OSC added some ids to take reader directly to relevant info

[ardour-manual] / include / techniques-for-working-with-tempo-and-meter.html

diff --git a/include/techniques-for-working-with-tempo-and-meter.html b/include/techniques-for-working-with-tempo-and-meter.html
index 1cf1b1f3a2a629d8d90023642bd0c3956d1928fd..24ed46ae7690251d0c3db5fd9a372cf652ad3a01 100644 (file)
--- a/include/techniques-for-working-with-tempo-and-meter.html
+++ b/include/techniques-for-working-with-tempo-and-meter.html
@@ -1,6 +1,3 @@
----
-title: Techniques for Working with Tempo and Meter
----
 
 <h3>Techniques </h3>
 
@@ -9,7 +6,7 @@ title: Techniques for Working with Tempo and Meter
 </p>
 
 <p>
-  Lets imagine we want to match the click to a drum performance recorded in 'free time'.
+  Let's imagine we want to match the click to a drum performance recorded in 'free time'.
 </p>
 
 <p>
@@ -71,7 +68,7 @@ title: Techniques for Working with Tempo and Meter
 </p>
 
 <p class="note">
-  Notice what happened: The second tempo was changed.<br />
+  Notice what happened: The second tempo was changed.<br>
   You had set a musical position for the second tempo marker. It was not aligned with the frame you wanted, so you dragged the BBT ruler, making the second tempo provide enough pulses over the ramp for 4|1|0 to align with the desired frame.
 </p>
 
@@ -85,4 +82,3 @@ title: Techniques for Working with Tempo and Meter
   Audio locked meters can be useful when composing, as they allow a continuous piece of music to be worked on in isolated segments, preventing the listening fatigue of a fixed form. Reassembly is left as an excercise for the reader.
 </p>
 
-