Before this, however, a grave defect in the notation had to be remedied. There was as yet no way of designating the length of time a note was to be sustained; something definite in the way of noting _rhythm_ was necessary. This was accomplished by Franco of Cologne, in the beginning of the thirteenth century. By disconnecting the parts of the sign [Podium] one from another, the following individual signs were acquired [illustration of Podium broken into three pieces]. In order to have two distinct values of length, these signs were called longs and shorts, _longa_ [illustration], and _brevis_ [illustration], to which was added the _brevis_ in another position [illustration], called _semibrevis_. The _longa_ was twice the value of the _brevis_, and the _semibrevis_ was half the length of the _brevis_ ([L = B B B = S S]). When notes of equal length were slurred, they were written [illustration]. When two or more notes were to be sung to one syllable in quicker time, the _brevi_ were joined one to the other [illustration], as for instance in the songs of the thirteenth century, DIRGE FOR KING RICHARD'S DEATH GAUCELM FAIDIT. [Illustration] [W: Fortz chose est que tot le maur major dam] ROI THIBAUT DE NAVARRE (1250). [Illustration] [W: Si li dis sans de laies | Belle diex vous doint bon jour] or, in modern style, [G: g' a' b' c'' (d'' c'') (b' a' g') | a' b' (c'' b') (b' a' g') (a' b') g'] In this example we find the first indication of the measuring off of phrases into bars. As we see, it consisted of a little stroke, which served to show the beginning of a new line, and was not restricted to regularity of any kind except that necessitated by the verse. The use of the _semibrevis_ is shown in the following chanson of Raoul de Coucy (1192): [Illustration] [W: Quant li rossignol jolis | chante Seur la flor d'este | que n'est la rose et le lis] [G: d'' (c'' a') b-' (a' (g' f')) g' (a' b-' a' f') f' | f' g' a' (b-' a') (c'' d'' c'' b-') (a' g') a' | d'' (c'' a') b-' a' (g' f') g' (a' (b-' a') f') f'] The French troubadours and the German minnesingers of the thirteenth century used these forms of notes only, and even then restricted themselves to two kinds, either the _longa_ and _brevis_, or _brevis_ and _semibrevis_. The necessity for rests very soon manifested itself, and the following signs were invented to correspond to the _longa_, _brevis_, and _semibrevis_ [illustration]. Also the number of note symbols was increased by the _maxima_ or double _longa_ [illustration], and the _minima_ [illustration], which represented half the value of the _semibrevis_.