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| Line 77: |
Line 77: |
| * consonances: major 2nd, minor 3rd, sharp fourth, the minor seventh | | * consonances: major 2nd, minor 3rd, sharp fourth, the minor seventh |
| * dissonances: minor 2nd, major 3nd, flat fifth, minor 6th, major seventh | | * dissonances: minor 2nd, major 3nd, flat fifth, minor 6th, major seventh |
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| ===Modal harmony===
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| {{main|Smitonic}}
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| The seven modes are, from brightest to darkest:
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| {| class="wikitable"
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| |-
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| | Nerevarine mode
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| | LLSLSLS
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| |-
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| | Vivecan mode
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| | LSLLSLS
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| |-
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| | Lorkhanic mode
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| | LSLSLLS
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| |-
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| | Sothic mode
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| | LSLSLSL
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| |-
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| | Kagrenacan mode
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| | SLLSLSL
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| |-
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| | Almalexian mode
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| | SLSLLSL
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| |-
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| | Dagothic mode
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| | SLSLSLL
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| |}
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| Modally, the highest to lowest entropy scale degrees (unison = 1) are:
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| * 2 and 7 (equally): .99 bits
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| * 4 and 5 (equally): .86 bits
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| * 3 and 6 (equally): .59 bits
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| If a scale degree is high entropy it tends to be the most informative on average; the modes that have this interval as major and minor respectively are roughly a 50-50 split. This tells us that unlike in the diatonic scale, thirds and sixths are the ''least'' informative in distinguishing smitonic modes. On the other hand, seconds, fourths and sevenths are highly informative.
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| In orgone, these scale degrees appear in the most consonant triads and tetrads of 11edo orgone, namely 8:9:11:15, 8:9:11:14 and 16:17:22:28. Those chords are therefore crucial for Orgone[7] modal harmony.
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| == 18edo smitonic == | | == 18edo smitonic == |