ers ▁to ▁dot ▁the ▁first ▁two ▁notes . ▁The ▁energy ▁of ▁the ▁piece ▁seems ▁such ▁that ▁the ▁d otted ▁texture ▁might ▁best ▁remain ▁throughout , ▁however ▁the ▁long – short ▁notes ▁in ég ales ▁can ▁occasionally ▁be ▁supp l anted ▁with ▁some ▁" short – long " ▁moments , ▁still ▁retain ing ▁the ▁d otted ▁effect , ▁or ▁as ▁John ▁O ' D onn ell ▁describes ▁it , ▁" The ▁Maj estic ▁Style ", ▁but ▁some ▁variance ▁can ▁work ▁quite ▁effectively , ▁and ▁still ▁ad here ▁to ▁many ▁of ▁the ▁rules . ▁ ▁In ▁particular , ▁in ▁much ▁of ▁French ▁music , ▁and ▁a ▁lot ▁in ▁Hand el ▁as ▁well , ▁there ▁are ▁problems ▁the ▁perform er ▁faces , ▁and ▁the ▁most ▁pre val ent ▁one ▁is ▁this : ▁sometimes ▁at ▁the ▁approach ▁of ▁cad ences ▁in ▁an ▁notes ▁in ég ales ▁texture , ▁the ▁composer ▁suddenly ▁writes ▁some ▁d otted ▁notes ▁out ▁explicitly ▁and ▁sometimes ▁then ▁stops ; ▁the ▁incons ist ency ▁of ▁dot ting ▁has ▁continued ▁to ▁be ▁a ▁problem ▁for ▁every ▁music ologist , ▁theoretical ▁and ▁perform er . ▁Anthony ▁New man ▁has ▁suggested ▁in ▁an ▁article , ▁that ▁there ▁was ▁an ▁und ocument ed ▁convention ▁that ▁the ▁d otted ▁texture ▁re cedes ▁generally ▁at ▁the ▁approach ▁to ▁a ▁cad ence , ▁all ▁other ▁musical ▁factors ▁and ▁concerns ▁being ▁equal , ▁and ▁that ▁is ▁why ▁the ▁d ots ▁stop ▁and ▁start ▁sometimes ▁quite ▁odd ly ▁towards ▁the ▁approach ▁to ▁cad ence . ▁ ▁Sl ur red ▁long – short ▁pairs