, 6-8-10, and 7-9-11.
So for the C major scale, C D E F G A B, the first chord (1-3-5) is C-E-G. That happens to be a major chord. The second chord (2-4-6) is D-F-A. That's a minor chord. The last chord in the scale (7-9-11) is B-D-F. That's a diminished chord. Put them all together and you get C Dm Em F G A Bdim, or I ii iii IV V vi viio.
Now if we do this exercise again with C minor, our scale is C D E♭ F G A♭ B♭. This time the chord for C is C E♭ G since the third note in the scale is a flat, so it's a minor chord. The chord for D is D F A♭, a diminished chord, and so on.
That said, there are songs that use chords that are not native to their scales. I'm currently writing a funk song that has a i - IV - i - IV - V - IV - i - i progression. The song uses the Dorian scale, as so much funk does, but V doesn't fit into Dorian. It "should" be v, but the song sounds much better with V. Why? I dunno. Funk is funky, man.
The modes will produce the same chords as their corresponding major scale. The chords for the C Major scale are the same for D Dorian, E Phrygian, ... and so on.
so in C Major the (triad) chords are: C major, D minor, E minor, F major, G major, A minor, B diminished
and in the D Dorian mode (2nd mode of C Major) the chords are: D minor, E minor, F major, G major, A minor, B diminished, C major
TL:DR
Major Chord Degrees
Triad Chords are built from scale degrees: 1 3 5
Ⅰ, Ⅲ, Ⅴ
Use Major chord degrees at each position in the CM Scale to determine the chord construction for each position.
so the modes don't actually produce different chord progressions.
Extended four note chords
(root, third, fifth, and seventh)
(R, m3, P4, P5) Ⅰ Ⅲ Ⅴ Ⅶ
Ionian C-D-E-F-G-A-B Cmaj7 (C-E-G-B)
Dorian D-E-F-G-A-B-C Dm7 (D-F-A-C)
Phrygian E-F-G-A-B-C-D Em7 (E-G-B-D)
Lydian F-G-A-B-C-D-E Fmaj7 (F-A-C-E)
Mixolydian G-A-B-C-D-E-F G7 (G-B-D-F)
Aeolian A-B-C-D-E-F-G Am7 (A-C-E-G)
Locrian B-C-D-E-F-G-A Bm7b5 (B-D-F-A)
but you can get different chord progressions from building triads and extended four note chords with different scales like melodic/harmonic scales.
