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Like HaVIC said it does come down to preference. I had a jazz theory professor who wouldn't let us use delta and degree in the same score since a sloppily drawn maj7 turns into a dim so easily.. and when you hear the two together it's not exactly pretty.
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It becomes the infamous major 7 (#9, #11, 13) chord, and actually, depending on the context, can sound pretty hip. Duke Ellington loved ending on this chord. Jobim uses it sometimes in his tunes. There's a lot of interesting history that goes along with the chord - classical music calls it the "auxiliary triad" - a triad a half step below the tonic resolving to the tonic. Often guitarists/pianists will play this as the first chord of Misty resolving it to the tonic in bar 2. You might voice it as B/C, or Co7(maj7), but if you want it nice and spicy, do the maj7(#9) thing.
But, you know, if you want to be all lame and write clearly, go right ahead. The best things often come from mistakes.
