Double whole note either of two ways: by a hollow oval note head, like a whole note, with one or two vertical lines on either side, as on the left of the image, or as the rectangular shape also found in older notation, shown in the middle of the image (; ). Because it lasts longer than a bar in most modern time signatures in common use, the breve is rarely encountered except in English music, where the half-note is often used as the beat unit . A related symbol is the double whole rest (double rest or breve rest), which usually denotes
Two hundred fifty-sixth note (1800), to notate rapid scales. Another example is in Mozart's Variations on "Je suis Lindor" (1778), where four of them are used in the slow ("molto adagio") twelfth variation. A further example occurs ("Grave.Adagio non troppo") in Jan Ladislav Dussek's (1760–1812) Fifth Piano Sonata, Op. 10 No. 2. They also occur ("Largo") in Vivaldi's (1678–1741) Concerto, RV 444, and in bar 15 of François Couperin's "Second Prelude" from "L'art de toucher le clavecin" (1716). The next note value shorter than the two hundred fifty-sixth note is the five hundred twelfth note with seven flags or beams; it is half as