Maxima (music) notation for examples. The name for this note in European languages is derived from two of the three Latin names, either "maxima" or "larga". (On "larga" as a term, see , 30–31 : "Nomina vero ipsarum sunt haec, scilicet larga, longa, brevis, semibrevis et minima".) In modern theoretical contexts, it is occasionally called an octuple note (; ; ) or an octuple whole note . Maxima (music) A maxima, duplex longa, larga (in British usage: large), octuple note, octuple whole note, or octuple entire musical note was a musical note used commonly in thirteenth and fourteenth century music and occasionally
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