Ionian: C - D - E - F - G - A - B - C;
Mixolydian: G - A - B - C - D - E - F - G;
Dorian: D - E - F - G - A - B - C - D;
Aeolian: A - B - C - D - E - F - G - A;
Phrygian: E - F - G - A - B - C - D - E;
Locrian: B - C - D - E - F - G - A - B.
Lydian: F - G - A - B - C - D - E - F;
Although all the church modes share the same notes and intervals, each uses them in a different order, and it's this that creates the distinctive character by which each is known. (These days, we can transpose the
modes, too, by preserving their orders of intervals and beginning on a different "tonic".)
The church modes gave way to the "major-minor" system, which in turn dominated European art-music until the beginning of our own century. The modes then reappeared, this time serving as a basis of harmony
as well as melody. European folk music never abandoned its modal heritage, and the modes are now an essential element of contemporary North American songwriting.