Music of the Trecento system of division of the breve into 2, 3, 4, 6,8, 9, or 12 semibreves (later minims) with dots (singular "punctus divisionis") indicating breaks at the end of a breve (however, Marchetto never used a term 'punctus divisionis'). Although more Trecento music is written in the international system of notation descended from Franco of Cologne and Philippe de Vitry than in the Marchettian system (and there exist a few, mostly instrumental, works not of Italian origin that use this system), nonetheless, Marchetto's contribution to rhythmic notation is so connected with the Italian Trecento that it is often referred to as
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