Here is a brief list of musical tensions by mode, which are considered a logical extension of tertiary harmony.Tensions are referred to by a “T” and next to it would be it’s related interval based on the scale/mode. Example; the 2nd degree of a C Major scale (Ionian mode) or the note D, would be considered a tension in the form of a 9th. So in C major Ionian, the D would be written as “T9″ for Tension 9th. Also, notes to be AVOIDED that will ruin the sound of your mode are appended with an “S” for skip or whatever you prefer. Here is a list of the modes and their tensions + avoid notes.
- Ionian - T9, S4, T13
- Dorian - T9, T11, Sb6
- Phrygian- Sb2, T11, Sb6
- Lydian - T9, T#11, T13
- Mixolydian - T9, S4, T13
- Aeolian - T9, T11, Sb6
- Locrian - Sb2, T11, Tb13
So here’s an idea; consider each mode a degree in a scale. If you are playing a D minor chord in the key of C Major, you know that D chord is the 2nd chord of the scale. Whats the 2nd mode? Dorian. Thusly, if you are playing a D minor chord in the key of C Major, temporarily consider yourself in the mode of D Dorian. Why not add the tensions of Dorian into your chord, or solo and touch on those notes? try this for all your chords and you will have a distinct jazz sound.
Hope this can work as a nice little reference for anyone caught up in modal theory. 
-Spence