four 16th notes was either tied, or a rest) the following three 16th notes could be said to be "unanchored". Such 16th notes are "compressed to become 32nd note upbeat figures throughout most of the "Ouverture" section of the movement. However, in the 13th measure there is a passage with anchored 16th notes which in fact are eligible for long–short notes inégales, and Bach "leaves them be". A performer may apply notes inégales to the 16th notes in that passage effectively. Again, consistent with the Lullist model, throughout the rest of the overture, there are no evenly written 8th notes; they have all be "written out" in notes inégales like Contrapunctus 2 of Die Kunst der Fuge as dotted 8ths and 16th notes. In performance, it is likely that the notes inégales will end up even sharper, with the long note of the long–short pairs becoming longer, so the short upbeat note can fit in with the last of the groups of the upbeat 32nd notes; all of which is consistent with the flexibility of notes inégales, as well as the concept of "upbeat assimilation", another legacy of in stile francese. In one way, to the 17th- and 18th-century composer/performer, notes inégales was an interdependent consequence of "ouverture style", or in stile francese. Other movements by Bach in Ouverture Texture, where the 16th notes can be played in long–short notes inégales are the Fugue in D Major, WTCI; the Gigue in the French Suite in D Minor; the fugue in D Minor from WTC II – where the 16th notes can be played in long–short notes inégales against the general triplet texture (not unlike the fugue from the Kunst der Fuge in the keyboard arrangements, and the 16th notes in Ouverture from the D Major Partita, in the slow Ouverture section. Outside of the keyboard literature, in the cello and lute suites, the suite in C Minor has two versions, and the suite opens with a Prelude that is in stile francese. The early version is like the early version of the Ouverture; mostly 16th notes that could? be eligible for notes inégales. However, Bach rewrites the later version again shows a clarification of the evenly written 16th notes that are unanchored, being subject to "overture style" rhythmic alteration where the unanchored three 16th note groups are assimilated into groups of three 32nd notes upbeats, against a texture that is