Er... something's terribly wrong in this explanation. because the essential forgotten fact is that, as much as F# is also Gb, C is also B#, F is E#, B is Cb and E is Fb. So the G# scale exists and is perfectly valid, it reads
G# A# B# C# D# E# F##
And it is a very important point, because each scale on the circle of fifth has one more sharp than the previous one when turning in one direction, and one more flat in the other one.
Another point is that there is actually a comma between F# and Gb, and between F## and G, because the chromatic semi-tone is one comma shorter than the diatonic semi-tone -- Though of course the distinction isn't done on a tempered instrument such as a piano or a guitar.
It is all actually quite simple, but not /that/ simple :)
G# A# B# C# D# E# F##
And it is a very important point, because each scale on the circle of fifth has one more sharp than the previous one when turning in one direction, and one more flat in the other one.
Another point is that there is actually a comma between F# and Gb, and between F## and G, because the chromatic semi-tone is one comma shorter than the diatonic semi-tone -- Though of course the distinction isn't done on a tempered instrument such as a piano or a guitar.
It is all actually quite simple, but not /that/ simple :)