Whole note (or "breve", hence the British name "semibreve") lasts twice as long as a whole note. A related symbol is the whole rest (or semibreve rest). It usually applies for an "entire measure", but may occasionally mean a rest for the duration of a whole note, in longer time signatures such as or . (An entire measure rest is drawn centered within the measure, whereas a rest lasting for a whole note is aligned to where the note would be.) Whole rests are drawn as filled-in rectangles generally hanging under the second line from the top of a musical staff, though
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