Code:
F.... F#.... G.... G#...
And you now have a C# major triad: C# F G
in re: to that bit, you are right, but technically, you would notate it (as in standard notation) as E#. because the key signature for C# would already have an F# in it. In that key B would also be sharp.
This is also why you would more likely see Db in written sheet music as a key signature rather than C#; easier to have 5 flat (b) signs than 7 sharp ones (#).
Here is an article that explains it more thoroughly than I can at the moment:
http://jmdl.com/howard/music/keys_scales.html
It does simplify things too. For example:
All "C" triads will have a C note, an E note, and a G note of some type:
C major = C E G
C minor = C Eb G
C augmented = C E G#
C diminished = C Eb Gb
All "G" triads will have a G note , a B note, and a D note of some type:
G major = G B D
G minor = G Bb D
G augmented = G B D#
G diminished = G Bb Db
All "C#" triads will have a C# note , a E# note, and a G# note of some type:
C# major = C# E# G#
C# minor = C# E (E#b*) G#
C# augmented = C# E# G##
C# diminished = C# E (E#b*) G (G#b*)
All "D" triads will have a D note, a F# note and an A note note of some type:
D major = D F# A
D minor = D F (F#b*) A
D Augmented = D F# A#
D Diminished = D F (F#b*) Ab
Notice that the note name doesn't change, just the accidental markings (# or b) do.
*these are just the functional representation for the enharmonic note.
Like i said, it isn't that big of a deal, just a tiny different way of thinking about what is essentially the same note and function that follows the convention of music theory.
If anyone has read this far into the post, thank you
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oh in re to this:
And another quick thing: if you see someting like 'C7', the 7 means that the chord is a C Major chord with an additional note that is a 7th above C added to the triad (in this case, a B). So C7 has the notes CEGB. C6 would have a 6th above, etc.:
You are right again that 7th notes adds an extra note corresponding to the number in the scale. (ie a 7th chord adds a note a 7th above the root to a triad)
One of the strange things in making chords though is here. A C7 is assumed to be a dominant 7th chord which has a b7. It is spelled out:
C E G Bb, which I am sure we have all played:
Code:
A|--1-- <-Bb note
E|----- <-E note
C|----- <-C note
G|----- <-G note
A major 7th chord has a natural 7th above root, so it would be spelled:
C E G B
and played:
Code:
A|--2-- <-B note
E|----- <-E note
C|----- <-C note
G|----- <-G note
here are all the 7th chords in the key of C:
CMaj7 - C E G B
C7 (dominant 7th) - C E G Bb
Cmin7 - C Eb G Bb
Cdim7 - C Eb Gb Bbb(A*)
*enharmonic note
Again, you're on the right track though