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Even if the b2 interval mentioned in Dan Davis's answer is avoided by using a different voicing, the problem that is usually meant in this context is the b9 interval between the major 7th and the (higher) root note. The b9 interval is considered a very dissonant interval which in traditional jazz harmony is only "allowed" on a dominant seventh chord ...


3

It looks like that bit of information has been in the article since it was written. From the original 2005 article: Often the melody note or other pitched phenomena influences which of the above chord types a performer selects. For example, if the melody note is the root of the chord, including a major seventh can frequently cause a harsh dissonance. I ...


2

Spacing ("voicing") a chord like that makes the interval between the topmost "seventh" and the melody note a semitone, also called a minor second. A different spacing would change that to a major seventh. Minor seconds sound harsher than major sevenths, because the notes of a minor second usually occupy the same psychoacoustic critical band. That's why, ...



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