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	<id>https://en.tchaikovsky-research.net/index.php?action=history&amp;feed=atom&amp;title=Letter_386</id>
	<title>Letter 386 - Revision history</title>
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	<updated>2026-09-15T01:13:04Z</updated>
	<subtitle>Revision history for this page on the wiki</subtitle>
	<generator>MediaWiki 1.38.2</generator>
	<entry>
		<id>https://en.tchaikovsky-research.net/index.php?title=Letter_386&amp;diff=65858&amp;oldid=prev</id>
		<title>Tony: Added full stop for consistency within letter</title>
		<link rel="alternate" type="text/html" href="https://en.tchaikovsky-research.net/index.php?title=Letter_386&amp;diff=65858&amp;oldid=prev"/>
		<updated>2024-03-09T13:52:48Z</updated>

		<summary type="html">&lt;p&gt;Added full stop for consistency within letter&lt;/p&gt;
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				&lt;td colspan=&quot;2&quot; style=&quot;background-color: #fff; color: #202122; text-align: center;&quot;&gt;← Older revision&lt;/td&gt;
				&lt;td colspan=&quot;2&quot; style=&quot;background-color: #fff; color: #202122; text-align: center;&quot;&gt;Revision as of 15:52, 9 March 2024&lt;/td&gt;
				&lt;/tr&gt;&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-lineno&quot; id=&quot;mw-diff-left-l74&quot;&gt;Line 74:&lt;/td&gt;
&lt;td colspan=&quot;2&quot; class=&quot;diff-lineno&quot;&gt;Line 74:&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;{{und2|Chapter II}}. Related combinations.&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;{{und2|Chapter II}}. Related combinations.&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;{{und2|Chapter III}}. Unrelated combinatons.&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;{{und2|Chapter III}}. Unrelated combinatons.&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;−&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;{{und2|Chapter IV}}. Exceptions to the rules of related triad combinations&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;{{und2|Chapter IV}}. Exceptions to the rules of related triad combinations&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;.&lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;{{und2|Chapter V}}. Harmonic sequences. Diminished triads.  &lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;{{und2|Chapter V}}. Harmonic sequences. Diminished triads.  &lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;{{und2|Chapter VI}}.  Harmony of minor scales.&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;{{und2|Chapter VI}}.  Harmony of minor scales.&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;/table&gt;</summary>
		<author><name>Tony</name></author>
	</entry>
	<entry>
		<id>https://en.tchaikovsky-research.net/index.php?title=Letter_386&amp;diff=47690&amp;oldid=prev</id>
		<title>Brett: 1 revision imported</title>
		<link rel="alternate" type="text/html" href="https://en.tchaikovsky-research.net/index.php?title=Letter_386&amp;diff=47690&amp;oldid=prev"/>
		<updated>2022-07-12T12:28:11Z</updated>

		<summary type="html">&lt;p&gt;1 revision imported&lt;/p&gt;
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				&lt;td colspan=&quot;1&quot; style=&quot;background-color: #fff; color: #202122; text-align: center;&quot;&gt;Revision as of 14:28, 12 July 2022&lt;/td&gt;
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&lt;/td&gt;&lt;/tr&gt;&lt;/table&gt;</summary>
		<author><name>Brett</name></author>
	</entry>
	<entry>
		<id>https://en.tchaikovsky-research.net/index.php?title=Letter_386&amp;diff=47689&amp;oldid=prev</id>
		<title>Brett at 11:47, 25 February 2020</title>
		<link rel="alternate" type="text/html" href="https://en.tchaikovsky-research.net/index.php?title=Letter_386&amp;diff=47689&amp;oldid=prev"/>
		<updated>2020-02-25T11:47:31Z</updated>

		<summary type="html">&lt;p&gt;&lt;/p&gt;
&lt;p&gt;&lt;b&gt;New page&lt;/b&gt;&lt;/p&gt;&lt;div&gt;{{letterhead &lt;br /&gt;
|Date=12/24 January 1875 &lt;br /&gt;
|To=[[Dmitry Razumovsky]] &lt;br /&gt;
|Place=[[Moscow]] &lt;br /&gt;
|Language=Russian &lt;br /&gt;
|Autograph=[[Moscow]]: {{RUS-Mrg}}&lt;br /&gt;
|Publication={{bib|1959/50|П. И. Чайковский. Полное собрание сочинений ; том V}} (1959), p. 390–392&lt;br /&gt;
}}&lt;br /&gt;
==Text and Translation==&lt;br /&gt;
{{Lettertext&lt;br /&gt;
|Language=Russian&lt;br /&gt;
|Translator=Brett Langston&lt;br /&gt;
|Original text=Дмитрий Васильевич! Я сейчас еду в Питер и не успею лично передать Вам прилагаемую при сем бумажку. Извините, голубчик, что она написана на грязном клочке.&lt;br /&gt;
&lt;br /&gt;
Преданный Вам,&lt;br /&gt;
{{right|П. Чайковский}}&lt;br /&gt;
&lt;br /&gt;
------------------&lt;br /&gt;
{{centre|{{und2|Содержание Краткого учебника гармонии,&amp;lt;br/&amp;gt;приспособленного к чтению духовно-музыкальных сочинении.}}&amp;lt;br/&amp;gt;&amp;lt;br/&amp;gt;* * *}}&lt;br /&gt;
&amp;#039;&amp;#039;Введение&amp;#039;&amp;#039;. Учение об интервалах.&amp;lt;br/&amp;gt;&lt;br /&gt;
{{centre|&amp;#039;&amp;#039;Учение о гармонии&amp;#039;&amp;#039;}}&amp;lt;br/&amp;gt;&lt;br /&gt;
&lt;br /&gt;
{{centre|ЧАСТЬ ПЕРВАЯ&amp;lt;br/&amp;gt;&amp;lt;br/&amp;gt;&amp;#039;&amp;#039; Отдел первый&amp;#039;&amp;#039;&amp;lt;br/&amp;gt;Консонирующие гармонии}}&lt;br /&gt;
&amp;lt;poem&amp;gt;&lt;br /&gt;
{{und2|Глава I}}. Трезвучия мажорной гаммы.&lt;br /&gt;
{{und2|Глава II}}. Сочетания связные.&lt;br /&gt;
{{und2|Глава III}}. Сочетания несвязные.&lt;br /&gt;
{{und2|Глава IV}}. Уклонения от правил сочетания связных трезвучий.&lt;br /&gt;
{{und2|Глава V}}. Гармонические секвенции. Уменьшенное трезвучие. &lt;br /&gt;
{{und2|Глава VI}}.  Гармония минорной гаммы.&lt;br /&gt;
{{und2|Глава VII}}. Обращение трезвучий.&lt;br /&gt;
&amp;lt;/poem&amp;gt;&lt;br /&gt;
{{centre|&amp;#039;&amp;#039;Отдел второй&amp;#039;&amp;#039;&amp;lt;br/&amp;gt;Диссонирующие аккорды}}&lt;br /&gt;
&amp;lt;poem&amp;gt;&lt;br /&gt;
{{und2|Глава VIII}}. Доминантаккорд.&lt;br /&gt;
{{und2|Глава IХ}}. Секвенцаккорды.&lt;br /&gt;
{{und2|Глава Х}}. Нонаккорды и септаккорды на седьмой ступени.&lt;br /&gt;
{{und2|Глава XI}}. Голосоведение.&lt;br /&gt;
&amp;lt;/poem&amp;gt;&lt;br /&gt;
{{centre|&amp;#039;&amp;#039;Отдел третий&amp;#039;&amp;#039;}}&lt;br /&gt;
&amp;lt;poem&amp;gt;&lt;br /&gt;
{{und2|Глава ХII}}. Модуляции.&lt;br /&gt;
&amp;lt;/poem&amp;gt;&lt;br /&gt;
{{centre|ЧАСТЬ ВТОРАЯ}}&lt;br /&gt;
&amp;lt;poem&amp;gt;&lt;br /&gt;
{{und2|Глава XIII}}. Задержания.&lt;br /&gt;
{{und2|Глава XIV}}. Предъём.&lt;br /&gt;
{{und2|Глава XV}}. Проходящие ноты.&lt;br /&gt;
{{und2|Глава XVII}}. Вспомогательные ноты.&lt;br /&gt;
{{und2|Глава XVII}}. Аккорды с увеличенной квинтой. &lt;br /&gt;
{{und2|Глава XVIII}}. Аккорды с увеличенной секстой.&lt;br /&gt;
&amp;lt;/poem&amp;gt;&lt;br /&gt;
{{centre|ЧАСТЬ ТРЕТЬЯ&amp;lt;br/&amp;gt;&amp;#039;&amp;#039;Дополнительные сведения&amp;#039;&amp;#039;}}&lt;br /&gt;
&amp;lt;poem&amp;gt;&lt;br /&gt;
{{und2|Глава XIX}}. Учения о каденциях и о педали. &lt;br /&gt;
{{und2|Глава ХХ}}. Гармония двух-, трех- и многоголосная.&lt;br /&gt;
&amp;lt;/poem&amp;gt;&lt;br /&gt;
{{centre|&amp;#039;&amp;#039;Заключени&amp;#039;&amp;#039;}}&lt;br /&gt;
&lt;br /&gt;
|Translated text=[[Dmitry Razumovsky|Dmitry Vasilyevich]]! I&amp;#039;m off to [[Piter]] now and I won&amp;#039;t manage to give you the enclosed sheet in person. Forgive me, golubchik, for writing it on a dirty scrap.&lt;br /&gt;
&lt;br /&gt;
Your devoted,&lt;br /&gt;
{{right|P. Tchaikovsky}}&lt;br /&gt;
&lt;br /&gt;
------------------&lt;br /&gt;
{{centre|{{und2|A Short Manual to Harmony,&amp;lt;br/&amp;gt;Adapted for the Study of Church Music in Russia.}}&amp;lt;br/&amp;gt;&amp;lt;br/&amp;gt;* * *}}&lt;br /&gt;
&amp;#039;&amp;#039;Introduction&amp;#039;&amp;#039;. The Study of Intervals.&amp;lt;br/&amp;gt;&lt;br /&gt;
&lt;br /&gt;
{{centre|&amp;#039;&amp;#039;The Study of Harmony&amp;#039;&amp;#039;}}&amp;lt;br/&amp;gt;&lt;br /&gt;
&lt;br /&gt;
{{centre|PART ONE&amp;lt;br/&amp;gt;&amp;lt;br/&amp;gt;&amp;#039;&amp;#039;First Section&amp;#039;&amp;#039;&amp;lt;br/&amp;gt;Consonant Harmony}}&lt;br /&gt;
&amp;lt;poem&amp;gt;&lt;br /&gt;
{{und2|Chapter I}}. Triads of the major scale.&lt;br /&gt;
{{und2|Chapter II}}. Related combinations.&lt;br /&gt;
{{und2|Chapter III}}. Unrelated combinatons.&lt;br /&gt;
{{und2|Chapter IV}}. Exceptions to the rules of related triad combinations&lt;br /&gt;
{{und2|Chapter V}}. Harmonic sequences. Diminished triads. &lt;br /&gt;
{{und2|Chapter VI}}.  Harmony of minor scales.&lt;br /&gt;
{{und2|Chapter VII}}. Inverted triads.&lt;br /&gt;
&amp;lt;/poem&amp;gt;&lt;br /&gt;
{{centre|&amp;#039;&amp;#039;Second Section&amp;#039;&amp;#039;&amp;lt;br/&amp;gt;Dissonant Chords}}&lt;br /&gt;
&amp;lt;poem&amp;gt;&lt;br /&gt;
{{und2|Chapter VIII}}. Dominant chords.&lt;br /&gt;
{{und2|Chapter IХ}}. Seventh chords.&lt;br /&gt;
{{und2|Chapter Х}}. Ninth and seventh chords of the seventh degree.&lt;br /&gt;
{{und2|Chapter XI}}. Rules of voices.&lt;br /&gt;
&amp;lt;/poem&amp;gt;&lt;br /&gt;
{{centre|&amp;#039;&amp;#039;Third Section&amp;#039;&amp;#039;}}&lt;br /&gt;
&amp;lt;poem&amp;gt;&lt;br /&gt;
{{und2|Chapter ХII}}. Modulations.&lt;br /&gt;
&amp;lt;/poem&amp;gt;&lt;br /&gt;
{{centre|PART TWO}}&lt;br /&gt;
&amp;lt;poem&amp;gt;&lt;br /&gt;
{{und2|Chapter XIII}}. Suspensions.&lt;br /&gt;
{{und2|Chapter XIV}}. Leading notes.&lt;br /&gt;
{{und2|Chapter XV}}. Passing notes.&lt;br /&gt;
{{und2|Chapter XVII}}. Auxiliary notes.&lt;br /&gt;
{{und2|Chapter XVII}}. Chords with augmented fifths. &lt;br /&gt;
{{und2|Chapter XVIII}}. Chords with augmented sevenths.&lt;br /&gt;
&amp;lt;/poem&amp;gt;&lt;br /&gt;
{{centre|PART THREE&amp;lt;br/&amp;gt;&amp;#039;&amp;#039;Supplementary Information&amp;#039;&amp;#039;}}&lt;br /&gt;
&amp;lt;poem&amp;gt;&lt;br /&gt;
{{und2|Chapter XIX}}. Guide to cadences and pedals.&lt;br /&gt;
{{und2|Chapter ХХ}}. Harmonies in two, three and multiple voices.&lt;br /&gt;
&amp;lt;/poem&amp;gt;&lt;br /&gt;
{{centre|&amp;#039;&amp;#039;Conclusion&amp;#039;&amp;#039;}}&lt;br /&gt;
}}&lt;br /&gt;
&lt;br /&gt;
{{DEFAULTSORT:Letter 0386}}&lt;/div&gt;</summary>
		<author><name>Brett</name></author>
	</entry>
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