“Music Theory for Guitarists” question

If you don't have “Music Theory for Guitarists,” good luck understanding this post. LOL

Yo Tom,

In chapter XV the four basic triads make perfect sense to me. You have MM, Mm, mM and mm. There is no examples that throwed me off so I moved on to chapter XVII. We add the seventh chord and now we have 8 possible sevenths. MMM, MMm, MmM, Mmm, mMM, mMm, mmM, mmm. I write them all out starting on C.

C C# D D# E F F# G G# A A# B C C# D D#

MmM = C E G B
mMM = C Eb G B
etc.

Everything is fine until I get to the bottom of page 91:

The first example says it's a C major 7 flat 3rd, but on page 90 the same example calls it a minor seventh. I'm guessing that's a typo and page 90's supposed to be a minor seventh added to a minor triad and page 91 is right, if so I'm back onto the right track…

Next, the second example on the bottom of page 91.

A G# and Bb don't exactly work with any of our MMM, MmM etc. schemes:

There is only two half steps between the G# and Bb. I thought I was I only working with eight possibilities?

So what I am asking is how did you derive the second example on the bottom of page 91. Also the 4th example (C 9th Aug 5th) on page 92. The 5th example (c9th flat 5) on page 92 and the 7th(C aug 9th). The rest seem to fit one of the 16 stacked thirds.

Thanks :D