▁no ▁even ly ▁written ▁ 8 th ▁notes ; ▁they ▁have ▁all ▁be ▁" written ▁out " ▁in ▁notes ▁in ég ales ▁like ▁Cont rap unct us ▁ 2 ▁of ▁Die ▁Kunst ▁der ▁F uge ▁as ▁d otted ▁ 8 th s ▁and ▁ 1 6 th ▁notes . ▁In ▁performance , ▁it ▁is ▁likely ▁that ▁the ▁notes ▁in ég ales ▁will ▁end ▁up ▁even ▁sh ar per , ▁with ▁the ▁long ▁note ▁of ▁the ▁long – short ▁pairs ▁becoming ▁longer , ▁so ▁the ▁short ▁up be at ▁note ▁can ▁fit ▁in ▁with ▁the ▁last ▁of ▁the ▁groups ▁of ▁the ▁up be at ▁ 3 2 nd ▁notes ; ▁all ▁of ▁which ▁is ▁consistent ▁with ▁the ▁flex ibility ▁of ▁notes ▁in ég ales , ▁as ▁well ▁as ▁the ▁concept ▁of ▁" up be at ▁assim ilation ", ▁another ▁legacy ▁of ▁in ▁st ile ▁francese . ▁In ▁one ▁way , ▁to ▁the ▁ 1 7 th - ▁and ▁ 1 8 th - century ▁composer / perform er , ▁notes ▁in ég ales ▁was ▁an ▁inter dependent ▁consequence ▁of ▁" ouvert ure ▁style ", ▁or ▁in ▁st ile ▁francese . ▁ ▁Other ▁movements ▁by ▁Bach ▁in ▁O u vert ure ▁Text ure , ▁where ▁the ▁ 1 6 th ▁notes ▁can ▁be ▁played ▁in ▁long – short notes ▁in ég ales ▁are ▁the ▁F ug ue ▁in ▁D ▁Major , ▁W T CI ; ▁the ▁G igue ▁in ▁the ▁French ▁Su ite ▁in ▁D ▁Minor ; ▁the ▁fug ue ▁in ▁D ▁Minor ▁from ▁W