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In general, smaller intervals do not sound as pleasing in a bass register as they do in a treble register. This is a general effect that occurs regardless of whether you play a consonance or a dissonance, although it is more noticeable with dissonances. What happens is that the overtones of the bass notes end up having more noticeable clashes between them, ...


4

Are you talking about the piano here? Because on the piano, even single notes are more dissonant in the bass clef than in the treble clef (look up "disharmonicity") because of the thickness of strings. Also for low frequency you can hear more overtones, and consequently their possible clashes. And also for lower frequencies more beatings are in the ...


4

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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