a "new, hybrid, amalgamated style"; creating a uniquely identifiable texture what has come down to us as the beginnings of a true, unique, German musical style. 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 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 trills and mordents 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 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