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Talk:Major seventh chord

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Parallel fifths?

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The example snippet of a seventh chord arising in the progression from IV⁷ to V (File:Melodic origin of major seventh chord.png) has consecutive fifths between the first and third voice. AFAIK, this is something traditional counterpoint textbooks specifically warn against ([1], [2]; also Dachs-Söhner, Harmonielehre II, p.12). Does the cited source (Forte 1979) actually display the progression like this? Fut.Perf. ☼ 11:10, 28 August 2011 (UTC)[reply]

Yes. Hyacinth (talk) 22:47, 28 August 2011 (UTC)[reply]

Given the preponderance of music using this chord in the modern era I see no reason why we should be using counterpoint textbooks to inform the proper notation of the progression. It's 2023, we use parallel perfect intervals and God is fine with it. 2600:8803:950E:8F00:6521:9644:A111:7DA1 (talk) 14:35, 6 February 2023 (UTC)[reply]

It should be noted tha jazz and rock are not the only styles that utilize the major major seventh chord. J. S. Bach used it occasionaly as found in pieces such as his Prelude in C for the Well Tempered Clavier BWV 846, among other piano works. Erik Satie made extensive use of the chord in his famous Gymnopédies No. 1. R3hall (talk) 21:36, 19 January 2013 (UTC)R3hall[reply]

It strikes me as strangely disingenuous to cite one source for the bold claim that any one song is the "most famous" instance of an exceptionally pervasive harmonic construct, especially when that same claim is made with the same citation on two separate occasions in the article. Hell, by my own estimation, Band on the Run is more famous than Colour My World is (but that's just an opinion). Not to mention the Bach piece mentioned above, which is extremely widely known.--128.12.68.244 (talk) 00:54, 21 January 2013 (UTC)[reply]

There's a difference between a claim followed by a citation and a quote followed by or part of a citation. The article doesn't say that it is the most famous example, Stephenson does. Hyacinth (talk) 05:22, 4 December 2018 (UTC)[reply]