well again i have never considered myself the great defender of berklee.  i ussually end up being the one complaining about berklee rather than the one defending.  but then again i am not even sure i am trying to defend berklee here when i ask ... where did you read that anyone at berklee proclaimed that they are the definitive sourse and end all law makers when it comes to jazz theory.  personally i found the the theory and arranging staff at berklee in particular excellent and much more humble than that.  secondly i would ask... if you know of an institution that presents or does a better job of presenting a set of theoretical rules and language for us discuss jazz with ...  who, where or what is it???
another point.  the  major 7 is a tension.   not the flated 7.  what the theoretical explanation for this is i can not remember.  to my ear there is tension with major seven... it wants to resovle very much so specifically to one.   simply voicing a major 7 chord bceg,
gets a "jazzy" sound with out adding any of the other 9, 11, or 13 tensions. because 7 is a tension.   doing the same thing with b7 does not work.
anyways when doing melodic analysis.  b7 when appearing where there is a major chord is not a tension it is a chord tone of a dominant chord or simply a scale step.  but when the major seventh occurs in the melody over a major chord it is t7 or tension 7. obviously this is the only time we refer to the 7th as a tension because if we are talking of a chord we refer to the chord as a major 7th chord.  that is because it is such a common chord it took on a specific name.
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