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Harmony, its theory and practice . AtEx. 141 (J)) the second quaver of the bar, C, is an unaccentedpassing note; and at Ex. 201 the quaver B is an accentedpassing note. In Ex. 232 accented passing notes are seen inthe second bar, and unaccented in the fifth and sixth. 323. It is important to notice that auxiliary and passingnotes cannot make false relation (§ 296), and that even theinterval of the diminished octave may be sometimes used withvery fine effect. One of the best known and most beautifulexamples is seen in the Recordare of Mozarts Requiem : Mozart. Requiem.* £z, 244. here the effect Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/harmony-its-theory-and-practice-atex-141-j-the-second-quaver-of-the-bar-c-is-an-unaccentedpassing-note-and-at-ex-201-the-quaver-b-is-an-accentedpassing-note-in-ex-232-accented-passing-notes-are-seen-inthe-second-bar-and-unaccented-in-the-fifth-and-sixth-323-it-is-important-to-notice-that-auxiliary-and-passingnotes-cannot-make-false-relation-296-and-that-even-theinterval-of-the-diminished-octave-may-be-sometimes-used-withvery-fine-effect-one-of-the-best-known-and-most-beautifulexamples-is-seen-in-the-recordare-of-mozarts-requiem-mozart-requiem-z-244-here-the-effect-image342857685.htmlRM2AWPED9–Harmony, its theory and practice . AtEx. 141 (J)) the second quaver of the bar, C, is an unaccentedpassing note; and at Ex. 201 the quaver B is an accentedpassing note. In Ex. 232 accented passing notes are seen inthe second bar, and unaccented in the fifth and sixth. 323. It is important to notice that auxiliary and passingnotes cannot make false relation (§ 296), and that even theinterval of the diminished octave may be sometimes used withvery fine effect. One of the best known and most beautifulexamples is seen in the Recordare of Mozarts Requiem : Mozart. Requiem.* £z, 244. here the effect
