mostly full of long–short notes inégales dotted eight note/sixteenth note pairs. J.K.F. Fischer Johann Caspar Ferdinand Fischer, a highly influential composer, who lived a generation before Bach, also "adopted" this new transformation of an Austrian/German national musical style. A study of Fischer is outside the scope of the topic of notes inégales, but his large Chaconne in G Major – a copy of which was made by Purcell's teacher, John Blow, surely not a coincidence – is written solely in even eighth notes in the first of its two G Major sections (as well as the Chaconne dénouement conclusion). Fischer's Chaconne greatly resembles the Chaconnes of Louis Couperin and Nicolas Le Bègue in key, time signature, texture and affect, both of whom are contemporary to Lully, and fully qualify for notes inégales treatment of the evenly notated eighth notes. Fischer's influence on J.S. Bach With the application of notes inégales to the evenly notated eighth notes in the Fischer, the work even more comes alive as the French dance that is the Chaconne. Fischer's collection of suites published as Musicalischer Parnassus are also strongly evident of Muffat's amalgamated stylistic influence, and Fischer's compositions also foreshadow the complexity of Bach. Bach knew the works of Fischer and numerous fugue themes from the Well Tempered Clavier are taken from Fischer's own earlier collection preludes and fugues, some note for note. Fischer's most famous suite in D minor – Uranie from his collection of very French influenced suites found in the collection Musicalischer Parnassus – feature and Allemande and Courante that "need" notes inégales; and with the application of notes inégales Fischer's strong artistic compositional hand become even more evident. Georg Muffat In the first work of the Florilegium Secundum, Fasciculus I. – Nobilis Juventus. 1. Ouverture, Georg Muffat writes an Ouverture in stile Francese, in which he writes out the notes inégales in the topmost part, the Violino, in an approximate performance "realization" where the long–short pairs are explicitly notated in dotted eighth/sixteenth note pairs as the stylistically correct performance practice of long–short notes inégales. In the Violetta part immediately below, Muffat writes out the part in conventional, unrealized, notation. This can be seen when stepwise eighth notes are introduced in measure 12. In the Violino, they are realized in explicitly long–short pairs; in the Violetta, they are still "encoded" as they would traditionally appear in the guise of evenly notated 8th