Most obvious are in some of the Ouvertures, but there are many movements where a subtle notes inégales works well, such as in the Sarabande of the E Minor suite (from the set of Eight Great Suites; his earliest compilation); and numerous Menuets throughout his keyboard and even some of his orchestral works. Even in his orchestral music, and vocal music, Handel can have some very "French" moments – some of the menuets in particular, keyboard as well as orchestral, can work well with a subtle notes inégales, despite Handel's very intercontinental lineage. Whether in Germany or England, he was clearly a master at the French notes inégales as well as the Ouverture style. He was strongly influenced by Georg Muffat's nephew, who will be discussed below, and perhaps that is a part of Handel's reception of the French Style of playing. And occasionally one finds movements that don't seem necessarily "French", as over the years, Handel did develop a very strong "English" style that was unique to him, but nonetheless, sound very much more "revealed" when subjected to notes inégales aka inequality procedure. Georg Muffat The entire corpus of stylistic practices related to the Lullist model, of which notes inégales was one of the most significant features of rhythmic alteration, was perhaps widely spread throughout late 17th and early 18th-century Germany and Austria by the Austrian composer Georg Muffat. He went to the Lullist court to study and codify the Lullist performance practices and did it in an exhaustive foreword to his Florilegium Secundum, a collection containing orchestral suites based on the models and performance practices of Lully, synthesized with Muffat's studies with Corelli in Italy, which he previously presented to the musical public in his Armonico Tributo and Florilegium Primum. Writers have long credited Muffat's impact with his publication of an explicitly detailed foreword in German, French, Italian and Latin in 1698, where he codifies more explicitly than any other writer (and primary performance practice source) the Lullist Manner of Playing. Through the impact of his Florilegium Secundum, following his earlier also significant works, Muffat has been credited by many, including the great 18th century writer and music critic Charles Burney to introducing the "French Ouverture" throughout the rest of Europe, but Muffat can be perhaps even more credited as "creating" the German style – as a remarkable and unique synthesis of the Italian and French styles into