▁in ég ales ). ▁Bach ' s ▁texture ▁was ▁very ▁much ▁more ▁complex ▁than ▁that ▁of ▁the ▁L ul ly ▁and ▁M uff at . ▁As ▁a ▁result , ▁there ▁was ▁ambigu ity ▁for ▁what ▁notes ▁would ▁be ▁el ig ible ▁for ▁notes ▁in ég ales ▁performance . ▁ ▁In ▁an ▁earlier ▁version ▁of ▁O u vert ure ▁nach ▁Fran zös ischer ▁Art , ▁there ▁is ▁a ▁manuscript ▁in ▁a ▁student ▁of ▁Bach ' s ▁hand , ▁Johann ▁Pre ll er , ▁the ▁three ▁note ▁ 3 2 nd ▁notes ▁are ▁not ▁yet ▁not ated ▁as ▁such . ▁Instead ▁the ▁texture ▁is ▁full ▁of ▁ 1 6 th ▁notes ▁which ▁have ▁Pre ll er ' s ▁orn aments ▁in ▁all ▁the ▁places ▁that ▁would ▁suggest ▁notes ▁in ég ales ▁of ▁the ▁long – short ▁variety ▁– ▁most ▁of ▁Pre ll er ' s ▁tr ills ▁and ▁m ord ents ▁are ▁on ▁the ▁first ▁and ▁third ▁note ▁of ▁every ▁group ▁of ▁four ▁ 1 6 th ▁notes ▁– ▁the ▁notes ▁that ▁if ▁subject ed ▁to ▁standard ▁long – short ▁notes ▁in ég ales ▁would ▁become ▁longer ▁by ▁a ▁dot ▁– ▁and ▁have ▁more ▁time ▁for ▁an ▁orn ament ; ▁indeed ▁the ▁orn aments ▁that ▁happen ▁on ▁would ▁be ▁the ▁third ▁ 1 6 th ▁note ▁would ▁consequ ently ▁make ▁the ▁un anch ored ▁groups ▁of ▁three ▁impossible ▁to ▁sh ar pen ▁rh ythm ically ▁into ▁up be at ▁ 3 2 nd ▁notes , ▁a ka , ▁in ▁st ile ▁francese ; ▁or ▁as