as , ▁where ▁the ▁tempo ▁and ▁the ▁sl ur red ▁pairs ▁can ▁only ▁result ▁in ▁a ▁Lomb ard ic ▁or ▁sn apped ▁short – long ▁" notes ▁in ég ales " ▁performance . ▁ ▁In ▁Rest oration ▁England , ▁in ▁the ▁French ▁model led , ▁L ull ist ▁influenced ▁works ▁of ▁Henry ▁Pur cell , ▁William ▁Cro ft , ▁Jer em iah ▁Clar ke ▁and ▁their ▁contempor aries , ▁the ▁short – long ▁sl ur red ▁pairs ▁of ▁notes ▁in ég ales ▁can ▁be ▁found ▁throughout ▁the ▁musical ▁literature , ▁and ▁often ▁variant ▁sources ▁" write ▁out " ▁the ▁short – long ▁" sn apped " ▁notes ▁in ég ales ▁rh yth ms ▁explicitly . ▁ ▁Im itation ▁of ▁the ▁French ▁style ▁outside ▁France ▁ ▁One ▁of ▁the ▁best ▁sources ▁for ▁understanding ▁the ▁situation ▁of ▁notes ▁in ég ales ▁in ▁France ▁is ▁the ▁notation ▁of ▁music ▁by ▁compos ers ▁from ▁other ▁European ▁countries ▁who ▁wrote ▁im itations ▁of ▁it . ▁Music ▁from ▁Italy , ▁Germany ▁and ▁England ▁all ▁borrow ed ▁this ▁feature ▁of ▁French ▁music , ▁with ▁the ▁difference ▁that ▁the ▁inequality ▁of ▁note ▁values ▁was ▁often ▁not ated , ▁since ▁not ▁all ▁perform ers ▁could ▁be ▁expected ▁to ▁add ▁the ▁notes ▁in ég ales ▁themselves ▁( though ▁evidence ▁from ▁Georg ▁M uff at ▁and ▁Te lem ann ▁strongly ▁suggests ▁that ▁German ▁perform ers ▁would ▁certainly ▁be ▁familiar ▁with ▁them ). ▁ ▁Pre val ence ▁outside ▁France ▁ ▁Application ▁of ▁notes ▁in ég ales ▁to ▁contemporary ▁performance ▁of ▁music ▁not ▁written ▁in ▁France