Double whole note the "brevis" was to be considered the unit of time ("tactus"), instead of the usual "semibrevis". The old symbol , used as an alternative to the numerical proportion 2:1 in mensural notation, is carried over into modern notational practice to indicate a smaller relative value per note shape. It is normally used for music in a relatively quick tempo, where it indicates two minim (half note) beats in a bar of four crotchets (quarter notes), while is the equivalent of , with four crotchet beats . Double whole note In music, a double whole note (American), breve (international), or double
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