Editing Notes inégales (section)

===Handel===

Handel also seemed to use and understand ''notes inégales'' in many of his works. However, like often in the French literature, there are also inconsistencies which have never been fully explained where dots start and then stop for no clear reason, but as Newman has observed, mostly this happens towards the approach to cadences. But in general, in many of his suites, and even his orchestral music, the application of ''notes inégales'' finds a solid home in Handel. Most obvious are in some of the Ouvertures, but there are many movements where a subtle ''notes inégales'' works well, such as in the Sarabande of the E Minor suite (from the set of Eight Great Suites; his earliest compilation); and numerous Menuets throughout his keyboard and even some of his orchestral works. Even in his orchestral music, and vocal music, Handel can have some very "French" moments – some of the menuets in particular, keyboard as well as orchestral, can work well with a subtle ''notes inégales'', despite Handel's very intercontinental lineage. Whether in Germany or England, he was clearly a master at the French ''notes inégales'' as well as the Ouverture style. He was strongly influenced by Georg Muffat's nephew, who will be discussed below, and perhaps that is a part of Handel's reception of the French Style of playing. And occasionally one finds movements that don't seem necessarily "French", as over the years, Handel did develop a very strong "English" style that was unique to him, but nonetheless, sound very much more "revealed" when subjected to ''notes inégales'' aka inequality procedure.