[musicians-guide] Changed section titles and added parts

crantila crantila at fedoraproject.org
Tue Aug 3 07:06:34 UTC 2010 

commit 3528d911e32ac74e95ea2d634e7e616eb3adf2dc
Author: Christopher Antila <crantila at fedoraproject.org>
Date:   Tue Aug 3 03:06:03 2010 -0400

    Changed section titles and added parts

 en-US/Ardour.xml                                |   17 +-
 en-US/Audacity.xml                              |    9 +-
 en-US/Audio_Vocabulary.xml                      |    2 +-
 en-US/Frescobaldi.xml                           |    2 +-
 en-US/LilyPond/LilyPond-counterpoint.xml        |    2 +-
 en-US/LilyPond/LilyPond-orchestra.xml           |    2 +-
 en-US/LilyPond/LilyPond-piano.xml               |    2 +-
 en-US/LilyPond/LilyPond.xml                     |    4 +-
 en-US/Musicians_Guide.xml                       |   28 ++-
 en-US/Planet_CCRMA_at_Home.xml                  |   25 +-
 en-US/Qtractor.xml                              |   98 +++---
 en-US/Revision_History.xml                      |   15 +
 en-US/Rosegarden.xml                            |    7 +-
 en-US/Solfege.xml                               |  405 ++++++++++++-----------
 en-US/Sound_Cards.xml                           |    4 +-
 en-US/Sound_Servers.xml                         |    4 +-
 en-US/SuperCollider/SuperCollider-Composing.xml |    2 +-
 en-US/SuperCollider/SuperCollider.xml           |   20 +-
 publish                                         |    1 +
 19 files changed, 355 insertions(+), 294 deletions(-)
---
diff --git a/en-US/Ardour.xml b/en-US/Ardour.xml
index db4d6ab..36d5aa3 100644
--- a/en-US/Ardour.xml
+++ b/en-US/Ardour.xml
@@ -369,7 +369,7 @@
 	</section>
 	
 	<section id="sect-Musicians_Guide-Ardour-Tutorial_Files">
-		<title>Tutorial Files</title>
+		<title>Files for the Tutorial</title>
 		<para>
 			!!L!! Links to tutorial files !!L!!  These tutorial files represent the material required to create a finished version of a song called "Here Is How," written by Esther Wheaton.  The song was released as part of her first album, "Not Legendary," and she has released the source files for this song under !!I!! this licence (probably CC-BY-SA) !!I!!  For more information on the artist, please refer to her [http://www.myspace.com/estherwheaton MySpace page].
 		</para>
@@ -382,7 +382,7 @@
 	</section>
 	
 	<section id="sect-Musicians_Guide-Ardour-Editing">
-		<title>Editing a Session (Tutorial)</title>
+		<title>Editing a Song (Tutorial)</title>
 		<para>
 			This section covers the basics of preparing "Here Is How."  The focus is on trimming the regions and placing them in the right position on the timeline.  Since the goal is to replicate the form of the original song, there is little room for artistic freedom.
 		</para>
@@ -814,7 +814,7 @@
 					<listitem><para>Remember to lock the "Marimba_2" region!</para></listitem>
 					<listitem><para>Listen to the rest of the regions together.  The end of the regions, at about 00:02:20.000, should be aligned, if you aligned the start correctly.  The higher and lower marimbas will alternate.</para></listitem>
 					<listitem><para>Move the "Marimba_3" regions so they start at approximately 00:03:20.000, with "Marmiba_3" in the "marimba1" tracks.  We will find a final alignment later.</para></listitem>
-					<listitem><para>Move the "Marimba_4" regions so they start at approximately the same time as the "Marimba_3" regions, but in the "marimba2" tracks.  We will find a final alignment later.
+					<listitem><para>Move the "Marimba_4" regions so they start at approximately the same time as the "Marimba_3" regions, but in the "marimba2" tracks.  We will find a final alignment later.</para></listitem>
 					</orderedlist>
 				</para>
 			</section>
@@ -882,7 +882,7 @@
 		</section>
 	</section> <!-- Ends "Editing" Section -->
 	<section id="sect-Musicians_Guide-Ardour-Mixing">
-		<title>Mixing a Session (Tutorial)</title>
+		<title>Mixing a Song (Tutorial)</title>
 		<para>
 			The next stage is called "mixing," and it primarily involves two tasks: setting volume levels, and adjusting the stereo pan settings.  We'll use automation to store our fader and panning adjustments, and see how handy it can be to have left and right channels recorded on separate tracks, combined with sub-master busses.
 		</para>
@@ -1028,9 +1028,16 @@
 				</itemizedlist>
 			</para>
 		</section>
+		<section id="sect-Musicians_Guide-Ardour-Mixing-Listen">
+			<title>Listen</title>
+			<para>
+				When you have finished mixing the song, you must listen to it.  You should listen to it with as many different devices as possible: headphones, speakers, home theater systems, and so on.  You should also ask your friends and colleagues to listen to your work.  Other people hear things differently from you, and will give you different feedback.
+			</para>
+		</section>
 	</section> <!-- Ends "Mixing" Section -->
+	
 	<section id="sect-Musicians_Guide-Ardour-Mastering">
-		<title>Mastering a Session (Exporting)</title>
+		<title>Mastering a Session</title>
 		<para>
 			To be a true master at mastering sessions requires years of experience and careful optimization for the target format.  Knowing just the right equalization and filtering settings to apply is an art in itself, worth a full user guide.  This section is concerned with getting the audio out of a session, to a useful format.
 		</para>
diff --git a/en-US/Audacity.xml b/en-US/Audacity.xml
index 5f8227b..80a0193 100644
--- a/en-US/Audacity.xml
+++ b/en-US/Audacity.xml
@@ -31,10 +31,11 @@
 			<title>Requirements</title>
 			<para>
 				Audacity uses several "libraries."  Libraries are incomplete programs that add capabilities to other programs or applications.  Libraries can be shared between programs.  The libraries needed by Audacity will be installed automatically.
+			</para>
 			<para>
 				The version of Audacity from the Fedora repository does not use an MP3 library.  If you do not want to use MP3 files with Audacity, you should follow the !!L!!Standard Installation!!L!! instructions.  If you want to use MP3 files with Audacity, you should follow the !!L!!MP3-Enabled Instructions!!L!!.
 			</para>
-			<!-- Information about JACK no longer required, since jack2 will be in Fedora 14 -->
+			<!-- Information about JACK no longer needed, since jack2 will be in Fedora 14 for sure -->
 		</section>
 		<section id="sect-Musicians_Guide-Audacity-Installation">
 			<title>Standard Installation</title>
@@ -48,7 +49,7 @@
 			</para>
 		</section>
 		<section id="sect-Musicians_Guide-Audacity-Installation_with_RPM_Fusion">
-			<title></title>
+			<title>Installation with MP3 Support</title>
 			<para>
 				This method installs Audacity from the RPM Fusion repository.  This version of Audacity uses an MP3 library, and can process MP3 files.  The Fedora Project cannot provide support for this version of Audacity because it is not prepared by Fedora.
 				<orderedlist>
@@ -166,13 +167,13 @@
 	</section>
 	
 	<section id="sect-Musicians_Guide-Audacity-Tutorial">
-		<title>Tutorial: Creating a New Login Sound</title>
+		<title>Creating a New Login Sound (Tutorial)</title>
 		<para>
 			To follow this portion of the tutorial, it is strongly recommended that you download the Audacity working-file, and begin doing the actions described, as instructed in the tutorial.
 		</para>
 		
 		<section id="sect-Musicians_Guide-Audacity-Tutorial-Files">
-			<title>Tutorial Files</title>
+			<title>Files for the Tutorial</title>
 			<para>
 				The following files will be useful, if you choose to follow along with the tutorial.  Only the ''Starting State'' file is necessary; the other two are provided as possible completed forms.
 				<itemizedlist>
diff --git a/en-US/Audio_Vocabulary.xml b/en-US/Audio_Vocabulary.xml
index 051be36..2a7eece 100644
--- a/en-US/Audio_Vocabulary.xml
+++ b/en-US/Audio_Vocabulary.xml
@@ -5,7 +5,7 @@
 ]>
 
 <section id="chap-Musicians_Guide-Vocabulary">
-	<title>Digital Audio Concepts</title>
+	<title>Other Digital Audio Concepts</title>
 	<para>
 		These terms are used in many different audio contexts.  Understanding them is important to knowing how to operate audio equipment in general, whether computer-based or not.
 	</para>
diff --git a/en-US/Frescobaldi.xml b/en-US/Frescobaldi.xml
index 7bd8068..9e4a4a0 100644
--- a/en-US/Frescobaldi.xml
+++ b/en-US/Frescobaldi.xml
@@ -38,7 +38,7 @@
 	</section>
 	
 	<section id="sect-Musicians_Guide-Frescobaldi-Installation">
-		<title>Installation</title>
+		<title>Requirements and Installation</title>
 		<procedure>
 			<step><para>Run <code>sudo -c 'yum install frescobaldi'</code> or install the "frescobaldi" package with PackageKit or KPackageKit.</para></step>
 			<step><para>There are a lot of dependencies, including perl-* packages, subversion, kde* packages, and timidity++ including fluid-soundfont-gm (which is 114&nbsp;MB)</para></step>
diff --git a/en-US/LilyPond/LilyPond-counterpoint.xml b/en-US/LilyPond/LilyPond-counterpoint.xml
index 6800258..4557cf1 100644
--- a/en-US/LilyPond/LilyPond-counterpoint.xml
+++ b/en-US/LilyPond/LilyPond-counterpoint.xml
@@ -11,7 +11,7 @@
 	</para>
 	
 	<section id="sect-Musicians_Guide-LilyPond-Counterpoint-Tutorial_Files">
-		<title>Tutorial Files</title>
+		<title>Files for the Tutorial</title>
 		<para>
 			* [[User:Crantila/FSC/Typesetting/LilyPond/Counterpoint|Counterpoint (LilyPond)]]
 			* [[File:FSC-counterpoint.pdf]]
diff --git a/en-US/LilyPond/LilyPond-orchestra.xml b/en-US/LilyPond/LilyPond-orchestra.xml
index 28fe2c8..fbe2ff5 100644
--- a/en-US/LilyPond/LilyPond-orchestra.xml
+++ b/en-US/LilyPond/LilyPond-orchestra.xml
@@ -17,7 +17,7 @@
 	</para>
 	
 	<section id="sect-Musicians_Guide-LilyPond-Orchestra-Tutorial_Files">
-		<title>Tutorial Files</title>
+		<title>Files for the Tutorial</title>
 		<para>
 			* [[User:Crantila/FSC/Typesetting/LilyPond/Orchestra|Orchestra (LilyPond)]]
 			* [[File:FSC-orchestra.pdf]]
diff --git a/en-US/LilyPond/LilyPond-piano.xml b/en-US/LilyPond/LilyPond-piano.xml
index 1572bcb..67cba2b 100644
--- a/en-US/LilyPond/LilyPond-piano.xml
+++ b/en-US/LilyPond/LilyPond-piano.xml
@@ -17,7 +17,7 @@
 	</para>
 	
 	<section id="sect-Musicians_Guide-LilyPond-Piano-Tutorial_Files">
-		<title>Links to Files for This Tutorial</title>
+		<title>Files for the Tutorial</title>
 		<para>
 			* [[User:Crantila/FSC/Typesetting/LilyPond/Piano|Piano (LilyPond)]]
 			* [[File:FSC-piano.pdf]]
diff --git a/en-US/LilyPond/LilyPond.xml b/en-US/LilyPond/LilyPond.xml
index c7bad7c..55b1cd9 100644
--- a/en-US/LilyPond/LilyPond.xml
+++ b/en-US/LilyPond/LilyPond.xml
@@ -55,7 +55,7 @@
 	</section>
 	
 	<section id="sect-Musicians_Guide-LilyPond-Installation">
-		<title>Installation</title>
+		<title>Requirements and Installation</title>
 		<procedure>
 			<step><para>Run <code>sudo -c 'yum install lilypond'</code> or use PackageKit or KPackageKit to install the "lilypond" package.</para></step>
 			<step><para>Review the dependencies; it will want to install a lot of things called lilypond-*-fonts</para></step>
@@ -68,7 +68,7 @@
 	
 	<xi:include href="LilyPond-syntax.xml" xmlns:xi="http://www.w3.org/2001/XInclude" />
 	<xi:include href="LilyPond-counterpoint.xml" xmlns:xi="http://www.w3.org/2001/XInclude" />
-	<xi:include href="LilyPond-piano.xml" xmlns:xi="http://www.w3.org/2001/XInclude" />
 	<xi:include href="LilyPond-orchestra.xml" xmlns:xi="http://www.w3.org/2001/XInclude" />
+	<xi:include href="LilyPond-piano.xml" xmlns:xi="http://www.w3.org/2001/XInclude" />
 	
 </chapter>
diff --git a/en-US/Musicians_Guide.xml b/en-US/Musicians_Guide.xml
index 9953082..df60fe0 100644
--- a/en-US/Musicians_Guide.xml
+++ b/en-US/Musicians_Guide.xml
@@ -7,13 +7,28 @@
 	<xi:include href="Book_Info.xml" xmlns:xi="http://www.w3.org/2001/XInclude" />
 	<xi:include href="Preface.xml" xmlns:xi="http://www.w3.org/2001/XInclude" />
 	<!-- Start Chapters -->
-		<!-- Linux Audio Basics -->
-		<xi:include href="Sound_Cards.xml" xmlns:xi="http://www.w3.org/2001/XInclude" />
-		<xi:include href="Sound_Servers.xml" xmlns:xi="http://www.w3.org/2001/XInclude" />
-		<xi:include href="Planet_CCRMA_at_Home.xml" xmlns:xi="http://www.w3.org/2001/XInclude" />
-		<xi:include href="Real_Time_and_Low_Latency.xml" xmlns:xi="http://www.w3.org/2001/XInclude" />
+		<part>
+			<title>Linux Audio Basics</title>
+			<partintro>
+				<para>
+					asdf
+				</para>
+			</partintro>
+			
+			<xi:include href="Sound_Cards.xml" xmlns:xi="http://www.w3.org/2001/XInclude" />
+			<xi:include href="Sound_Servers.xml" xmlns:xi="http://www.w3.org/2001/XInclude" />
+			<xi:include href="Real_Time_and_Low_Latency.xml" xmlns:xi="http://www.w3.org/2001/XInclude" />
+			<xi:include href="Planet_CCRMA_at_Home.xml" xmlns:xi="http://www.w3.org/2001/XInclude" />
+		</part>
 		
-		<!-- Audio and Music Software -->
+		<part>
+			<title>Audio and Music Software</title>
+			<partintro>
+				<para>
+					asdf
+				</para>
+			</partintro>
+			
 			<!-- Audio Editor -->
 			<xi:include href="Audacity.xml" xmlns:xi="http://www.w3.org/2001/XInclude" />
 			
@@ -33,6 +48,7 @@
 		
 			<!-- Aural Skills Training -->
 			<xi:include href="Solfege.xml" xmlns:xi="http://www.w3.org/2001/XInclude" />
+		</part>
 		
 	<!-- End Chapters -->
 	<xi:include href="Revision_History.xml" xmlns:xi="http://www.w3.org/2001/XInclude" />
diff --git a/en-US/Planet_CCRMA_at_Home.xml b/en-US/Planet_CCRMA_at_Home.xml
index 18ce3e3..80001ea 100644
--- a/en-US/Planet_CCRMA_at_Home.xml
+++ b/en-US/Planet_CCRMA_at_Home.xml
@@ -8,37 +8,38 @@
 	<title>Planet CCRMA at Home</title>
 	
 	<section id="sect-Musicians_Guide-What_Is_Planet_CCRMA">
-		<title>What Planet CCRMA at Home Is</title>
+		<title>About Planet CCRMA at Home</title>
 		<para>
 			As stated on the project's home page, it is the goal of Planet CCRMA at Home to provide packages which will transform a Fedora Linux-based computer into an audio workstation.  What this means is that, while the Fedora Project does an excellent job of providing a general-purpose operating system, a general purpose operating system is insufficient for audio work of the highest quality.  The contributors to Planet CCRMA at Home provide software packages which can tune your system specifically for audio work.
 		</para>
 		<para>
 			Users of GNU Solfege and LilyPond should not concern themselves with Planet CCRMA at Home, unless they also user other audio software.  Neither Solfege nor LilyPond would benefit from a computer optimzed for audio production.
 		</para>
-		<section id="sect-Musicians_Guide-CCRMA">
-			<title>CCRMA</title>
+		<!-- Je pense que I don't need these sub-sections. -->
+		<!-- <section id="sect-Musicians_Guide-CCRMA">
+			<title>CCRMA</title> -->
 			<para>
 				CCRMA stands for "Center for Computer Research in Music and Acoustics," which is the name of an academic research initiative and music computing facility at Stanford University, located in Stanford, California.  Its initiatives help scholars to understand the effects and possibilities of computers and technology in various musical contexts.  They offer academic courses, hold workshops and concerts, and try to incorporate the work of many highly-specialized fields.
 			</para>
-		</section>
+		<!-- </section>
 		<section id="sect-Musicians_Guide-CCRMA_Software">
-			<title>The Software</title>
+			<title>The Software</title> -->
 			<para>
 				The Planet CCRMA at Home website suggests that they provide most of the software used on the computers in CCRMA's computing facilities.  Much of this software is highly advanced and complex, and not intended for everyday use.  More adventurous users are encouraged to explore Planet CCRMA's website, and investigate the software for themselves.
 			</para>
-		</section>
+		<!-- </section> -->
 	</section>
 	
 	<section id="sect-Musicians_Guide-Knowing_Whether_to_Use_Planet_CCRMA">
-		<title>Knowing Whether You Should Use Planet CCRMA at Home</title>
+		<title>Deciding Whether to Use Planet CCRMA at Home</title>
 		<section id="sect-Musicians_Guide-CCRMA_Need_Exclusive_Software">
-			<title>Do You Need Exclusive Software?</title>
+			<title>Exclusive Software</title>
 			<para>
 				The only useful reason to install an additional repository is if you intend to install and use its software.  The only software application covered in this guide, which is available exclusively from the Planet CCRMA at Home repository, is "SuperCollider".  The Planet CCRMA repository also offers many other audio-related software applications, many of which are available from the default Fedora Project repositories.
 			</para>
-		</section>
+		<!-- </section>
 		<section id="sect-Musicians_Guide-CCRMA_Updated_Versions">
-			<title>Do You Need Updated Versions?</title>
+			<title>Do You Need Updated Versions?</title> -->
 			<para>
 				Most of the audio software currently available in the default Fedora repositories was initially available in Fedora from the Planet CCRMA at Home repository.  Sometimes, an updated version of an application is available from the Planet CCRMA repository before it is available from the Fedora Updates repository.  If you need the newer software version, then you should install the Planet CCRMA repository.
 			</para>
@@ -47,7 +48,7 @@
 			</para>
 		</section>
 		<section id="sect-Musicians_Guide-CCRMA_Security_and_Stability">
-			<title>Security and Stability with Third-Party Repositories</title>
+			<title>Security and Stability</title>
 			<para>
 				The biggest reason that you should avoid installing the Planet CCRMA at Home repository unless you ''need'' its software is security.  There are two main security issues with using the Planet CCRMA repositories:
 				<orderedlist>
@@ -57,7 +58,7 @@
 			</para>
 		</section>
 		<section id="sect-Musicians_Guide-CCRMA_Best_Practices">
-			<title>A "Best Practices" Solution</title>
+			<title>A Possible "Best Practices" Solution</title>
 			<para>
 				All Fedora Linux users should be grateful to the people working at CCRMA, who help to provide the Planet CCRMA at Home repository.  Their work has been instrumental in allowing Fedora to provide the amount of high-quality audio software that it does.  Furthermore, the availability of many of CCRMA's highly-specialized software applications through the Planet CCRMA at Home repository is an invaluable resource to audio and music enthusiasts.
 			</para>
diff --git a/en-US/Qtractor.xml b/en-US/Qtractor.xml
index 28f1c6f..196332a 100644
--- a/en-US/Qtractor.xml
+++ b/en-US/Qtractor.xml
@@ -6,19 +6,15 @@
 
 <chapter id="chap-Musicians_Guide-Qtractor">
 	<title>Qtractor</title>
-	
-	<section id="sect-Musicians_Guide-Qtractor-Features_and_Strengths">
-		<title>Features and Strengths</title>
-		<para>
-			'''Qtractor''' is a relatively new application, created and maintained by the same developers who are responsible for '''QjackCtl''' and '''QSynth''' (both covered in other chapters of this Guide).  It offers much more flexibility than '''Audacity,''' but is still easier to use than '''Ardour''' or '''Rosegarden'''.  As such, it serves as the perfect starting-point for people first discovering software-based DAWs.
-		</para>
-		<para>
-			But '''Qtractor''' is much more than just a starting-point: its simplicity is its greatest strength.  '''Ardour''' and '''Rosegarden,''' may offer more features, but '''Qtractor''' takes much less time to learn.  After the initial learning-curve, you will be able to complete almost every audio or MIDI project with '''Qtractor.'''  Its interface offers simple, intuitive, point-and-click interaction with clips, integrated control of JACK connections, MIDI control integration with external devices and other MIDI-aware software, and support for ''LADSPA,'' ''DSSI,'' native ''VSTi,'' and ''LV2'' plug-ins.  With development progressing very quickly, '''Qtractor''' is becoming more stable and usable by the minute.  The simple interface allows you to focus on creating music to suit your creative needs.
-		</para>
-		<para>
-			Beginners and advanced users alike will be pleased to see how '''Qtractor''' can work for them.
-		</para>
-	</section>
+	<para>
+		Qtractor is a relatively new application, created and maintained by the same developers who are responsible for QjackCtl and Qsynth (both covered in other chapters of this Guide).  It offers much more flexibility than Audacity, but is still easier to use than Ardour or Rosegarden.  As such, it serves as the perfect starting-point for people first discovering software-based DAWs.
+	</para>
+	<para>
+		But Qtractor is much more than just a starting-point: its simplicity is its greatest strength.  Ardour and Rosegarden, may offer more features, but Qtractor takes much less time to learn.  After the initial learning-curve, you will be able to complete almost every audio or MIDI project with Qtractor.  Its interface offers simple, intuitive, point-and-click interaction with clips, integrated control of JACK connections, MIDI control integration with external devices and other MIDI-aware software, and support for <code>LADSPA</code>, <code>DSSI</code>, native <code>VSTi</code>, and <code>LV2</code> plug-ins.  With development progressing very quickly, Qtractor is becoming more stable and usable by the minute.  The simple interface allows you to focus on creating music to suit your creative needs.
+	</para>
+	<para>
+		Beginners and advanced users alike will be pleased to see how Qtractor can work for them.
+	</para>
 	
 	<section id="sect-Musicians_Guide-Qtractor-Requirements_and_Installation">
 		<title>Requirements and Installation</title>
@@ -26,7 +22,7 @@
 		<section id="sect-Musicians_Guide-Qtractor-Knowledge_Requirements">
 			<title>Knowledge Requirements</title>
 			<para>
-				Although '''Qtractor''' is one of the simplest software-based ''DAWs'' currently available in Fedora Linux, its interface may not be straight-forward unless you have previous experience with ''DAW'' software.  Reading the [[ser:Crantila/FSC/Recording/DAW_Common_Elements|Common Elements]] chapter of this Guide will provide enough background information for you to use '''Qtractor,''' '''Ardour,''' and '''Rosegarden.'''
+				Although Qtractor is one of the simplest software-based DAWs currently available in Fedora Linux, its interface may not be straight-forward unless you have previous experience with DAW software.  Reading the [[ser:Crantila/FSC/Recording/DAW_Common_Elements|Common Elements]] chapter of this Guide will provide enough background information for you to use Qtractor, Ardour, and Rosegarden.
 			</para>
 		</section>
 		<section id="sect-Musicians_Guide-Qtractor-Software_and_Hardware_Requirements">
@@ -35,10 +31,10 @@
 				If you have not already installed the JACK Audio Connection Kit, it is recommended that you do so before installing Ardour.  Instructions for installing JACK are available [[User:Crantila/FSC/Sound_Servers#Installing_JACK|here]].
 			</para>
 			<para>
-				In addition to ''JACK'', if you intend to use '''Qtractor''' for recording audio, your system's audio interface should be configured with microphones, as desired.  Your system's audio interface should also be configured for audio output, either with speakers, or preferably with headphones.  Headphones will allow you to listen to a session as it is recorded.
+				In addition to JACK, if you intend to use Qtractor for recording audio, your system's audio interface should be configured with microphones, as desired.  Your system's audio interface should also be configured for audio output, either with speakers, or preferably with headphones.  Headphones will allow you to listen to a session as it is recorded.
 			</para>
 			<para>
-				If you intend to use '''Qtractor''' for recording ''MIDI'', then your system's ''MIDI'' interface should be configured with ''MIDI'' input devices, as desired.  If you intend to use '''Qtractor''' for sequencing and synthesizing ''MIDI'' signals into audio signals, then you will need a ''MIDI'' synthesizer.  Both hardware- and software-based ''MIDI'' synthesizers are compatible with '''Qtractor.'''  '''FluidSynth''' is a good, software-based ''MIDI'' synthesizer, and it is discussed in [[User:Crantila/FSC/Synthesizers/FluidSynth|this part]].
+				If you intend to use Qtractor for recording MIDI, then your system's MIDI interface should be configured with MIDI input devices, as desired.  If you intend to use Qtractor for sequencing and synthesizing MIDI signals into audio signals, then you will need a MIDI synthesizer.  Both hardware- and software-based MIDI synthesizers are compatible with Qtractor.  <code>FluidSynth</code> is a good, software-based MIDI synthesizer, and it is discussed in [[User:Crantila/FSC/Synthesizers/FluidSynth|this part]].
 			</para>
 		</section>
 		<section id="sect-Musicians_Guide-Qtractor-Installation">
@@ -46,7 +42,7 @@
 			<para>
 				!!I!! Qtractor may or may not be available from a standard Fedora repository in Fedora 14.  This assumes that it is. !!I!!
 				
-				You can install '''Qtractor''' either using the '''PackageKit''' or '''KPackageKit''' applications, or by running the following command in a terminal: [pre]su -c 'yum install qtractor'[/pre] If you will be using '''Qtractor''' with a ''SoundFont-compatible,'' software-based ''MIDI'' synthesizer (such as '''FluidSynth/QSynth'''), you should tell '''Qtractor''' about the ''SoundFont.''  See the !!L!!"Configuring MIDI Channel Names"!!L!! section.  You can install the FluidSynth/QSynth synthesizer by following the instructions !!L!!here!!L!!.
+				You can install Qtractor either using the PackageKit or KPackageKit applications, or by running the following command in a terminal: [pre]su -c 'yum install qtractor'[/pre] If you will be using Qtractor with a SoundFont-compatible, software-based MIDI synthesizer (such as <code>FluidSynth</code>/QSynth), you should tell Qtractor about the SoundFont.  See the !!L!!"Configuring MIDI Channel Names"!!L!! section.  You can install the <code>FluidSynth</code>/QSynth synthesizer by following the instructions !!L!!here!!L!!.
 			</para>
 		</section>
 	</section>
@@ -58,38 +54,40 @@
 		</para>
 		
 		<section id="sect-Musicians_Guide-Qtractor-Configuration-Audio_Tab">
-			<title>Options Window: Audio Tab</title>
+			<title>Audio Options</title>
+			<!-- "Options Window: Audio Tab" -->
 			<para>
-				The ''Capture/Export'' setting allows you to choose the format in which "Qtractor" stores its audio clips when recorded or exported.  You will be able to choose a file type, such as "WAV Microsoft" for standard ".wav" files, "AIFF Apple-SGI" for standard ".aiff" files, or the preferable "FLAC Lossless Audio Codec," format.  FLAC is an open-source, lossless, compressed format for storing audio signals and metadata.  See  the [http://flac.sourceforge.net/ FLAC website] for more information.  You will also be asked to select a quality setting for lossy compressed formats, or a sample format for all lossless formats.  The sample format is sometimes called "bit rate," which is described [[User:Crantila/FSC/Sound_Cards#Bit_Rate|here]].  If you don't know which sample format to choose, then "Signed 16-Bit" is a good choice for almost all uses, and will provide you with CD-quality audio.  Most non-speciality hardware is incapable of making good use of higher sample formats.
+				The ''Capture/Export'' setting allows you to choose the format in which Qtractor stores its audio clips when recorded or exported.  You will be able to choose a file type, such as "WAV Microsoft" for standard ".wav" files, "AIFF Apple-SGI" for standard ".aiff" files, or the preferable "FLAC Lossless Audio Codec," format.  FLAC is an open-source, lossless, compressed format for storing audio signals and metadata.  See  the [http://flac.sourceforge.net/ FLAC website] for more information.  You will also be asked to select a quality setting for lossy compressed formats, or a sample format for all lossless formats.  The sample format is sometimes called "bit rate," which is described [[User:Crantila/FSC/Sound_Cards#Bit_Rate|here]].  If you don't know which sample format to choose, then "Signed 16-Bit" is a good choice for almost all uses, and will provide you with CD-quality audio.  Most non-speciality hardware is incapable of making good use of higher sample formats.
 			</para>
 			<para>
 				Setting the ''Transport mode'' will allow you to adjust the behaviour of the transport.
 				<itemizedlist>
-				<listitem><para>None : allows "Qtractor's" transport to operate independently</para></listitem>
-				<listitem><para>Slave : allows "Qtractor's" transport to accept instructions sent by JACK's transport, which can be controlled by QjackCtl or another application.</para></listitem>
-				<listitem><para>Master : allows "Qtractor's" transport to send instructions to JACK's transport, which can be viewed by QjackCtl, or used by another application.</para></listitem>
-				<listitem><para>Full : is equivalent to "Master" and "Slave" modes simultaneously; "Qtractor's" transport will both send and accept instructions.</para></listitem>
+				<listitem><para>None : allows Qtractor's transport to operate independently</para></listitem>
+				<listitem><para>Slave : allows Qtractor's transport to accept instructions sent by JACK's transport, which can be controlled by QjackCtl or another application.</para></listitem>
+				<listitem><para>Master : allows Qtractor's transport to send instructions to JACK's transport, which can be viewed by QjackCtl, or used by another application.</para></listitem>
+				<listitem><para>Full : is equivalent to "Master" and "Slave" modes simultaneously; Qtractor's transport will both send and accept instructions.</para></listitem>
 				</itemizedlist>
-				If you are using "Qtractor" alone, or if you don't know which to choose, then "None" is a good choice.  This setting can be adjusted at any time, if you later decide to link the transport in multiple applications.
+				If you are using Qtractor alone, or if you don't know which to choose, then "None" is a good choice.  This setting can be adjusted at any time, if you later decide to link the transport in multiple applications.
 			</para>
 			<para>
 				The ''Metronome'' section allows you to use a (short) audio file as the metronome sound, rather than the standard, MIDI-based metronome.  You can choose the same file for "beat," and "bar," if you prefer.  The ''Dedicated audio metronome outputs'' option will output the audio metronome's signal through separate outputs in JACK.  This is Ardour's default behaviour.
 			</para>
 		</section>
 		<section id="sect-Musicians_Guide-Qtractor-Configuration-MIDI_Tab">
-			<title>Options Window: MIDI Tab</title>
+			<title>MIDI Options</title>
+			<!-- "Options Window: MIDI Tab" -->
 			<para>
 				Adjusting the "File format" allows you to change how MIDI clips are stored.  You will not need to adjust this unless required by an external application.  The [http://en.wikipedia.org/wiki/Musical_Instrument_Digital_Interface#Standard_MIDI_.28.mid_or_.smf.29 Wikipedia article] about MIDI has further information about file formats.
 			</para>
 			<para>
 				"MMC" stands for "MIDI Machine Control," and it allows multiple MIDI-connected devices to interact and control each other.  Setting the ''Transport mode'' to a setting other than "None" allows it be controlled by MMC messages.
 				<itemizedlist>
-				<listitem><para>None : will have "Qtractor" ignore incoming MMC messages, and not provide outgoing MMC messages</para></listitem>
-				<listitem><para>Input : will have "Qtractor" follow incoming MMC instructions, but not provide outgoing MMC messages</para></listitem>
-				<listitem><para>Output : will have "Qtractor" ignore incoming MMS messages, but provide outgoing MMC messages</para></listitem>
-				<listitem><para>Duplex : will have "Qtractor" follow incoming MMC instructions, and provide outgoing MMC messages</para></listitem>
+				<listitem><para>None : will have Qtractor ignore incoming MMC messages, and not provide outgoing MMC messages</para></listitem>
+				<listitem><para>Input : will have Qtractor follow incoming MMC instructions, but not provide outgoing MMC messages</para></listitem>
+				<listitem><para>Output : will have Qtractor ignore incoming MMS messages, but provide outgoing MMC messages</para></listitem>
+				<listitem><para>Duplex : will have Qtractor follow incoming MMC instructions, and provide outgoing MMC messages</para></listitem>
 				</itemizedlist>
-				You can also select a particular MIDI device number with which Qtractor will interact; if you do this, it will ignore MMC messages from other devices, and not send MMC messages to other devices.  Enabled the ''Dedicated MIDI control input/output'' will provide JACK with MIDI inputs and outputs that will be used by "Qtractor" only for MMC messages.  "Qtractor" will not send or receive MMC messages sent on other inputs or outputs if this option is enabled.  "SPP" stands for "Song Position Pointer," and helps MIDI-connected applications to keep track of the current location in a session (in other words, where the transport is).  This should probably be set to the same setting as "MMC."  If you don't know which of these settings to use, then setting "MMC" to "None" is a good choice.  This setting can be adjusted at any time, if you later decide to link applications with MMC messages.
+				You can also select a particular MIDI device number with which Qtractor will interact; if you do this, it will ignore MMC messages from other devices, and not send MMC messages to other devices.  Enabled the ''Dedicated MIDI control input/output'' will provide JACK with MIDI inputs and outputs that will be used by Qtractor only for MMC messages.  Qtractor will not send or receive MMC messages sent on other inputs or outputs if this option is enabled.  "SPP" stands for "Song Position Pointer," and helps MIDI-connected applications to keep track of the current location in a session (in other words, where the transport is).  This should probably be set to the same setting as "MMC."  If you don't know which of these settings to use, then setting "MMC" to "None" is a good choice.  This setting can be adjusted at any time, if you later decide to link applications with MMC messages.
 			</para>
 			<para>
 				The default metronome sound is provided by the "MIDI Metronome," and you can adjust its settings here.  In particular, you may wish to provide a "Dedicated MIDI metronome output," to help you separate the metronome's signal.
@@ -98,13 +96,13 @@
 		<section id="sect-Musicians_Guide-Qtractor-Configuration-MIDI_Channel_Names">
 			<title>Configuring MIDI Channel Names</title>
 			<para>
-				If you're using "FluidSynth" with "QSynth," you should tell "Qtractor" about the SoundFont that you're using.  When you do this, you enable "Qtractor" to help you choose instruments ("patches").
+				If you're using "<code>FluidSynth</code>" with QSynth, you should tell Qtractor about the SoundFont that you're using.  When you do this, you enable Qtractor to help you choose instruments ("patches").
 				<orderedlist>
 				<listitem><para>Click on 'View > Instruments'</para></listitem>
 				<listitem><para>In the ''Instruments'' window, click "Import."</para></listitem>
 				<listitem><para>Navigate to <code>/usr/share/soundfonts</code></para></listitem>
-				<listitem><para>Select the ''SoundFonts'' that you would like to use.  The default is the "FluidR3 GM" SoundFont, but you can choose multiple SoundFonts to use simultaneously.</para></listitem>
-				<listitem><para>Close the ''Instruments'' window to return to the main "Qtractor" window.</para></listitem>
+				<listitem><para>Select the SoundFonts that you would like to use.  The default is the FluidR3 GM SoundFont, but you can choose multiple SoundFonts to use simultaneously.</para></listitem>
+				<listitem><para>Close the ''Instruments'' window to return to the main Qtractor window.</para></listitem>
 				</orderedlist>
 			</para>
 		</section>
@@ -237,11 +235,11 @@
 		<section id="sect-Musicians_Guide-Qtractor-Using-Exporting_Audio_and_MIDI_Together">
 			<title>Exporting a Whole File (Audio and MIDI Together)</title>
 			<para>
-				Qtractor can export all of a session's audio clips as one audio file, but it cannot export the MIDI clips directly into that audio file.  This is because Qtractor does not synthesize audio from MIDI signals, but uses an external MIDI synthesizer to do this.  Thankfully, there is a relatively simple way to overcome this, allowing both audio and MIDI to be exported in the same audio file: use Qtractor to record the audio signal produced by the MIDI synthesizer.  This procedure only works if you use a MIDI synthesizer (like FluidSynth) which outputs its audio signal to JACK.
+				Qtractor can export all of a session's audio clips as one audio file, but it cannot export the MIDI clips directly into that audio file.  This is because Qtractor does not synthesize audio from MIDI signals, but uses an external MIDI synthesizer to do this.  Thankfully, there is a relatively simple way to overcome this, allowing both audio and MIDI to be exported in the same audio file: use Qtractor to record the audio signal produced by the MIDI synthesizer.  This procedure only works if you use a MIDI synthesizer (like <code>FluidSynth</code>) which outputs its audio signal to JACK.
 				<orderedlist>
 				<listitem><para>Create a new audio track in Qtractor by clicking on 'Track > Add Track'.</para></listitem>
 				<listitem><para>Ensure that your MIDI synthesizer is set up correctly to produce output in the usual method (through your speakers).</para></listitem>
-				<listitem><para>Use Qtractor's "Connections" window (press '''[F8]''' on the keyboard) to ensure that the output from your MIDI synthesizer is routed to the input for the newly-created audio track.</para></listitem>
+				<listitem><para>Use Qtractor's "Connections" window (press F8 on the keyboard) to ensure that the output from your MIDI synthesizer is routed to the input for the newly-created audio track.</para></listitem>
 				<listitem><para>Move Qtractor's transport to the start of the session.</para></listitem>
 				<listitem><para>Ensure that only the newly-created audio track is armed for recording.</para></listitem>
 				<listitem><para>Arm Qtractor's transport for recording.</para></listitem>
@@ -258,7 +256,7 @@
 		<section id="sect-Musicians_Guide-Qtractor-Using-Tips">
 			<title>Miscellaneous Tips</title>
 			<para>
-				If you wish to scroll horizontally in Qtractor's tracks pane or the matrix editor, hold down the '''[Ctrl]''' ("Control") key on the keyboard as you adjust your mouse's scroll-wheel.
+				If you wish to scroll horizontally in Qtractor's tracks pane or the matrix editor, hold down the Control (Ctrl) key as you adjust your mouse's scrollwheel.
 			</para>
 			<para>
 				Qtractor files should be saved in an otherwise-empty folder.  Unlike Ardour, Audacity, and Rosegarden, Qtractor will not create a new sub-folder automatically, but will instead store all of a session's clips in the same folder as the the Qtractor file itself.
@@ -266,7 +264,7 @@
 			<section id="sect-Musicians_Guide-Qtractor-Using-Tips-Transport">
 				<title>Transport</title>
 				<para>
-					You can move Qtractor's transport to a particular point in a session by holding '''[Shift]''' on the keyboard as you use the mouse to click on that point.
+					You can move Qtractor's transport to a particular point in a session by holding Shift as you use the mouse to click on that point.
 				</para>
 				<para>
 					You can choose whether or not you want the track pane to automatically scroll as the transport moves by clicking 'Transport > Follow Playhead'.
@@ -296,7 +294,7 @@
 	</section> <!-- Ends "Using Qtractor" Section --> <!--    Qtractor-Using-    -->
 	
 	<section id="sect-Musicians_Guide-Qtractor-Tutorial">
-		<title>Tutorial: Creating a MIDI Composition</title>
+		<title>Creating a MIDI Composition (Tutorial)</title>
 		<para>
 			We've created a demonstration of what a first-time user might try for their first project with Qtractor.  The following sequences demonstrate the decision-making, and the various features that could be learned.  This does not attempt to show a generic method for creation, but rather the specific way that I created a new composition with the inspiration stated below.
 		</para>
@@ -317,7 +315,7 @@
 			</para>
 		</section>
 		<section id="sect-Musicians_Guide-Qtractor-Tutorial-Requirements">
-			<title>Requirements</title>
+			<title>Files for the Tutorial</title>
 			<para>
 				<itemizedlist>
 				<listitem><para>A recording of the second movement from Beethoven's Piano Sonata No.23, "Appassionata," either:
@@ -327,7 +325,7 @@
 					<listitem><para>The recording I used, played by Rudolf Serkin, available on the "Sony" label.</para></listitem>
 					</itemizedlist>
 					</para></listitem>
-				<listitem><para>[[User:Crantila/FSC/Synthesizers/FluidSynth|FluidSynth]]</para></listitem>
+				<listitem><para>[[User:Crantila/FSC/Synthesizers/<code>FluidSynth</code>|<code>FluidSynth</code>]]</para></listitem>
 				</itemizedlist>
 			</para>
 		</section>
@@ -391,7 +389,7 @@
 					<listitem><para>I put all of the notes on the same pitch, but it doesn't matter whether you put them on the same pitches or not - they will be changed later.</para></listitem>
 					<listitem><para>I also made a mistake when I was inputting the notes, so there's one place where they are only two beats apart instead of three.  This didn't matter to me, but it might matter to you.</para></listitem>
 					<listitem><para>Continue inputting notes until you have filled the whole pre-selected region (between the blue markers).  Qtractor will let you continue beyond that point, so you need to keep an eye on the marker yourself.</para></listitem>
-					<listitem><para>To scroll sideways, you can hold down either '''[Shift]''' or '''[Ctrl]''' and use your mouse's scroll wheel.</para></listitem>
+					<listitem><para>To scroll sideways, you can hold down either Shift or Ctrl and use your mouse's scroll wheel.</para></listitem>
 					</orderedlist>
 					</para></listitem>
 				<listitem><para>Move to transport just before the end of the segment you added: use Shift-click.</para></listitem>
@@ -402,7 +400,7 @@
 				<listitem><para>Return to the matrix editor by double-clicking on the MIDI segment.</para></listitem>
 				<listitem><para>Select all of the notes that you have inputted so far:
 					<itemizedlist>
-					<listitem><para>Press '''[Ctrl+A]''', or</para></listitem>
+					<listitem><para>Press Control-a</para></listitem>
 					<listitem><para>Click-and-drag to select, or</para></listitem>
 					<listitem><para>Click on 'Edit > Select > Select All'</para></listitem>
 					</itemizedlist>
@@ -416,13 +414,13 @@
 					<listitem><para>Click "OK" to apply.</para></listitem>
 					<listitem><para>You may need to experiment with the percent of randomization that you allow.  Greater randomization means a lower chance of repetition, but it also means that the pitches will be spread within a smaller range.</para></listitem>
 					<listitem><para>If you want to re-try the randomization, click on 'Edit > Undo Randomization', then use the ''Randomize'' tool again.</para></listitem>
-					<listitem><para>If you like what happens to most of the pitches, you can select and move a few of them either individually or together.  To adjust pitches as a group, select the ones that you want to move (either by click-and-drag select or by '''[ctrl+ click]''' select), and '''[ctrl + drag]''' them to the desired new location.</para></listitem>
+					<listitem><para>If you like what happens to most of the pitches, you can select and move a few of them either individually or together.  To adjust pitches as a group, select the ones that you want to move (either by click-and-drag select or by Control-click select), and Control-drag them to the desired new location.</para></listitem>
 					</orderedlist>
 					</para></listitem>
 				<listitem><para>Now you need to adjust the volume of the pitches.  There are two ways to do this:
 					<itemizedlist>
 					<listitem><para>You can select all of the pitches, then use the "Resize MIDI'' tool, adjusting the "Value" property.</para></listitem>
-					<listitem><para>You can select all of the pitches, then use the value editor portion of the matrix editor window.  This is at the bottom of the matrix editor window, and the height of each pitch shown here tells you the volume at which it will play.  To adjust all of the pitches at once, '''[Ctrl + click-and-drag]''' to adjust the height as desired.  Be careful when doing this that you don't change the horizontal position, which will change the time that the notes sound.</para></listitem>
+					<listitem><para>You can select all of the pitches, then use the value editor portion of the matrix editor window.  This is at the bottom of the matrix editor window, and the height of each pitch shown here tells you the volume at which it will play.  To adjust all of the pitches at once, Control-drag to adjust the height as desired.  Be careful when doing this that you don't change the horizontal position, which will change the time that the notes sound.</para></listitem>
 					<listitem><para>I would suggest at volume of approximately "32," but this depends on your taste.  Also, I adjust the volume of some pitches to be louder when the audio file is louder.</para></listitem>
 					</itemizedlist>
 					</para></listitem>
@@ -438,14 +436,14 @@
 			<para>
 				To repeat your theme exactly:
 				<orderedlist>
-				<listitem><para>Click on the first MIDI segment to select it, then copy it by clicking on 'Edit > Copy' or '''[Ctrl+C]'''</para></listitem>
-				<listitem><para>Paste it by clicking on 'Edit > Paste' or '''[Ctrl+V]'''</para></listitem>
+				<listitem><para>Click on the first MIDI segment to select it, then copy it by clicking on 'Edit > Copy' or Control-c</para></listitem>
+				<listitem><para>Paste it by clicking on 'Edit > Paste' or Control-v</para></listitem>
 				<listitem><para>The cursor will turn into a clipboard icon, and a rectangle will appear to its right.  This rectangle represents the clip that is going to be pasted, but first you must select a place to put it.
 					<orderedlist>
 					<listitem><para>Move the cursor so that the rectangle appears just after the end (right-most edge) of the first MIDI clip.</para></listitem>
 					<listitem><para>You can use the scrollbar arrows to scroll the main window, but it can be difficult, because the cursor has changed.
 						<itemizedlist>
-						<listitem><para>You can also scroll the main window by holding '''[Ctrl]''' and using your mouse's scroll wheel.</para></listitem>
+						<listitem><para>You can also scroll the main window by pressing Control and using your mouse's scroll wheel.</para></listitem>
 						<listitem><para>You can also scroll by carefully moving the mouse cursor to the edge of the main-part-thing.</para></listitem>
 						</itemizedlist>
 						</para></listitem>
@@ -469,7 +467,7 @@
 				<listitem><para>Place the blue markers at the beginning and end of the segment that you chose.</para></listitem>
 				<listitem><para>Create a new MIDI clip.</para></listitem>
 				<listitem><para>Create the notes separated by three beats, as in the last segment.  This time, be sure to add two notes at the same time, by ensure that they are aligned vertically.  Again, it doesn't matter which pitches you choose, because they will be randomized.</para></listitem>
-				<listitem><para>Select all of the pitches, and randomize them by using the "Randomize MIDI'' tool.</para></listitem>
+				<listitem><para>Select all of the pitches, and randomize them by using the ''Randomize MIDI'' tool.</para></listitem>
 				<listitem><para>Depending on how the pitches are randomized, each pair of notes will probably end up in one of the following situations:
 				<itemizedlist>
 				  <listitem><para>They are too close or share a particular intervallic relationship that makes them sound like one note.</para></listitem>
@@ -516,7 +514,7 @@
 		<section id="sect-Musicians_Guide-Qtractor-Tutorial-Measures_98_to_119">
 			<title>Qtractor's Measures 98 to 119</title>
 			<para>
-				I used one new technique while composing this section: copy-and-paste within the matrix editor.  You can see this around the beginning of measure 103, where the same pitch-classes are heard simultaneously in a high and low octave.  I created the upper register first, then selected the notes that I wanted to copy.  I used '''[Ctrl+C]''' and '''[Ctrl+V]''' to create the copy.  Like when copy-and-pasting clips in the main window, the cursor icon changes to a clipboard, and an outline of the to-be-pasted material is shown so that you can position it as desired.  As you will see, you can paste the copy onto any pitch level, and at any point in the measure.  What is kept the same is the pitch intervals between notes and the rhythms between notes.
+				I used one new technique while composing this section: copy-and-paste within the matrix editor.  You can see this around the beginning of measure 103, where the same pitch-classes are heard simultaneously in a high and low octave.  I created the upper register first, then selected the notes that I wanted to copy.  I used Control-c and Control-v to create the copy.  Like when copy-and-pasting clips in the main window, the cursor icon changes to a clipboard, and an outline of the to-be-pasted material is shown so that you can position it as desired.  As you will see, you can paste the copy onto any pitch level, and at any point in the measure.  What is kept the same is the pitch intervals between notes and the rhythms between notes.
 			</para>
 			<para>
 				I also used the copy-and-paste technique with the three stepwise-descending-notes figure in this passage.  After building the initial note of each set of four, I randomized those, and copy-and-pasted the three descending notes after.  This way, I was able to randomize part of the melody, but avoid randomizing another part.
@@ -540,7 +538,7 @@
 				The second-highest range reflects the quickly-moving accompaniment part in the upper register of the piano.
 			</para>
 			<para>
-				Sorting out the volumes for this passage posed a small challenge, because of the much greater number of notes than in previous passages.  Thankfully, the parts are mostly well-separated from each other in the matrix editor.  I was able to use click-and-drag selection to select each range separately, and adjust its volume using both the ''Resize MIDI'' tool and '''[Ctrl+click-and-drag]''' in the volume adjustment space at the bottom of the matrix editor window.
+				Sorting out the volumes for this passage posed a small challenge, because of the much greater number of notes than in previous passages.  Thankfully, the parts are mostly well-separated from each other in the matrix editor.  I was able to use click-and-drag selection to select each range separately, and adjust its volume using both the ''Resize MIDI'' tool and Control-drag in the volume adjustment space at the bottom of the matrix editor window.
 			</para>
 			<para>
 				My sustained-note flourish at the end of this passage was a feeble attempt to establish A Major tonality in the highest register that I used.
diff --git a/en-US/Revision_History.xml b/en-US/Revision_History.xml
index 3fbce4b..77cc316 100644
--- a/en-US/Revision_History.xml
+++ b/en-US/Revision_History.xml
@@ -21,6 +21,21 @@
 					</simplelist>
 				</revdescription>
 			</revision>
+			
+			<revision>
+				<revnumber>1</revnumber>
+				<date>Mon Aug 2 2010</date>
+				<author>
+					<firstname>Christopher</firstname>
+					<surname>Antila</surname>
+					<email>crantila at fedoraproject.org</email>
+				</author>
+				<revdescription>
+					<simplelist>
+						<member>First publically-available draft in DocBook format.</member>
+					</simplelist>
+				</revdescription>
+			</revision>
 		</revhistory>
 	</simpara>
 </appendix>
diff --git a/en-US/Rosegarden.xml b/en-US/Rosegarden.xml
index 4c1c44a..65b1fd5 100644
--- a/en-US/Rosegarden.xml
+++ b/en-US/Rosegarden.xml
@@ -24,11 +24,12 @@
 		</section>
 		<section id="sect-Musicians_Guide-Rosegarden-Other_Requirements">
 			<title>Other Requirements</title>
+			<!-- CRA: I'll have to change this to be the same as in Qtractor (TODO) -->
 			<para>
 				In addition to the above-listed requirements, you will need to install a MIDI-capable synthesizer.  Rosegarden does not automatically install a synthesizer so that you have the greatest amount of choice.  There are a large number of synthesizers, both hardware- and software-based, which all have different capabilities and produce different sounds.  Rosegarden is a "MIDI sequencer," meaning that it will trigger and control a MIDI synthesizer, but without synthesizing audio directly.
 			</para>
 			<para>
-				Most users, at least when starting out, will find that FluidSynth is a highly flexible synthesizer.  It is recommended by Rosegarden's "Welcome" screen, and it will be used here for demonstration purposes.  The [[User:Crantila/FSC/Synthesizers/FluidSynth|FluidSynth\Qsynth Chapter]] explains how to install and use FluidSynth, along with its graphical interface called "Qsynth."
+				Most users, at least when starting out, will find that FluidSynth is a highly flexible synthesizer.  It is recommended by Rosegarden's "Welcome" screen, and it will be used here for demonstration purposes.  The [[User:Crantila/FSC/Synthesizers/FluidSynth|FluidSynth\Qsynth Chapter]] explains how to install and use FluidSynth, along with its graphical interface called Qsynth.
 			</para>
 			<para>
 				In addition to independent MIDI synthesizers, Rosegarden supports the use of DSSI synthesizer plugins, which is not discussed in this Guide.
@@ -40,7 +41,7 @@
 				Before installing Rosegarden, you should install the JACK Audio Connection Kit.  If you have not already installed JACK, you can follow the instructions [[User:Crantila/FSC/Sound_Servers#Installing_JACK|here]].
 			</para>
 			<para>
-				To install Rosegarden, use PackageKit or KPackageKit to install the "rosegarden4" package.  You could also install Rosegarden from a terminal by running the following command:
+				To install Rosegarden, use PackageKit or KPackageKit to install the <code>rosegarden4</code> package.  You could also install Rosegarden from a terminal by running the following command:
 				[pre]su -c 'yum install rosegarden4'[/pre]
 			</para>
 		</section>
@@ -149,7 +150,7 @@
 				<listitem><para>Start QjackCtl, then Qsynth, then Rosegarden.</para></listitem>
 				<listitem><para>For this tutorial, we'll be using the default "Fluid R3" SoundFont, but you can use any General MIDI SoundFont.</para></listitem>
 				<listitem><para>Setup Rosegarden in JACK for MIDI use only.</para></listitem>
-				<listitem><para>From the Rosegarden menu, select 'Edit > Preferences'.  Click the "MIDI" tab, then the 'General' tab, then select "Send all MIDI controllers at start of each playback".  This will ensure that the MIDI synthesizer (FluidSynth for this tutorial) uses the right patches.</para></listitem>
+				<listitem><para>From the Rosegarden menu, select 'Edit > Preferences'.  Click the "MIDI" tab, then the 'General' tab, then select "Send all MIDI controllers at start of each playback".  This will ensure that the MIDI synthesizer (<code>FluidSynth</code> for this tutorial) uses the right patches.</para></listitem>
 				<listitem><para>Create a new segment.
 					<orderedlist>
 					<listitem><para>Click on the "Draw" tool on the toolbar (it looks like a red pencil), or press 'F3' on the keyboard.</para></listitem>
diff --git a/en-US/Solfege.xml b/en-US/Solfege.xml
index 1f35932..e4e0ff7 100644
--- a/en-US/Solfege.xml
+++ b/en-US/Solfege.xml
@@ -73,7 +73,8 @@
 			</procedure>
 		</section>
 		<section id="sect-Musicians_Guide-Solfege-Configuration-Instruments">
-			<title>"Instruments" Tab</title>
+			<title>Instruments</title>
+			<!-- ""Instruments" Tab" -->
 			<para>
 				<itemizedlist>
 				<listitem><para>Tempo: Changes the speed at which examples are played.
@@ -94,7 +95,8 @@
 			</para>
 		</section>
 		<section id="sect-Musicians_Guide-Solfege-Configuration-External_Programs">
-			<title>"External Programs" Tab</title>
+			<title>External Programs</title>
+			<!-- ""External Programs" Tab" -->
 			<para>
 				Solfege uses external programs to perform many tasks.  On this tab, you can provide the command to be used, as though being run from a terminal.
 			</para>
@@ -161,8 +163,9 @@
 			</para>
 		</section>
 	</section> <!-- Ends "Configuration" Section --> <!--    Solfege-Configuration-    -->
+	
 	<section id="sect-Musicians_Guide-Solfege-Training">
-		<title>How to Train Yourself</title>
+		<title>Training Yourself</title>
 		<para>
 			There are three kinds of exercises available in Solfege:
 			<itemizedlist>
@@ -180,8 +183,9 @@
 		<para>
 			With that in mind, the following sections aim to help you incorporate Solfege as part of a complete aural skills development program.
 		</para>
+		
 		<section id="sect-Musicians_Guide-Solfege-Training-Aural_Skilla_and_Musical_Sensibility">
-			<title>Defining "Aural Skills" and "Musical Sensibility"</title>
+			<title>Aural Skills and Musical Sensibility</title>
 			<para>
 				When somebody decides to receive musical training, what they are really doing is developing skills and acquiring stylistic knowledge required for participation in a particular kind of music.  There are many different kinds of training, and the time spent in a classroom is not as important to musical development as time spent elsewhere, taking part in real, musical situations.  Many different kinds of skills are useful for musicians, depending on the kind of music in which they intend to participate.  A folk singer who plays guitar might wish to memorize the chord progressions, melodies, and words for thousands of different songs.  An oboe player in an orchestra might wish to make their own reeds from cane tree bark.  Most musicians need to be able to listen to music and perceive certain structures that other musicians use to describe their work.  These structures are explained by "music theory," and the skill set used to hear these things in music is called "aural skills
 ."  Musicians train their aural skills by a set of procedures known as "ear training," or "aural skills training."
 			</para>
@@ -192,6 +196,7 @@
 				Having a well-developed musical sensibility and set of aural skills are both important aspects of being a musician, but they are by no means the only aspects.  More than anything, a musician (or an aspiring musician) should be talking and listening to other musicians.
 			</para>
 		</section>
+		
 		<section id="sect-Musicians_Guide-Solfege-Training-Exercise_Types">
 			<title>Exercise Types</title>
 			<para>
@@ -220,6 +225,7 @@
 				All of these exercises require the use of your aural skills outside an actual musical situation.  This may seem fruitless, but it has long been recognized as an important part of the eventual ability to hear them within a musical context.  Neither ability will suddenly appear; it will take dedicated practice.
 			</para>
 		</section>
+		
 		<section id="sect-Musicians_Guide-Solfege-Training-Making_an_Aural_Skills_Program">
 			<title>Making an Aural Skills Program</title>
 			<para>
@@ -257,6 +263,7 @@
 				Three ten-minute segments is not a lot of time, and indeed it may take additional time to plan and to find and set up materials.  Even so, the point is that training your aural skills does not have to take an inordinate amount of time or effort.  What's important is that your effort is consistent and well-planned.
 			</para>
 		</section>
+		
 		<section id="sect-Musicians_Guide-Solfege-Training-Supplementary_References">
 			<title>Supplementary References</title>
 			<para>
@@ -298,193 +305,207 @@
 				* Hoffman, ''The Rhythm Book''. Smith Creek Music, 2009.
 			</para>
 		</section>
+		
 	</section> <!-- Ends "How to Train Yourself" Section --> <!--    Solfege-Training-    -->
-	<section id="sect-Musicians_Guide-Solfege-Listening_Exercises">
-		<title>How to Use Listening Exercises</title>
-		<procedure>
-			<step><para>Open the software</para></step>
-			<step><para>It is at the "Front Page"</para></step>
-			<step><para>Decide which type of exercise to do</para></step>
-			<step><para>Decide which sub-section to focus on</para></step>
-			<step><para>Click "New" or "New Interval" or whatever to get the first question</para></step>
-			<step><para>On some exercises, you need to click "new" whenever you want a new one</para></step>
-			<step><para>Some exercises can be configured to automatically provide a new question when you correctly answer the previous one</para></step>
-			<step><para>After hearing each exercise, try to make a correct identification.</para></step>
-			<step><para>If you need to hear the exercise again, do it.</para></step>
-			<step><para>It is good to limit the number of times you listen.</para></step>
-			<step><para>Select what you think is the correct choice.</para></step>
-			<step><para>Go to the next question, which may be automatic for some questions.  You may want to pre-select a number of seconds to wait before progressing to the next question.</para></step>
-		</procedure>
-	</section>
-	<section id="sect-Musicians_Guide-Singing_Exercises">
-		<title>How to Use Singing Exercises</title>
-		<para>
-			These are:
-			"Sing intervals"
-		</para>
-		<procedure>
-			<step><para>Select "Sing intervals"</para></step>
-			<step><para>Choose which ones you want to focus on</para></step>
-			<step><para>The exercise will begin, playing the first of the tones you are to sing</para></step>
-			<step><para>You must sing the first and the second tone, or to make it harder, only the second tone (tip: use sol-fa syllables!)</para></step>
-			<step><para>Solfege does not know whether you sang the interval correctly, so you must tell it.</para></step>
-		</procedure>
-		<para>
-			"Tap generated rhythm"
-		</para>
-		<procedure>
-			<step><para>Select "Tap generated rhythm"</para></step>
-			<step><para>Choose a subcategory (they correspond to those in the dictation, but there is no compound metre available).  See below.</para></step>
-			<step><para>Click "New"</para></step>
-			<step><para>It will play you a rhythm; listen carefully, and conduct the beat if you can.</para></step>
-			<step><para>as with rhythmic dictation, you will be given an intro</para></step>
-			<step><para>You must repeat the rhythm by click on the "Tap here" button</para></step>
-			<step><para>Best to use the space bar to tap in; here's how.</para></step>
-			<step><para>The "accuracy" may be set too high; I like 0.30</para></step>
-			<step><para>On "Config," change "Number of beats in question" to adjust the difficulty</para></step>
-		</procedure>
-		<para>
-			"Sing chord"
-		</para>
-		<procedure>
-			<step><para>Select "Sing chord"</para></step>
-			<step><para>Choose the type of chords you want to sing</para></step>
-			<step><para>Click "New"</para></step>
-			<step><para>Solfege will automatically play an "A" for you, and you can hear it again by clicking, "440hz"</para></step>
-			<step><para>Sing the chord ascending</para></step>
-			<step><para>Verify that you sang correctly by clicking "Play answer" and hearing whether the pitches are the same.</para></step>
-			<step><para>Click "New" for another question</para></step>
-			<step><para>On the "Config" tab, it allows you to change how far it will transpose the built-in models; best to leave this as it is <code>['key', -5, 5]</code></para></step>
-			<step><para>Solfege does not know whether you sang the interval correctly, so you must tell it.</para></step>
-		</procedure>
-		<para>
-			"Sing chord tone"
-		</para>
-		<procedure>
-			<step><para>Select "Sing chord tone"</para></step>
-			<step><para>Select which chordal member you want to practise singing</para></step>
-			<step><para>Click "New"</para></step>
-			<step><para>Solfege will display and play a chord in blocked form, and you must sing the chord member that it tells you to sing.</para></step>
-			<step><para>You can repeat the chord in blocked form ("Repeat") or in arpeggio form ("Repeat arpeggio").  It is much easier to hear a chord played in arpeggio form, so we recommend that you practice both ways.</para></step>
-			<step><para>When you are sure that you correctly sang the chord member, click "Play answer"</para></step>
-			<step><para>For the next question, click "New"</para></step>
-		</procedure>
-	</section>
-	<section id="sect-Musicians_Guide-Configure_Yourself_Exericses">
-		<title>How to Use "Configure Yourself" Exercises</title>
-		<para>
-			These exercises allow you to choose the focus of your training, rather than using a Solfege preset.  When you enter an exercise, you are given a default setup, which is then customized on the "Config" tab in the activity.  The following things are customizeable in "Configure Yourself" exercises, but not in the other counterparts:
-		</para>
-		<para>
-			"Harmonic intervals" allows you to de/select specific intervals between m2 and M10
-		</para>
-		<para>
-			"Melodic intervals" and "Sing intervals" allow you to de/select specific intervals between m2 and M10, and whether to test them up, down, or both.
-		</para>
-		<para>
-			"Compare intervals" allows you to select specific intervals between minor second and major tenth.  Also allows you to switch between harmonic or melodic intervals independently for the first and second interval.
-		</para>
-		<para>
-			"Id tone": allows you to choose a "weighting" for each pitch, to conentrate on specific ones.  Also allows you to adjust octave displacement to higher or lower octaves.
-		</para>
-		<para>
-			For all of the rhythm exercises, "binary time" means "simple metre," and "ternary time" means "compound metre."  All sections allow you to choose which single-beat rhythms to use when creating the question.
-		</para>
-	</section>
-	<section id="sect-Musicians_Guide-Solfege-Rhythm_Exercises">
-		<title>How to Use "Rhythm" Exercises</title>
-		<para>
-			This is dictation or play-back.  The rhythms described in this section use the "takadimi" rhythm system, which is explained [http://www.takadimi.net/takadimiArticle.html here].  You can use any rhythm system you prefer.
-		</para>
-		<para>
-			For Rhythmic Dictation:
-		</para>
-		<procedure>
-			<step><para>Click "Rhythm"</para></step>
-			<step><para>Choose which subcategory:
-				<itemizedlist>
-				<listitem><para>Rhythms (easy) is: quarter, 2x eighths, 4x sixteenths</para></listitem>
-				<listitem><para>Rhythms is: those plus ka-di-mi, ta-ka-mi, ta-ka-di, ta-mi, and ta-ka</para></listitem>
-				<listitem><para>Rhythms (difficult) is: those plus rests and triplets</para></listitem>
-				<listitem><para>Rhythms in 3/4 is: compound metre everything</para></listitem>
-				</itemizedlist>
-				</para></step>
-			<step><para>Click "New" to get a new question</para></step>
-			<step><para>Click the buttons above the "Play" button to input the rhythm-units, in order from start to finish</para></step>
-			<step><para>Use paper to work it out</para></step>
-			<step><para>If you make a mistake inputting, use the "Backspace" button</para></step>
-			<step><para>You can "Repeat" to hear it again - not too many times!</para></step>
-			<step><para>You can change the difficulty by increasing the number of beats per question, on "Config" tab</para></step>
-			<step><para>If you get a question wrong, you will have a chance to correct it; the incorrect parts are underlined for you in red</para></step>
-		</procedure>
-		<para>
-			For Rhythmic Tap-Back, see above section "Singing Exercises."
-		</para>
-	</section>
-	<section id="sect-Musicians_Guide-Solfege-Dictation_Exercises">
-		<title>How to Use "Dictation" Exercises</title>
-		<para>
-			These dictation exercises are for melodic dictation.  There is not a great variety of examples here, and they are either easy or difficult, with no middle-ground.
-		</para>
-		<procedure>
-			<step><para>Click "Dictation"</para></step>
-			<step><para>Choose a level:
-				<itemizedlist>
-				<listitem><para>Volkslieder 1: German folk songs (easy)</para></listitem>
-				<listitem><para>Volkslieder 2: German folk songs (easy)</para></listitem>
-				<listitem><para>Parts of 2 Bach inventions: only 2; the hardest of the four categories</para></listitem>
-				<listitem><para>Norwegian children songs: only 3 (easy)</para></listitem>
-				</itemizedlist>
-				</para></step>
-			<step><para>The clef, key and time signatures are given for you, along with the starting note, and title.</para></step>
-			<step><para>The quarter-note buttons allow you to play only part of the melody.</para></step>
-			<step><para>"Play the whole music" plays both parts of the music.</para></step>
-			<step><para>"Back" and "Forward" shifts through the excerpts for dictation.</para></step>
-			<step><para>It's best to "Play the whole music" as many times as needed (5 - 7 or less maximum, depending on the excerpt).</para></step>
-			<step><para>It's best to avoid playing only part of the music.</para></step>
-			<step><para>Write down the excerpt on paper, then when you're sure that you've finished it correctly, click "Show."</para></step>
-			<step><para>This exercise is self-policing, and does not track progress.</para></step>
-		</procedure>
-	</section>
-	<section id="sect-Musicians_Guide-Solfege-Harmonic_Progressions">
-		<title>How to Use "Harmonic Progressions" Exercises</title>
-		<para>
-			These dictation exercises are for harmonic dictation.  You will be asked to guess the harmonic progression, but users should also notate at least the outer voices (lowest and highest).  It should be noted that these progressions do not follow Common Practice Period harmonic procedures.
-		</para>
-		<procedure>
-			<step><para>Click "Harmonic progressions"</para></step>
-			<step><para>Some harmonic progressions require MMA (as indicated).  See below for instructions on installation.</para></step>
-			<step><para>The Non-MMA Categories contain the following chords:
-				<itemizedlist>
-				<listitem><para>"Easy harmonic progressions": I, II, IV, V, VI</para></listitem>
-				<listitem><para>with Inverisons: add IV6 and V6</para></listitem>
-				<listitem><para>"Three chords, root position": I, II, III, IV, V, VI</para></listitem>
-				</itemizedlist>
-				</para></step>
-			<step><para>Choose a category.</para></step>
-			<step><para>Click "New" to get a question.</para></step>
-			<step><para>The passage will automatically play once, but you will not get a key signature.  If you are notating the dictation, and you do not know which pitches are being used, then you may wish to guess the key, using sol-fa equivalents to know if you're correct.</para></step>
-			<step><para>Click the chord-buttons to input the series of chords that you hear, in order from first to last.</para></step>
-			<step><para>To hear the example again, click "Repeat."</para></step>
-			<step><para>If you make a mistake, click the "Backspace" button to erase the last-input chord.</para></step>
-			<step><para>When you are sure that your answer is correct, click "Guess answer."</para></step>
-			<step><para>To get another question, click "New".</para></step>
-		</procedure>
-	</section>
-	<section id="sect-Musicians_Guide-Solfege-Intonation">
-		<title>How to Use "Intonation" Exercises</title>
-		<para>
-			In order to use the Intonation exercises, you must install the "Csound" application.  Instructions are located [[User:Crantila/FSC/Solfege#Optional Installation: Csound|here]].
-		</para>
-		<procedure>
-			<step><para>Click on "Intonation"</para></step>
-			<step><para>All of the exercises test an ascending perfect fifth.  The closer the number is to 1.0, the less the difference when it is out-of-tune.</para></step>
-			<step><para>Click "New" to get a new question.</para></step>
-			<step><para>The interval will automatically play.</para></step>
-			<step><para>Click "Repeat" to repeat the interval.</para></step>
-			<step><para>You must choose whether the second tone is flat (the interval is too small), in tune (the interval is the right size), or sharp (the interval is too large).</para></step>
-			<step><para>When you are sure of your answer, click the corresponding button.</para></step>
-			<step><para>To get the next question, click "New."</para></step>
-		</procedure>
-	</section>
+	
+	<section id="sect-Musicians_Guide-Solfege-Using_the_Exercises">
+	<title>Using the Exercises</title>
+	
+		<section id="sect-Musicians_Guide-Solfege-Listening_Exercises">
+			<title>Listening</title>
+			<procedure>
+				<step><para>Open the software</para></step>
+				<step><para>It is at the "Front Page"</para></step>
+				<step><para>Decide which type of exercise to do</para></step>
+				<step><para>Decide which sub-section to focus on</para></step>
+				<step><para>Click "New" or "New Interval" or whatever to get the first question</para></step>
+				<step><para>On some exercises, you need to click "new" whenever you want a new one</para></step>
+				<step><para>Some exercises can be configured to automatically provide a new question when you correctly answer the previous one</para></step>
+				<step><para>After hearing each exercise, try to make a correct identification.</para></step>
+				<step><para>If you need to hear the exercise again, do it.</para></step>
+				<step><para>It is good to limit the number of times you listen.</para></step>
+				<step><para>Select what you think is the correct choice.</para></step>
+				<step><para>Go to the next question, which may be automatic for some questions.  You may want to pre-select a number of seconds to wait before progressing to the next question.</para></step>
+			</procedure>
+		</section>
+		
+		<section id="sect-Musicians_Guide-Singing_Exercises">
+			<title>Singing</title>
+			<para>
+				These are:
+				"Sing intervals"
+			</para>
+			<procedure>
+				<step><para>Select "Sing intervals"</para></step>
+				<step><para>Choose which ones you want to focus on</para></step>
+				<step><para>The exercise will begin, playing the first of the tones you are to sing</para></step>
+				<step><para>You must sing the first and the second tone, or to make it harder, only the second tone (tip: use sol-fa syllables!)</para></step>
+				<step><para>Solfege does not know whether you sang the interval correctly, so you must tell it.</para></step>
+			</procedure>
+			<para>
+				"Tap generated rhythm"
+			</para>
+			<procedure>
+				<step><para>Select "Tap generated rhythm"</para></step>
+				<step><para>Choose a subcategory (they correspond to those in the dictation, but there is no compound metre available).  See below.</para></step>
+				<step><para>Click "New"</para></step>
+				<step><para>It will play you a rhythm; listen carefully, and conduct the beat if you can.</para></step>
+				<step><para>as with rhythmic dictation, you will be given an intro</para></step>
+				<step><para>You must repeat the rhythm by click on the "Tap here" button</para></step>
+				<step><para>Best to use the space bar to tap in; here's how.</para></step>
+				<step><para>The "accuracy" may be set too high; I like 0.30</para></step>
+				<step><para>On "Config," change "Number of beats in question" to adjust the difficulty</para></step>
+			</procedure>
+			<para>
+				"Sing chord"
+			</para>
+			<procedure>
+				<step><para>Select "Sing chord"</para></step>
+				<step><para>Choose the type of chords you want to sing</para></step>
+				<step><para>Click "New"</para></step>
+				<step><para>Solfege will automatically play an "A" for you, and you can hear it again by clicking, "440hz"</para></step>
+				<step><para>Sing the chord ascending</para></step>
+				<step><para>Verify that you sang correctly by clicking "Play answer" and hearing whether the pitches are the same.</para></step>
+				<step><para>Click "New" for another question</para></step>
+				<step><para>On the "Config" tab, it allows you to change how far it will transpose the built-in models; best to leave this as it is <code>['key', -5, 5]</code></para></step>
+				<step><para>Solfege does not know whether you sang the interval correctly, so you must tell it.</para></step>
+			</procedure>
+			<para>
+				"Sing chord tone"
+			</para>
+			<procedure>
+				<step><para>Select "Sing chord tone"</para></step>
+				<step><para>Select which chordal member you want to practise singing</para></step>
+				<step><para>Click "New"</para></step>
+				<step><para>Solfege will display and play a chord in blocked form, and you must sing the chord member that it tells you to sing.</para></step>
+				<step><para>You can repeat the chord in blocked form ("Repeat") or in arpeggio form ("Repeat arpeggio").  It is much easier to hear a chord played in arpeggio form, so we recommend that you practice both ways.</para></step>
+				<step><para>When you are sure that you correctly sang the chord member, click "Play answer"</para></step>
+				<step><para>For the next question, click "New"</para></step>
+			</procedure>
+		</section>
+		
+		<section id="sect-Musicians_Guide-Configure_Yourself_Exericses">
+			<title>Configure Yourself</title>
+			<para>
+				These exercises allow you to choose the focus of your training, rather than using a Solfege preset.  When you enter an exercise, you are given a default setup, which is then customized on the "Config" tab in the activity.  The following things are customizeable in "Configure Yourself" exercises, but not in the other counterparts:
+			</para>
+			<para>
+				"Harmonic intervals" allows you to de/select specific intervals between m2 and M10
+			</para>
+			<para>
+				"Melodic intervals" and "Sing intervals" allow you to de/select specific intervals between m2 and M10, and whether to test them up, down, or both.
+			</para>
+			<para>
+				"Compare intervals" allows you to select specific intervals between minor second and major tenth.  Also allows you to switch between harmonic or melodic intervals independently for the first and second interval.
+			</para>
+			<para>
+				"Id tone": allows you to choose a "weighting" for each pitch, to conentrate on specific ones.  Also allows you to adjust octave displacement to higher or lower octaves.
+			</para>
+			<para>
+				For all of the rhythm exercises, "binary time" means "simple metre," and "ternary time" means "compound metre."  All sections allow you to choose which single-beat rhythms to use when creating the question.
+			</para>
+		</section>
+		
+		<section id="sect-Musicians_Guide-Solfege-Rhythm_Exercises">
+			<title>Rhythm</title>
+			<para>
+				This is dictation or play-back.  The rhythms described in this section use the "takadimi" rhythm system, which is explained [http://www.takadimi.net/takadimiArticle.html here].  You can use any rhythm system you prefer.
+			</para>
+			<para>
+				For Rhythmic Dictation:
+			</para>
+			<procedure>
+				<step><para>Click "Rhythm"</para></step>
+				<step><para>Choose which subcategory:
+					<itemizedlist>
+					<listitem><para>Rhythms (easy) is: quarter, 2x eighths, 4x sixteenths</para></listitem>
+					<listitem><para>Rhythms is: those plus ka-di-mi, ta-ka-mi, ta-ka-di, ta-mi, and ta-ka</para></listitem>
+					<listitem><para>Rhythms (difficult) is: those plus rests and triplets</para></listitem>
+					<listitem><para>Rhythms in 3/4 is: compound metre everything</para></listitem>
+					</itemizedlist>
+					</para></step>
+				<step><para>Click "New" to get a new question</para></step>
+				<step><para>Click the buttons above the "Play" button to input the rhythm-units, in order from start to finish</para></step>
+				<step><para>Use paper to work it out</para></step>
+				<step><para>If you make a mistake inputting, use the "Backspace" button</para></step>
+				<step><para>You can "Repeat" to hear it again - not too many times!</para></step>
+				<step><para>You can change the difficulty by increasing the number of beats per question, on "Config" tab</para></step>
+				<step><para>If you get a question wrong, you will have a chance to correct it; the incorrect parts are underlined for you in red</para></step>
+			</procedure>
+			<para>
+				For Rhythmic Tap-Back, see above section "Singing Exercises."
+			</para>
+		</section>
+		
+		<section id="sect-Musicians_Guide-Solfege-Dictation_Exercises">
+			<title>Dictation</title>
+			<para>
+				These dictation exercises are for melodic dictation.  There is not a great variety of examples here, and they are either easy or difficult, with no middle-ground.
+			</para>
+			<procedure>
+				<step><para>Click "Dictation"</para></step>
+				<step><para>Choose a level:
+					<itemizedlist>
+					<listitem><para>Volkslieder 1: German folk songs (easy)</para></listitem>
+					<listitem><para>Volkslieder 2: German folk songs (easy)</para></listitem>
+					<listitem><para>Parts of 2 Bach inventions: only 2; the hardest of the four categories</para></listitem>
+					<listitem><para>Norwegian children songs: only 3 (easy)</para></listitem>
+					</itemizedlist>
+					</para></step>
+				<step><para>The clef, key and time signatures are given for you, along with the starting note, and title.</para></step>
+				<step><para>The quarter-note buttons allow you to play only part of the melody.</para></step>
+				<step><para>"Play the whole music" plays both parts of the music.</para></step>
+				<step><para>"Back" and "Forward" shifts through the excerpts for dictation.</para></step>
+				<step><para>It's best to "Play the whole music" as many times as needed (5 - 7 or less maximum, depending on the excerpt).</para></step>
+				<step><para>It's best to avoid playing only part of the music.</para></step>
+				<step><para>Write down the excerpt on paper, then when you're sure that you've finished it correctly, click "Show."</para></step>
+				<step><para>This exercise is self-policing, and does not track progress.</para></step>
+			</procedure>
+		</section>
+		
+		<section id="sect-Musicians_Guide-Solfege-Harmonic_Progressions">
+			<title>Harmonic Progressions</title>
+			<para>
+				These dictation exercises are for harmonic dictation.  You will be asked to guess the harmonic progression, but users should also notate at least the outer voices (lowest and highest).  It should be noted that these progressions do not follow Common Practice Period harmonic procedures.
+			</para>
+			<procedure>
+				<step><para>Click "Harmonic progressions"</para></step>
+				<step><para>Some harmonic progressions require MMA (as indicated).  See below for instructions on installation.</para></step>
+				<step><para>The Non-MMA Categories contain the following chords:
+					<itemizedlist>
+					<listitem><para>"Easy harmonic progressions": I, II, IV, V, VI</para></listitem>
+					<listitem><para>with Inverisons: add IV6 and V6</para></listitem>
+					<listitem><para>"Three chords, root position": I, II, III, IV, V, VI</para></listitem>
+					</itemizedlist>
+					</para></step>
+				<step><para>Choose a category.</para></step>
+				<step><para>Click "New" to get a question.</para></step>
+				<step><para>The passage will automatically play once, but you will not get a key signature.  If you are notating the dictation, and you do not know which pitches are being used, then you may wish to guess the key, using sol-fa equivalents to know if you're correct.</para></step>
+				<step><para>Click the chord-buttons to input the series of chords that you hear, in order from first to last.</para></step>
+				<step><para>To hear the example again, click "Repeat."</para></step>
+				<step><para>If you make a mistake, click the "Backspace" button to erase the last-input chord.</para></step>
+				<step><para>When you are sure that your answer is correct, click "Guess answer."</para></step>
+				<step><para>To get another question, click "New".</para></step>
+			</procedure>
+		</section>
+		
+		<section id="sect-Musicians_Guide-Solfege-Intonation">
+			<title>Intonation</title>
+			<para>
+				In order to use the Intonation exercises, you must install the "Csound" application.  Instructions are located [[User:Crantila/FSC/Solfege#Optional Installation: Csound|here]].
+			</para>
+			<procedure>
+				<step><para>Click on "Intonation"</para></step>
+				<step><para>All of the exercises test an ascending perfect fifth.  The closer the number is to 1.0, the less the difference when it is out-of-tune.</para></step>
+				<step><para>Click "New" to get a new question.</para></step>
+				<step><para>The interval will automatically play.</para></step>
+				<step><para>Click "Repeat" to repeat the interval.</para></step>
+				<step><para>You must choose whether the second tone is flat (the interval is too small), in tune (the interval is the right size), or sharp (the interval is too large).</para></step>
+				<step><para>When you are sure of your answer, click the corresponding button.</para></step>
+				<step><para>To get the next question, click "New."</para></step>
+			</procedure>
+		</section>
+		
+	</section> <!-- Ends "How to Use the Exercises" Section -->
+	
 </chapter>
diff --git a/en-US/Sound_Cards.xml b/en-US/Sound_Cards.xml
index 2605d1c..22199c5 100644
--- a/en-US/Sound_Cards.xml
+++ b/en-US/Sound_Cards.xml
@@ -11,7 +11,7 @@
 	</para>
 	
 	<section id="sect-Musicians_Guide-What_Sound_Cards_Are">
-		<title>Defining Sound Cards</title>
+		<title>Types of Sound Cards</title>
 		<para>
 			A sound card is a hardware device which allows a computer to process sound.  Most sound cards are either audio interfaces or MIDI interfaces.  These two kinds of interfaces are described below.
 		</para>
@@ -42,7 +42,7 @@
 	</section>
 	
 	<section id="sect-Musicians_Guide-Sound_Card_Connections">
-		<title>Methods of Connection</title>
+		<title>Sound Card Connections</title>
 		<para>
 			Audio interfaces and MIDI interfaces can both use the following connection methods.  In this section, "sound card" means "audio interface or MIDI interface."
 		</para>
diff --git a/en-US/Sound_Servers.xml b/en-US/Sound_Servers.xml
index 0e4f10b..7015150 100644
--- a/en-US/Sound_Servers.xml
+++ b/en-US/Sound_Servers.xml
@@ -5,13 +5,13 @@
 ]>
 
 <chapter id="chap-Musicians_Guide-How_Computers_Deal_with_Hardware">
-	<title>How Computers Deal with Audio and MIDI Hardware</title>
+	<title>Software for Sound Cards</title>
 	<para>
 		One of the techniques consistently used in computer science is abstraction.  Abstraction is the process of creating a generic model for something (or some things) that are actually unique.  The "driver" for a hardware device in a computer is one form of dealing with abstraction: the computer's software interacts with all sound cards in a similar way, and it is the driver which translates the universal instructions given by the software into specific instructions for operating that hardware device.  Consider this real-world comparison: you know how to operate doors because of abstracted instructions.  You don't know how to open and close every door that exists, but from the ones that you do know how to operate, your brain automatically creates abstracted instructions, like "turn the handle," and "push the door," which apply with all or most doors.  When you see a new door, you have certain expectations about how it works, based on the abstract behaviour of doors, and you qu
 ickly figure out how to operate that specific door with a simple visual inspection.  The principle is the same with computer hardware drivers: since the computer already knows how to operate "sound cards," it just needs a few simple instructions (the driver) in order to know how to operate any particular sound card.
 	</para>
 	
 	<section id="sect-Musicians_Guide-Sound_Servers-ALSA">
-		<title>How Linux Deals with Audio: ALSA</title>
+		<title>How Linux Deals with Audio Hardware</title>
 		<para>
 			In Linux, the core of the operating system provides hardware drivers for most audio hardware.  The hardware drivers, and the instructions that other software can use to connect to those drivers, are collectively called "ALSA," which stands for "Advanced Linux Sound Architecture."  ALSA is the most direct way that software applications can interact with audio and MIDI hardware, and it used to be the most common way.  However, in order to include all of the features that a software application might want to use, ALSA is quite complex, and can be error-prone.  For this and many other reasons, another level of abstraction is normally used, and this makes it easier for software applications to take advantage of the features they need.
 		</para>
diff --git a/en-US/SuperCollider/SuperCollider-Composing.xml b/en-US/SuperCollider/SuperCollider-Composing.xml
index ec5431e..193d9f7 100644
--- a/en-US/SuperCollider/SuperCollider-Composing.xml
+++ b/en-US/SuperCollider/SuperCollider-Composing.xml
@@ -17,7 +17,7 @@
 	</para>
 	
 	<section id="sect-Musicians_Guide-SC-Composing-Tutorial_Files">
-		<title>Tutorial Files</title>
+		<title>Files for the Tutorial</title>
 		<para>
 			The following files represent complete versions of the program.  You should try to complete the program yourself before reviewing these versions:
 			<itemizedlist>
diff --git a/en-US/SuperCollider/SuperCollider.xml b/en-US/SuperCollider/SuperCollider.xml
index 6755020..12876e0 100644
--- a/en-US/SuperCollider/SuperCollider.xml
+++ b/en-US/SuperCollider/SuperCollider.xml
@@ -29,16 +29,6 @@
 	<section id="sect-Musicians_Guide-SC-Requirements_and_Installation">
 		<title>Requirements and Installation</title>
 		
-		<section id="sect-Musicians_Guide-SC-Req_and_Inst-Hardware_and_Software">
-			<title>Software and Hardware Requirements</title>
-			<para>
-				<itemizedlist>
-				<listitem><para>Planet CCRMA at Home (see [[User:Crantila/FSC/CCRMA/Everything|these instructions]])</para></listitem>
-				<listitem><para>JACK (see [[User:Crantila/FSC/Sound_Servers#Installing_JACK|these instructions]])</para></listitem>
-				<listitem><para>JACK-capable audio interface</para></listitem>
-				</itemizedlist>
-			</para>
-		</section>
 		<section id="sect-Musicians_Guide-SC-Req_and_Inst-Knowledge">
 			<title>Knowledge Requirements</title>
 			<para>
@@ -58,6 +48,16 @@
 				<!-- Sourced from http://en.wikipedia.org/wiki/List_of_basic_computer_programming_topics -->
 			</para>
 		</section>
+		<section id="sect-Musicians_Guide-SC-Req_and_Inst-Hardware_and_Software">
+			<title>Software and Hardware Requirements</title>
+			<para>
+				<itemizedlist>
+				<listitem><para>Planet CCRMA at Home (see [[User:Crantila/FSC/CCRMA/Everything|these instructions]])</para></listitem>
+				<listitem><para>JACK (see [[User:Crantila/FSC/Sound_Servers#Installing_JACK|these instructions]])</para></listitem>
+				<listitem><para>JACK-capable audio interface</para></listitem>
+				</itemizedlist>
+			</para>
+		</section>
 		<section id="sect-Musicians_Guide-SC-SC-Req_and_Inst-Available_Packages">
 			<title>Available SuperCollider Packages</title>
 			<para>
diff --git a/publish b/publish
new file mode 120000
index 0000000..740dad0
--- /dev/null
+++ b/publish
@@ -0,0 +1 @@
+/home/crantila/share/FMG-Publican/publish
\ No newline at end of file

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