Editing Notes inégales (section)

===Bach===
Certainly this new complex transformation and amalgamation of the Italian style with the new "Fashionable" Lullist/French style is evident in the complex ''French Ouverture'' textures found throughout Bach's works, and explicitly formed the models of Bach's own Orchestral Suites, and the [[BWV 831|''Ouverture nach Französischer Art'', BWV 831]], which Bach published along with the Italienisches Konzert, BWV 971, which show a profound intensification of texture compared to the Austrian and German Music that preceded J.S. Bach.

In Bach's textures, the French composer's 8th notes which were eligible ''notes inégales'' became Bach's 16th notes. But at the same time, other rhythms were "sharpened" and certain types of three note sixteenth note figures were often "compressed to three 32nd note upbeat figures. And upbeat 8th notes became upbeat 16th notes. (All the would be evenly written eight notes are written out in long–short ''notes inégales''). Bach's texture was very much more complex than that of the Lully and Muffat. As a result, there was ambiguity for what notes would be eligible for ''notes inégales'' performance.

In an earlier version of ''Ouverture nach Französischer Art'', there is a manuscript in a student of Bach's hand, Johann Preller, the three note 32nd notes are not yet notated as such. Instead the texture is full of 16th notes which have Preller's ornaments in all the places that would suggest ''notes inégales'' of the long–short variety – most of Preller's [[trill (music)|trill]]s and [[mordent]]s are on the first and third note of every group of four 16th notes – the notes that if subjected to standard long–short ''notes inégales'' would become longer by a dot – and have more time for an ornament; indeed the ornaments that happen on would be the third 16th note would consequently make the unanchored groups of three impossible to sharpen rhythmically into upbeat 32nd notes, aka, ''in stile francese''; or as [[Charles Burney|Burney]] describes; the groups of short and fast upbeat figures that define the texture of the [French] ''[[Ouverture]]''.

However, preparing the work for publication, Bach realized his complex texture was misunderstood, and that in fact most of the 16th notes were to be played not ''notes inégales'', but in "Ouverture style", where the groups of three "unanchored" (meaning the first of each group of four 16th notes was either tied, or a rest) the following three 16th notes could be said to be "unanchored". Such 16th notes are "compressed to become 32nd note upbeat figures throughout most of the "Ouverture" section of the movement. However, in the 13th measure there is a passage with anchored 16th notes which in fact are eligible for long–short ''notes inégales'', and Bach "leaves them be". A performer may apply ''notes inégales'' to the 16th notes in that passage effectively. Again, consistent with the Lullist model, throughout the rest of the overture, there are no evenly written 8th notes; they have all be "written out" in ''notes inégales'' like Contrapunctus 2 of Die Kunst der Fuge as dotted 8ths and 16th notes. In performance, it is likely that the ''notes inégales'' will end up even sharper, with the long note of the long–short pairs becoming longer, so the short upbeat note can fit in with the last of the groups of the upbeat 32nd notes; all of which is consistent with the flexibility of ''notes inégales'', as well as the concept of "upbeat assimilation", another legacy of ''in stile francese''. In one way, to the 17th- and 18th-century composer/performer, ''notes inégales'' was an interdependent consequence of "ouverture style", or ''in stile francese''.

Other movements by Bach in Ouverture Texture, where the 16th notes can be played in long–short ''notes inégales'' are the Fugue in D Major, WTCI; the Gigue in the French Suite in D Minor; the fugue in D Minor from WTC II – where the 16th notes can be played in long–short ''notes inégales'' against the general triplet texture (not unlike the fugue from the Kunst der Fuge in the keyboard arrangements, and the 16th notes in Ouverture from the D Major Partita, in the slow Ouverture section.

Outside of the keyboard literature, in the cello and lute suites, the suite in C Minor has two versions, and the suite opens with a Prelude that is ''in stile francese''. The early version is like the early version of the Ouverture; mostly 16th notes that could? be eligible for ''notes inégales''. However, Bach rewrites the later version again shows a clarification of the evenly written 16th notes that are unanchored, being subject to "overture style" rhythmic alteration where the unanchored three 16th note groups are assimilated into groups of three 32nd notes upbeats, against a texture that is mostly full of long–short ''notes inégales'' dotted eight note/sixteenth note pairs.