All right, now, let's talk about seconds. Um, like seconds, as in the number two, not seconds, as in time, um, seconds like that. Right onto that is the interval of a second or two. Um, these are not terribly useful to us because the interval of a two makes kind of a dissonance. A dissonance means on ugly sound like this. That's a dissonance, right? It's an ugly sound that the the two is a, um, relatively nice sound, but it's still a little bit crunchy. And so and crunchy means a little bit dissonant. So it doesn't fit into our, um, 1st 3rd 5th major chords as smoothly as the other ones. However, um, let's do the same trick, right? Let's invert it. So I have a C to a d. That's the second in the key of C. What if I inverted my movie? Gonna knocked it down? I have a huge interval now. What is that interval? That's 1/7 because the seventh is the inversion of the second. Um, another way I could look at it is the interval from D up to see that is 1/7. Now the thing that's different about th...
e second, as opposed to the fourth, is that the second does have a major or minor possibilities. Uh, the second can be major or minor. In this case, Thistles, a major second when I showed you earlier is a minor second. Now, how does the major and minor work remember? We don't really have major minor on the fifth because the fifth is perfect, right? That's one of those weird perfect intervals. The other perfect interval is the fourth, so a perfect fit inverted becomes a perfect fourth. Um, but a major second inverted becomes 1/7 and a minor second. Inverted becomes the seventh, and their quality flips when you invert them. So, for example, a major second inverted boom boom boom a minor seventh day. So a major second inverted Williams of Minor seven, a minor seventh inverted becomes a major seventh, right? So whenever you invert an interval, it always becomes the opposite quality. So if it's major becomes minor and it also changes numbers. So let's look at that again. Let's look at let's look at ah, uh d up to Let's get C sharp up to see all the way up here. If we count out the half steps. That's going to be a major seventh. If we go to hear d up to see and we kind of the half steps, that's going to be a major seventh Now. I want to point out here that these intervals before the 26 thes you don't need to think about these all the time. There's a reason I save these for the end. Um, I don't want you to get confused, cause when we're making cords were thinking about the first, the third, the fifth, sometimes the seventh. Um, you can add a four to something. You can add a six to something. You can add it to do something, and it'll make a cool sound. But primarily we're thinking about that 1st 3rd 5th when we build cords. Um, I'm putting these in here hopefully not to confuse you, but to get you thinking to make you think I didn't forget about him. Basically, um, they are intervals that exists. Um, they are fun to play with. We can build cords that have them in it, Um, but they're a little outside of the box, so keep that in mind as you experiment with them.