▁taste ) ▁throughout ▁his ▁o e uv re . ▁This ▁practice ▁of ▁giving ▁an ▁explic atio ▁was ▁also ▁followed ▁by ▁J . S . ▁Bach ▁in ▁the ▁Sar ab ande ▁of ▁his ▁French ▁Su ite ▁in ▁D ▁Minor , ▁B W V ▁ 8 1 2 , ▁and ▁similarly , ▁in ▁the ▁Sar ab ande ▁of ▁his ▁English ▁Su ite ▁in ▁G ▁Minor , ▁B W V ▁ 8 0 8 . ▁It ▁is ▁clear ▁there ▁was ▁a ▁preced ent ▁by ▁compos ers ▁to ▁give ▁models ▁for ▁the ▁correct ▁study ▁and ▁real ization ▁of ▁performance ▁practice ▁issues ▁in ▁the ▁works ▁themselves , ▁often ▁in ▁the ▁context ▁of ▁an ▁or al ▁tradition ▁where ▁there ▁was ▁no ▁need ▁to ▁write ▁a ▁treat ise . ▁ ▁M uff at , ▁publishing ▁his ▁Flor ile g ium ▁with ▁mult iling ual ▁pre faces , ▁clearly ▁int ending ▁his ▁work ▁to ▁be ▁widely ▁published ▁( which ▁it ▁was ), ▁and ▁as ▁there ▁would ▁be ▁no ▁opportunity ▁for ▁an ▁or al ▁tradition ▁to ▁transmit ▁the ▁performance ▁practices , ▁he ▁decided ▁in ▁order ▁for ▁the ▁music ▁to ▁be ▁played ▁correctly , ▁he ▁would ▁cod ify ▁the ▁L ull ist ▁practices ▁– ▁with ▁musical ▁examples ▁of ▁how ▁to ▁perform ▁the ▁orn aments , ▁interpret ▁the ▁various ▁rh yth mic ▁alter ations ▁including ▁notes ▁in ég ales , ▁as ▁well ▁as ▁tempo ▁instructions , ▁and ▁bow ing ▁instructions , ▁and ▁when ▁and ▁where ▁to ▁apply ▁notes ▁in ég ales ▁and ▁all ▁the ▁variety ▁of ▁L ull ist ▁emb ell ishment ▁and ▁orn