▁sty list ically ▁correct ▁performance ▁practice ▁of ▁long – short ▁notes ▁in ég ales . ▁In ▁the ▁V io lett a ▁part ▁immediately ▁below , ▁M uff at ▁writes ▁out ▁the ▁part ▁in ▁conventional , ▁un real ized , ▁notation . ▁This ▁can ▁be ▁seen ▁when ▁step wise ▁e ighth ▁notes ▁are ▁introduced ▁in ▁measure ▁ 1 2 . ▁In ▁the ▁Vi ol ino , ▁they ▁are ▁realized ▁in ▁explicitly ▁long – short ▁pairs ; ▁in ▁the ▁V io lett a , ▁they ▁are ▁still ▁" encoded " ▁as ▁they ▁would ▁tradition ally ▁appear ▁in ▁the ▁gu ise ▁of ▁even ly ▁not ated ▁ 8 th ▁notes ; ▁the ▁composer ▁clearly ▁expecting ▁the ▁perform er ▁to ▁perform ▁them ▁in ▁long – short ▁notes ▁in ég ales . ▁ ▁The ▁practice ▁of ▁writing ▁out ▁an ▁explic atio , ▁often ▁in ▁the ▁first ▁instance , ▁can ▁be ▁found ▁in ▁Franco is ▁Cou per in ' s ▁Prem iere ▁Ord re ▁where ▁he ▁writes ▁out ▁samples ▁of ▁the ▁kinds ▁of ▁emb ell ish ments ▁he ▁expects ▁the ▁perform er ▁to ▁add ▁upon ▁repeat . ▁He ▁also ▁writes ▁out ▁the ▁long – short ▁notes ▁in ég ales ▁fully ▁rh ythm ically ▁" real ized " ▁as ▁well . ▁Cou per in ▁does ▁this ▁in ▁the ▁Cour ante ▁and ▁the ▁G av otte , ▁expecting ▁the ▁perform er ▁to ▁take ▁the ▁various ▁emb ell ish ments , ▁rh yth mic ▁alter ations ▁and ▁orn aments , ▁and ▁apply ▁them ▁" le ▁bon ▁g out " ▁( in ▁good