Whole note of mensural notation, and this is the origin of the British name. The American name is a calque of the German . The Catalan, French and Spanish names for the note (meaning "round") derive from the fact that the was distinguished by its round stemless shape, which is true as well of the modern form (in contrast to the double whole note or shorter values with stems). The Greek name means "whole". Chinese, Japanese, Korean, and Vietnamese names mean "whole note". Whole note In music, a whole note (American) or semibreve (British) is a note represented by a hollow oval
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