▁on , ▁in ▁groups ▁of ▁three ▁be ats . ▁ ▁The ▁rh yth mic ▁modes , ▁with ▁their ▁application ▁of ▁various ▁long – short ▁patterns ▁to ▁equal ▁written ▁notes , ▁may ▁also ▁have ▁been ▁a ▁prec ursor ▁to ▁notes ▁in ég ales , ▁especially ▁as ▁they ▁were ▁pract iced ▁in ▁France , ▁specifically ▁by ▁the ▁Notre ▁D ame ▁School . ▁However ▁the ▁gap ▁between ▁the ▁late ▁ 1 3 th ▁century ▁ar s ▁anti qua ▁use ▁of ▁the ▁rh yth mic ▁modes ▁and ▁the ▁middle ▁of ▁the ▁ 1 6 th ▁century , ▁when ▁Lo ys ▁Bour ge ois ▁first ▁mentioned ▁notes ▁in ég ales , ▁is ▁a ▁large ▁one , ▁and ▁little ▁trace ▁of ▁the ▁practice ▁can ▁be ▁found ▁in ▁the ▁fluid ▁poly phony ▁of ▁the ▁interven ing ▁period . ▁ ▁French ▁orig ins ▁ ▁It ▁was ▁in ▁France , ▁beginning ▁in ▁the ▁late ▁ 1 6 th ▁century , ▁that ▁notes ▁in ég ales ▁began ▁to ▁take ▁on ▁a ▁critical ▁role ▁in ▁performance ▁practice . ▁The ▁earliest ▁treat ises ▁that ▁mention ▁inequality ▁of ▁notes ▁in ▁performance ▁indicate ▁that ▁the ▁reason ▁for ▁this ▁practice ▁is ▁to ▁add ▁beauty ▁or ▁interest ▁to ▁a ▁passage ▁which ▁otherwise ▁would ▁be ▁plain . ▁Over ▁ 8 5 ▁music ▁theory ▁and ▁performance ▁treat ises ▁from ▁France ▁alone ▁mention ▁the ▁topic ▁between ▁ 1 5 5 0 ▁and ▁ 1 8 1 0 , ▁with ▁the ▁large ▁majority ▁written ▁between ▁ 1 6 9 0 ▁and ▁ 1 7 8 0 . ▁Within ▁this ▁body ▁of ▁writing ▁there