The Logic Off Topic list

>>> leon m wrote: A bar of 3/4 consists of three quarter notes (breve divided by
>>> 4). A bar of 3/5 consists of three quarter note quintuplets (breve divided
>>> by 5). A bar of 3/5 will therefore be shorter in length than a bar of 3/4.
>>> It is an elegant way of modulating tempo.
>> 
>> there inconsistencies in the logic in this.
>> 
> Could you point them out? It is just simple maths. And i did not invent this,
> it is an agreed classical practice, although rare.

I think I am just confused by the word "Breve"... never heard that one, you
must be British or something. So Breve is a bar. ok...

I get the whole tempo modulation thing.

the inconsistency is that you speak of "quarter note quintuplets" when if
you're in 3/5, the 5's are no longer tuplets, they're just quintle notes (or
something... what's the old English way to say a fifth?)
> 
>> But some of your points are valid.
>> 
>> question #1: for you, what is a quarter note quintuplet?
>> 
> A breve divided by 5.  Ie a note equal to the length of a fith of a breve, in
> the same way a quarter note is equal to a fourth of a breve.

so let's call it a quintle note. or something that doesn't imply that it is
over an even time signature.

>> So the resulting accented rhythm is 5/4, but the quarter note is %20 faster
>> than the original 4/4. Your 3/5 would be 3 beats of that 5/4. or 3/4 with
>> 16th notes  %20 faster than the original 4/4. Yes? Are we on the same page?
>> That I can understand using, And it does suck that Logic can't do that
>> without chaging tempo.
>> 
> You got it. Cut the bar after the fourth quarter quintuplet and you get your
> 4/5. As you can see it is far neater to just use an odd time signature rather
> than write out all those subdivisions and ratios. Gets worse if you want 11 9
> or 7.

yes, especially if you're sequencing. It may be easier to read or play in
for an actual performer the other way.

>> Similarly a bar of 5/5 would be the same a bar of 4/4 with every 4th
>> quintuplet accented. Right? if the piece was soley in that time sig, wouldn't
>> 5/4 be just as easy to write since you're accenting every 4th note anyway?
>> The 4 accented quintuplets end up just being 4 16th notes in that scenario...
>> right?
>> 
> Correct,there would be little ppoint in writing a piece that never changed
> from 5/5 3/ 3 etc. The use is in the moving from one to the other

well, good.

>> so, to sum up... 3/5 I can get with if it's 3 groups of 4 quintuplets
>> 
> NO!  
> 
> 3/5 is a bar equal to the length of 3 quarter note quintuplets!

sorry, I meant 3 groups of 4 16th note quintuplets (yuch) or 3 quintle
notes.

> What you put in 
> that bar is up to you.

well, duh...

>> in a song based on a 16th note rhythm. There really is no other way to
>> express that without changing tempo.
>> 
> Reverse your thinking, we want to change the tempo! The16th note rhythm is
> therefore irrelevant

oh. I don't want to change the tempo. I'm a groove guy. I'm into swinging my
quintuplets. Getting kind of African with it. so there you have it. 2 sides
of the coin. 

Teddy Kumpel