the notes should be played evenly, except that the first note under the slur could be accented. Passages which were highly disjunct were also less likely to be played unequally than conjunct passages, although the sources are not unanimous on even this. If the effect of a passage was dotted, the compelling rhythm of the dotted notes, or notes inégales, would sometimes simply override all the rules. The Handel Fugue in D Minor from the First Sett of Suites 1709 in its first editions shows the first few notes of the theme with dotted rhythms, but the dots stop after 4 note for the first two entries; the next two entries Handel only bothers to dot the first two notes. The energy of the piece seems such that the dotted texture might best remain throughout, however the long–short notes inégales can occasionally be supplanted with some "short–long" moments, still retaining the dotted effect, or as John O'Donnell describes it, "The Majestic Style", but some variance can work quite effectively, and still adhere to many of the rules. In particular, in much of French music, and a lot in Handel as well, there are problems the performer faces, and the most prevalent one is this: sometimes at the approach of cadences in an notes inégales texture, the composer suddenly writes some dotted notes out explicitly and sometimes then stops; the inconsistency of dotting has continued to be a problem for every musicologist, theoretical and performer. Anthony Newman has suggested in an article, that there was an undocumented convention that the dotted texture recedes generally at the approach to a cadence, all other musical factors and concerns being equal, and that is why the dots stop and start sometimes quite oddly towards the approach to cadence. Slurred long–short pairs Often, the long–short version of notes inégales was indicated by slurred pairs of notes throughout the French repertoire in François Couperin, Jacques Duphly, Antoine Forqueray, Pierre Dumage, Louis-Nicolas Clérambault, Jean-François Dandrieu, and Jean-Philippe Rameau, to cite the more prominent keyboard composers from the French Baroque. Lullist short–long pairs Occasionally the long–short version of notes inégales was reversed to a short–long, known sometimes as the Lombard rhythm or the Scotch snap. The practice of slurred pairs of notes being possibly an indication of short–long "notes inégales" has been suggested to extend further than France to "French (Lullist) modelled" compositions throughout Europe, especially Germany, Austria,