Three main upbeat types are common in the Baroque. One is known since the 15th century or earlier. Another type, whose origins lead back to 16th-century polyphonic chanson (as a text-engendered contraction), eventually became a hallmark of Bach and his German predecessors. A third form, traced to early 17th century, evolved in French lute repertory as a French idiosyncrasy, reflects French predilection for end-accents, in musical phrasing as well as in spoken language.
Thus a seemingly everyday rhythmic occurrence became a distinctive feature
of certain syles and repertories. Only in late Baroque do we find (e.g.,
in the works of Bach and Handel) some attempts in the spirit of Les
Goûts Réunis, combining German and French upbeat traditions.