Modus (medieval music) "tempus" (corresponding to the modern concept of a measure or bar and referring to the division of "breves" into two or three "semibreves") and "prolatio" (the division of "semibreves" into two or three "minims"). The "modus longarum" was applied primarily to pieces based on a cantus firmus tenor part in long note values. An even longer temporal unit was the "modus maximarum", but it is of little practical importance outside of the 13th century . Modus (medieval music) In medieval music theory, the Latin term modus (meaning "a measure", "standard of measurement", "quantity", "size", "length", or, rendered in English, mode)
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