inégales are written out as dotted rhythms. But in Contrapunctus VI, fully embracing notes inégales, a composition written in the complex texture of the "Ouverture", in Stile francese, Bach uses "the dotted style" in augmentation, and writes out the notes inégales although many treatises describe the assimilation of upbeat notes to have the slower rhythms become "in sync" with the shorter notes of the fast upbeat note groups, as well as the "short" notes of the inégales pairs. And perhaps most significantly, in Contrapunctus 16 – actually two Fugues one normal and its pair in mirror inversion, the notes inégales are written out in a texture of running triplets, showing the varying value of the dot, as well as the varying "swing" of notes inégales. And it is of interest to note that in the keyboard arrangements of this work, the notes inégales are not written out, and this suggests strongly that the practice of notes inégales, of rhythmic alteration, was known to Bach and his circle. In his teens, Bach travelled and studied at the French-modelled Court of Georg Wilhelm in Celle (near Lüneburg) in northern Germany, where there was an orchestra modelled on the Concert Royal of Lully. During this time it is believed he studied and wrote compositions in the French Style, such as a five-part incomplete Fantasie and Fugue for organ, BWV 562, that is based exactly on the voicing, texture, and structure of the works of the French baroque composer De Grigny, and would make it eligible for notes inégales. His later work, the Fantasia and Fugue in C minor, BWV 537, also uses the same mostly 8th note texture, is written in the same time signature, features a similar texture, and responds well to the application of long–short notes inégales to the evenly notated 8th notes, and short–long to the slurred 8th note pairs, also typical and consistent to classic baroque French notes inégales procedures. 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.