<html><head></head><body style="word-wrap: break-word; -webkit-nbsp-mode: space; -webkit-line-break: after-white-space; "><div><div>Hi Tim,<div><br></div><div>I'm not sure if by "modal pitch collections" you're looking for something entirely free from chromaticism. But here are a few relatively "clean" modal excerpts of classical/romantic repertoire that I've used in classes recently. In all of these examples, the tonic note is unequivocal. (This in distinction to problematically "modal" pieces like Bruckner's putatively Lydian "Os Justi," which is all white notes and which ends on F, but which very often sounds like functional C-major.)</div><div><br></div><div>- Two bars before rehearsal 17 in Act III of <i>Turandot</i> ("Principessa Divina!") features some wonderful and striking <span class="Apple-style-span" style="text-decoration: underline; ">Mixolydian</span> writing</div><div>- The B-section of Brahms's Op. 118/5 features a number of major II chords over a tonic pedal that don't act as V4/2 of V; this has a strong <span class="Apple-style-span" style="text-decoration: underline; ">Lydian</span> sound to me.</div><div>- The "Polonaise" from act III of <i>Boris Godunov</i> (a common concert excerpt) features even more striking <span class="Apple-style-span" style="text-decoration: underline; ">Lydian</span> passages.</div><div>- The refrain from Mussorgsky's "Serenade" from <i>Songs and Dances of Death </i>(mm. 34-41) has an arresting <span class="Apple-style-span" style="text-decoration: underline; ">Dorian</span> sixth. (The next passage opens with four bars of pure Aeolian, making for a nice cross-relation.)</div><div>- The Andante of Mahler's <i>Sixth</i> features a dramatic pure-A-<span class="Apple-style-span" style="text-decoration: underline; ">Dorian</span> cadence just before rehearsal 100 (mm. 142-45).</div><div><div>- The opening of Chopin's C#m Mazurka op. 41/1 is plainly <span class="Apple-style-span" style="text-decoration: underline; ">Phrygian</span>.</div><div>- The second stanza of Mahler's "Das Trinklied vom Jammer der Erde" from "Das Lied von der Erde" closes with a marked A-flat <span class="Apple-style-span" style="text-decoration: underline; ">Phrygian</span> phrase (this is a deformation of the diatonic setting of the same text in stanza one).</div><div>- The bare-octave opening melody of Brahms Op. 120/1 closes with a strong <span class="Apple-style-span" style="text-decoration: underline; ">Phrygian</span> gesture.</div><div><br></div></div><div>I hope these help!</div><div><br></div><div>-Seth</div><div><br><div><span class="Apple-style-span" style="border-collapse: separate; color: rgb(0, 0, 0); font-family: Helvetica; font-size: medium; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: normal; orphans: 2; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px; -webkit-border-horizontal-spacing: 0px; -webkit-border-vertical-spacing: 0px; -webkit-text-decorations-in-effect: none; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; "><span class="Apple-style-span" style="border-collapse: separate; color: rgb(0, 0, 0); font-family: Helvetica; font-size: 11px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: normal; orphans: 2; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px; -webkit-border-horizontal-spacing: 0px; -webkit-border-vertical-spacing: 0px; -webkit-text-decorations-in-effect: none; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; "><div style="word-wrap: break-word; -webkit-nbsp-mode: space; -webkit-line-break: after-white-space; "><div><span class="Apple-style-span" style="font-size: 12px; "><div><font class="Apple-style-span" size="2"><span class="Apple-style-span" style="font-size: 10px; ">-----------------------------------------------------------</span></font></div><div><font class="Apple-style-span" size="2"><span class="Apple-style-span" style="font-size: 10px; ">Seth Monahan</span></font></div><div><font class="Apple-style-span" size="2"><span class="Apple-style-span" style="font-size: 10px; ">Assistant Professor of Music Theory</span></font></div><div><span class="Apple-style-span" style="font-size: 10px; ">Co-editor, <i>Theory and Practice</i></span></div><div><font class="Apple-style-span" size="2"><span class="Apple-style-span" style="font-size: 10px; ">Eastman School of Music</span></font></div><div><font class="Apple-style-span" size="2"><span class="Apple-style-span" style="font-size: 10px; ">26 Gibbs St.</span></font></div><div><font class="Apple-style-span" size="2"><span class="Apple-style-span" style="font-size: 10px; ">Rochester, NY, 14604</span></font></div><div><font class="Apple-style-span" size="2"><span class="Apple-style-span" style="font-size: 10px; ">(585) 274-1556</span></font></div><div><font class="Apple-style-span" size="2"><span class="Apple-style-span" style="font-size: 10px; "><a href="mailto:smonahan@esm.rochester.edu">smonahan@esm.rochester.edu</a></span></font></div><div><font class="Apple-style-span" size="2"><span class="Apple-style-span" style="font-size: 10px;"><br></span></font></div><div><font class="Apple-style-span" size="2"><span class="Apple-style-span" style="font-size: 10px;"><br></span></font></div></span></div></div></span></span></div></div></div><blockquote type="cite"><div><div><div><span class="Apple-style-span" style="border-collapse: separate; color: rgb(0, 0, 0); font-family: Helvetica; font-size: medium; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: normal; orphans: 2; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px; -webkit-border-horizontal-spacing: 0px; -webkit-border-vertical-spacing: 0px; -webkit-text-decorations-in-effect: none; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; "><span class="Apple-style-span" style="border-collapse: separate; color: rgb(0, 0, 0); font-family: Helvetica; font-size: 11px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: normal; orphans: 2; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px; -webkit-border-horizontal-spacing: 0px; -webkit-border-vertical-spacing: 0px; -webkit-text-decorations-in-effect: none; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; "><div style="word-wrap: break-word; -webkit-nbsp-mode: space; -webkit-line-break: after-white-space; "><div><span class="Apple-style-span" style="font-size: 12px; "></span></div></div></span></span></div></div>From: Timothy Cutler <<a href="mailto:tsc10@case.edu">tsc10@case.edu</a>><br>To: <a href="mailto:Smt-talk@societymusictheory.org">Smt-talk@societymusictheory.org</a><br>Subject: [Smt-talk] Modal pitch collections<br><br>Hi everyone,<br><br>I'm looking for classical and romantic pieces that feature modal pitch<br>collections, such as the lydian mode used in Beethoven op. 132 and Chopin<br>op. 24 no. 2. Do you have any suggestions? Thanks very much!<br><br>Tim Cutler<br>Professor of Music Theory<br>Cleveland Institute of Music<br><a href="mailto:timothy.cutler@case.edu">timothy.cutler@case.edu</a><br></div></blockquote></div><br></body></html>