Lydian b7 ? g,a,b,c#,d,e,f ?
Language barrier makes it difficult for me to understand, maybe some pictures?
in the key of C,c ionian,d dorian etc f lydian instead clydian 
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Is the book really not available where you are? “Lydian b7” 1 2 3 #4 5 6 b7
Yes, G Lydian b7 is G A B C# D E F. The structure of the scale is as stated by RockStarJazzCat.
I’m not sure about what you mean after that. Just to clarify, v-i in the key of C is G7-Cmaj7. There is a great number of scales to play over each chord. For G7 could be G Mixolydian, G Mixolydian b13, G alt, G WT, G HW etc. Each scale adds a different set of tensions/extensions. The same for CMaj7. Could be C Ionian, C Lydian, C Lydian aug etc. Different tensions/extensions, different color. F Lydian has nothing to do with this example.
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Ok ok but this is how I understand it
for C ionian scale I have Dm and Em chords with C in bass
for D dorian scale I have Em and Fmaj chords with D in bass etc,right?
and for G mixo scale I have Am,Bdim,+ D#m and Fdim (triton sub.) chords
with G in the bass?
And now what next,we have two triads with tonics in the bass ( for each scales).
So?
You’re spot on about C Ionian and D Dorian! But, and this is crucial in understanding how things work in jazz harmony, what scales you choose to play over a given chord type is really up to you. Playing D Dorian, G Mixolydian and C Ionian over Dm7-G7-CMaj7 is one option but not the only one-and frankly not even the best or most used. For each chord type there are numerous options, different scales that expand or alter the basic sound of the chord in different ways. You can think the Cmaj7 as Cma7/#11, Maj7/#9, Maj7/#5 etc. Each one of these comes from-and calls for-a different scale to use for melodic improvisation and, with regards of GMC, gives a different set of triads to work with.
Regarding the altered sound you hint at in your example about G7…in this case we would think in terms of the G altered scale( that’s the 7th mode of Ab Melodic Minor) and the correct triads would be Abm and Bbm.
It’s a great concept, but requires a good understanding of chord/scales relationships.
But what is the formula?
Two chords,on ii & iii degree of scale,with tonic i in the lowest voice?
Exactly. The root on the bass and two triads built on the ii and iii of any given scale.
And now how can we use this formula musically
to avoid sounding like ordinary exercises?
Let’s start with the c ionian,lydian and mixo - it is not superimposing?
Interesting topic. I was tooling around on the piano yesterday after reading this thread. It’s a thing my teachers brushed upon a little bit in music school but I didn’t really dig into it up until this point.
With some practice and patience it could be a great way to find some obscure voicings and stray away from root-focused playing.
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Uh, by rewriting their book for you? Don’t mean to be a jerk, but that’s the value of their exploration, the musical examples, etudes, play-alongs. You are not getting the full picture avoiding the other chord types they explore, which was the elegance of Goodrick’s discovery. Bringing disparate chord type study together with the simple observation.
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