the Lullist court to study and master the style of Lully and the Lullist orchestra "Chapel Royal" which had become famous throughout Europe, after which Purcell was to return to England to form an English version of the Chapel Royal. Purcell's orchestral music and keyboard music are, like Muffat's synthesis of the Italian and French style, a synthesis of the English and French style into a much more complex English style where the application of notes inégales to the music of Purcell and his contemporaries is essential to correct performance of the music. Also of great importance for Purcell and his contemporaries – in explicio – are the varying versions of numerous movements from the suites with notes inégales unwritten, and written out explicitly in some MS. versions, and completely encoded in other MS. versions. With respect to the short–long, snapped version of notes inégales, this rhythmic and stylistic feature – the lombardic snap – became a recognizable stylistic cliche in Purcell's music, and in the music of his contemporaries. The snapped pair is often stepwise, but is nearly as often found in slower textures in downward snapping pairs of notes, the second of which note, the longer, destination note, together with the first note of the notes inégales, form a diminished 4th to a leading tone (especially in minor keys), but can often be found used in various non-stepwise intervals, seemingly at odds with the "general rules" of notes inégales; nonetheless, this usage is pervasive in the music of Restoration period England by Purcell and his contemporaries. Perhaps one of the most famous instances of notes inégales, which for many years was incorrectly heard (and played) is in the so-called "Masterpiece Theatre" trumpet tune. This famous trumpet tune is actually a French baroque work, Fanfare-Rondeau, by Jean-Joseph Mouret incorrectly attributed to Jeremiah Clarke. It is often heard played as even eighth notes, but its correct performance would almost certainly be that all of its evenly notated 8th notes would be performed in long–short notes inégales! England in the Classical Period Roger North prohibits the placing of triplets against duplets; and the conclusion must be that either the triplet must be assimilated into the duplet, or the duplet must be assimilated into the triplet, by subjecting the duplet into a form of notes inégales. One of the phenomena noted above was the adoption in England of notes inégales especially by