Chords for John McLaughlin Godin LGXT

_ _ _ I'd like to play some [N] improvisations using some of the modal variations we saw just now.
But I'm going to take an accompaniment to these and I'm going to use the following sequence.
C major 7th, one bar.
F major 7th over G, one bar.
And we'll repeat.
[F#] This can be written like this.
_ _ _ [C] _ _ _ _ _
_ _ _ _ _ _ [F#] _
Now as you know, a chord is simply the notes of a particular mode played simultaneously.
In general, the key notes of most chords are the 1st, 3rd, 5th and 7th.
The other notes, being the 2nd, 4th, 6th, 9th, 11th, 13th, can and should be added to the principal notes in order to create color and tension in the chords.
In fact, chords with only the principal notes quickly become boring.
But we'll examine the structure of chords as we progress.
Meanwhile, by examining the notes of these two chords, C major 7th and F major 7th over G,
we can see that the notes of these two chords come directly from the modes found in the scale of C major. _
_ _ The C chord corresponds to the 1st mode, C Ionian.
The 2nd chord [B] corresponds to the 5th mode, G Mixolydian.
We can, of course, begin our phrasing from any note in these modes.
Our sequence will now look like this. _ _ _ _ _
_ _ _ _ _ _ _ [C] _
_ _ _ [G] _ _ _ _ [C] _
_ _ _ _ _ _ [G] _ [C] _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ [Dm] _ [C] _
_ _ _ [G] _ _ _ _ [C] _
_ _ _ _ _ _ [G] _ [C] _
_ _ _ _ [Dm] _ _ _ [C] _
_ _ _ _ _ [A] _ _ [C] _
_ _ _ [F] _ _ _ _ [C] _
_ _ _ [Dm] _ _ _ [G] _ [C] _
_ _ _ [Dm] _ [G] _ _ _ _
[C] _ _ [D] _ _ _ _ [B] _ [C] _
_ _ _ [G] _ _ _ _ _
[C] _ _ _ _ _ _ [G] _ [C] _
_ _ _ [F] _ [Dm] _ _ _ [C] _
_ _ _ _ _ _ [D] _ [C] _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ [Dm] _ [C] _
_ _ _ [G] _ _ _ _ _
[C] _ _ _ _ _ _ [G] _ [C] _
_ _ _ [F] _ _ [G] _ _ _
_ [C] _ _ _ _ _ [G] _ [C] _
_ _ _ _ _ [B] _ _ [N] _