▁is ▁considerable ▁incons ist ency , ▁but ▁by ▁the ▁late ▁ 1 7 th ▁century ▁a ▁cons ensus ▁practice ▁began ▁to ▁emer ge . ▁ ▁The ▁typical ▁rule , ▁from ▁the ▁late ▁ 1 7 th ▁century ▁until ▁the ▁French ▁Revolution , ▁is ▁that ▁notes ▁in ég ales ▁applies ▁to ▁all ▁notes ▁moving ▁step wise ▁which ▁have ▁a ▁duration ▁of ▁one ▁quarter ▁the ▁denomin ator ▁of ▁the ▁meter , ▁for ▁instance , ▁e ighth ▁notes ▁in ▁a ▁meter ▁of ▁, ▁or ▁six teenth ▁notes ▁in ▁a ▁meter ▁of ▁; ▁and ▁one ▁half ▁the ▁denomin ator ▁of ▁the ▁meter ▁in ▁cases ▁of ▁triple ▁or ▁comp ound ▁meter , ▁for ▁instance , ▁e ighth ▁notes ▁in ▁, ▁six teenth ▁notes ▁in ▁, ▁ ▁and ▁. ▁In ▁addition , ▁the ▁in ég ales ▁could ▁only ▁function ▁on ▁one ▁met rical ▁level ; ▁for ▁example , ▁if ▁six teenth s ▁are ▁to ▁be ▁played ▁long – short , ▁long – short , ▁an ▁even ▁e ighth - note ▁pul se ▁must ▁be ▁carefully ▁maintained ▁for ▁the ▁music ▁to ▁retain ▁its ▁shape . ▁ ▁In ▁Georg ▁M uff at ' s ▁cod ification ▁of ▁notes ▁in ég ales ▁in ▁the ▁L ull ist ▁tradition , ▁he ▁says ▁it ▁is ▁the ▁first ▁level ▁of ▁dimin ution ▁that ▁is ▁subject ▁to ▁inequality ▁procedure . ▁ ▁Sometimes ▁the ▁notes ▁in ég ales ▁are ▁not ated ▁as ▁une qual , ▁for ▁example ▁in ▁some ▁of ▁the ▁keyboard ▁works ▁of ▁François ▁Cou per in , ▁where ▁he ▁uses ▁a ▁dot ▁to ▁indicate ▁the