So I thought about a way to practice some useful GMC chord voicings and their combination by concentrating on only three scales and one type of three-part chord in close voicing: I chose the dorian, altered, and the lydian scale, and I only use chords in fourths (called sus4 in the book, which is confusing because in many cases they aren't what we'd usually call a sus4 chord). The chords in fourths I simply chose because I like their sound. And I chose those three scales because they can be used to play II-V-I progressions in a major key. There are also other scales I could have chosen for playing II-V-I progressions, but the other important reason why I chose exactly those scales is the fact that they contain no avoid notes. In the book on GMC the problem of avoid notes is not discussed. In my review I wrote about this issue, so you can read some background information there. Anyway, by choosing chord scales without avoid notes we won't get into trouble.
So how did I come up with the II-V-I progressions? First, I wrote down all close GMC voicings (in fourths) for each of the three scales. I chose C major as the key, so we get D dorian, G altered, and C lydian. You can find the voicings on the left sheet below. I wrote them out for the string combinations d-g-b and g-b-e. Of course you can choose other strings too, but remember, we wanted to keep things manageable for a start. Then I combined some of the voicings to get II-V-I progressions. There are many combinations, but I wrote down six examples to get you started. You can find these examples on the other sheet below.
And this is me playing the six II-V-I examples:
Enjoy those strange sounds and do something useful with them!