That's generally good stuff, very useful, but IMO you hit problems in some modes when you use two equally weighted chords.
I particularly noticed it in the lydian and mixolydian ones, where you have two majors a whole step apart (with occasional diatonic extensions). In the middle of either mode, one could be mistaken for thinking it's the other one - hold on, which of these two chords IS "I"?
If you keep track from the beginning, of course, it's OK. But it would be easier if in the weaker modes (lydian and phrygian anyway) the key chord had more prominence.
I was expecting the locrian not to work for this reason, but you managed it by maintaining the same bass note - that would be a good idea on lydian too, at least. (Ie, F and G/F, or C and D/C.)
But I like the general feel of the BTs, very appealing to play over - and (as long as we keep track of "I"

) they demonstrate the sounds well. I like the fact you weren't tempted to go with the mood of each mode, and give the BTs different tempos or other effects! The fact that every one sounds the same,
apart from its modal identity, is very useful.