the time in a clock. Present day Jazz A similar practice to notes inégales occurs from the 20th century to the present day, in jazz, although the term "swung note" is used by jazz musicians and listeners. Indeed, it is so universally understood that a stream of eighth notes is to be rendered unequally that the phrase "straight eighths" is used whenever a jazz arranger wants a performer to play eighth notes evenly. In jazz practice, in addition, it is common for the notes not only to differ in duration but in intensity. Swung eighths written on the beat are generally read as a pair of triplet eighth-notes tied together, while notes written on off-beats are played as single triplet eighth notes. Therefore, the underlying rhythmic grid to most jazz music is an eighth note triplet pattern. Most musicians don't do the math involved in playing notes, instead simply feeling an uneven subdivision. Occasionally, sixteenth notes are swung and played fitting into a thirtysecond-note triplet grid. The similarity to the rule of 17th-century France is striking, in that jazz is organized in rhythmic layers, with chord changes often at the level of the bar or half-bar, followed by a quarter-note beat, and an eighth-note level in which notes are played freely, and almost always unevenly. Some scholars (2) have speculated a connection by way of the influence of French music in New Orleans on early jazz styles. Sacred Harp Traditional Sacred Harp singers often sing in the rhythm of notes inégales, thus deviating from the printed notes; for details see Performance practice of Sacred Harp music. See also Dotted note Notes References and further reading Archibald Davison and Willi Apel, Harvard Anthology of Music. Two volumes. Cambridge, Massachusetts, Harvard University Press, 1949. David Fuller: "Notes inégales," in The New Grove Dictionary of Music and Musicians, ed. Stanley Sadie. 20 vol. London, Macmillan Publishers Ltd., 1980. The New Harvard Dictionary of Music, ed. Don Randel. Cambridge, Massachusetts, Harvard University Press, 1986. Manfred Bukofzer, Music in the Baroque Era. New York, W.W. Norton & Co., 1947. Anthony Newman: Bach and The Baroque. Pendragon Press, NYC, NY, 1985, rev 1995. Scott Ryan Johnson: Georg Muffat and the French Modeled works of J.S. Bach. Unpublished Manuscript, LA/NYC. 1993 Kenneth Cooper, Julius Zsako and Georg Muffat, "Georg Muffat's Observations on the Lully Style of Performance", The Musical Quarterly. Vol. 53, No. 2 (Apr., 1967), pp.