▁Bur ney ▁describes ; ▁the ▁groups ▁of ▁short ▁and ▁fast ▁up be at ▁figures ▁that ▁define ▁the ▁texture ▁of ▁the ▁[ F rench ] ▁O u vert ure . ▁ ▁However , ▁prepar ing ▁the ▁work ▁for ▁publication , ▁Bach ▁realized ▁his ▁complex ▁texture ▁was ▁misunder stood , ▁and ▁that ▁in ▁fact ▁most ▁of ▁the ▁ 1 6 th ▁notes ▁were ▁to ▁be ▁played ▁not ▁notes ▁in ég ales , ▁but ▁in ▁" O u vert ure ▁style ", ▁where ▁the ▁groups ▁of ▁three ▁" un anch ored " ▁( mean ing ▁the ▁first ▁of ▁each ▁group ▁of ▁four ▁ 1 6 th ▁notes ▁was ▁either ▁tied , ▁or ▁a ▁rest ) ▁the ▁following ▁three ▁ 1 6 th ▁notes ▁could ▁be ▁said ▁to ▁be ▁" un anch ored ". ▁Such ▁ 1 6 th ▁notes ▁are ▁" com pressed ▁to ▁become ▁ 3 2 nd ▁note ▁up be at ▁figures ▁throughout ▁most ▁of ▁the ▁" O u vert ure " ▁section ▁of ▁the ▁movement . ▁However , ▁in ▁the ▁ 1 3 th ▁measure ▁there ▁is ▁a ▁passage ▁with ▁anch ored ▁ 1 6 th ▁notes ▁which ▁in ▁fact ▁are ▁el ig ible ▁for ▁long – short ▁notes ▁in ég ales , ▁and ▁Bach ▁" le aves ▁them ▁be ". ▁A ▁perform er ▁may ▁apply ▁notes ▁in ég ales ▁to ▁the ▁ 1 6 th ▁notes ▁in ▁that ▁passage ▁effectively . ▁Again , ▁consistent ▁with ▁the ▁L ull ist ▁model , ▁throughout ▁the ▁rest ▁of ▁the ▁over t ure , ▁there ▁are