X-Git-Url: http://shamusworld.gotdns.org/cgi-bin/gitweb.cgi?a=blobdiff_plain;f=include%2Ftechniques-for-working-with-tempo-and-meter.html;h=24ed46ae7690251d0c3db5fd9a372cf652ad3a01;hb=ca8c53473dfbcb7d4b483a5ce792bbf4b5caffe8;hp=0d28377e85a23887d3628d700f298b1e85b04a13;hpb=2098e011e638b5c86c56e68df7757975fc4d728f;p=ardour-manual

diff --git a/include/techniques-for-working-with-tempo-and-meter.html b/include/techniques-for-working-with-tempo-and-meter.html
index 0d28377..24ed46a 100644
--- a/include/techniques-for-working-with-tempo-and-meter.html
+++ b/include/techniques-for-working-with-tempo-and-meter.html
@@ -6,7 +6,7 @@
 </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>
@@ -68,7 +68,7 @@
 </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>
 
@@ -82,5 +82,3 @@
   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>
 
-
-