Whole-note—semi-breve.
Half-note—minim.
Quarter-note—crotchet.
Eighth-note—quaver.
Sixteenth-note—semi-quaver.
Thirty-second-note—demi-semi-quaver.
The corresponding rests are referred to by the same system of nomenclature: e.g., semi-breve rest, etc.
32. Sixty-fourth and one-hundred-and-twenty-eighth-notes are occasionally found, but are not in common use. The double-whole-note (breve), made
or
, is still used, especially in English music, which frequently employs the half-note as the beat-unit. Thus in four-half measure the breve would be necessary to indicate a tone having four beats.
33. The whole-rest has a peculiarity of usage not common to any of the other duration symbols, viz., that it is often employed as a measure-rest, filling an entire measure of beats, no matter what the measure-signature may be. Thus, not only in four-quarter-measure, but in two-quarter, three-quarter, six-eighth, and other varieties, the whole-rest fills the entire measure, having a value sometimes greater, sometimes less than the corresponding whole-note. Because of this peculiarity of usage the whole-rest is termed Takt-pausa (measure-rest) by the Germans.
34. A bar is a vertical line across the staff, dividing it into measures. The word bar is often used synonymously with measure by orchestral conductors and others; thus, "begin at the fourteenth bar after J." This use of the word, although popular, is incorrect.
35. A double-bar consists of two vertical lines across the staff, at least one of the two being a heavy line. The double bar marks the end of a division, movement, or entire composition.