notes; the composer clearly expecting the performer to perform them in long–short notes inégales. The practice of writing out an explicatio, often in the first instance, can be found in Francois Couperin's Premiere Ordre where he writes out samples of the kinds of embellishments he expects the performer to add upon repeat. He also writes out the long–short notes inégales fully rhythmically "realized" as well. Couperin does this in the Courante and the Gavotte, expecting the performer to take the various embellishments, rhythmic alterations and ornaments, and apply them "le bon gout" (in good taste) throughout his oeuvre. This practice of giving an explicatio was also followed by J.S. Bach in the Sarabande of his French Suite in D Minor, BWV 812, and similarly, in the Sarabande of his English Suite in G Minor, BWV 808. It is clear there was a precedent by composers to give models for the correct study and realization of performance practice issues in the works themselves, often in the context of an oral tradition where there was no need to write a treatise. Muffat, publishing his Florilegium with multilingual prefaces, clearly intending his work to be widely published (which it was), and as there would be no opportunity for an oral tradition to transmit the performance practices, he decided in order for the music to be played correctly, he would codify the Lullist practices – with musical examples of how to perform the ornaments, interpret the various rhythmic alterations including notes inégales, as well as tempo instructions, and bowing instructions, and when and where to apply notes inégales and all the variety of Lullist embellishment and ornamentation, especially when there is no obvious indication. His extremely detailed codification of notes inégales and the Lullist performance practices, and in practical combination with his suites, and including further explication by explicit half encoded/half written out solutions to demonstrate the correct and appropriate application of notes inégales in the Premiere suite of the Florilegium Secundum, would achieve a clarity of understanding the rhythmic alteration procedure of notes inégales to a huge musical circle beyond his personal scope and of his musical circle which included his colleague Heinrich Ignaz Franz Biber's world in 17th century Salzburg, Austria. Henry Purcell In England, style Francese was deliberately introduced in the 17th century by order of the King, sending a 14-year-old exceptionally talented chorister and composer, the young Henry Purcell, to