Yeah, I’ve noticed that too. The major seventh, for instance, tends to hang there like a memory that’s almost out of reach, so it feels bittersweet. The tritone pulls in that unresolved tension that feels almost cold, like a frostbite on a note. When you layer them over a simple 7‑5‑3 pattern it can echo that kind of winter mood automatically, because the intervals themselves carry those little emotional fingerprints. It’s like the music is reading its own code.