Music - Defying Gravity

• Distinct verse-chorus form

• 3 Verses: bar 34, bar 63, bar 135

• 4 choruses: bar 50, bar 79, bar 103, bar 151

• within this structure, there are also many contrasting sections

• free tempo (colla voce) - follows the voice/no distinct tempo

• recitative vocals by Glinda and Elphaba - combination of dialogue and singing

• accompaniment at the start - orchestral (tutti) chord stabs, with sparse monophonic moments

• accompaniment becomes chordal and sustained

• no clear key; atonal

• the dynamics start with sforzando chords at the beginning, and the vocals start in forte, and there are multiple crescendos in the introduction

• the tempo is andante, but there is a rallentando before the first verse

• the verse starts bar 34

• the key modulates to B major at the start (bar 20, on ‘now’) and then modulates to F major (bar 22, after ‘listen to me’). it then modulates to D major (bar 32, on ‘more’) and remains throughout

• the texture is homophonic and chordal

• the melody is syllabic, legato and conjunct.

• the technique played in the accompaniment at 1:16 (bar 33) is a tremolando by the strings

• the instrument that comes in at bar 40 is a guitar with overdrive

• the dynamics start mezzopiano,then there’s a crescendo to mezzoforte on the first ‘more’ but then there’s an immediate diminuendo to mezzopiano again on ‘something’.

• the tempo is allegro

• the first chorus comes in at bar 50 (1:50)

• the second verse comes in at bar 63 (2:11)

• the second chorus comes in at bar 79 (2:34)

• the melody in the chorus is leaping and is the hook

• the accompaniment in the first chorus is broken chords (keyboard ostinato) and driving high hat rhythms

• the rhythm of the second verse starts with Glinda singing a crotchet triple-based melody, before Elphaba takes over with a syncopated version of the verse, which leads into the chorus

• the dynamics stay forte throughout

• the tempo is moderato

• the key modulates to G major

• the accompaniment is an ostinato on the synth of semiquavers

• the ‘unlimited’ melody is a reference to the song ‘somewhere over the rainbow’ from the original wizard of Oz musical, the sequel to Wicked. The first few notes are the exact same, just the rhythm and lyrics have changed.

• The characters are singing in unison for most of this section

• the dynamics start off as piano until they crescendo to forte

• the tempo is allegro

• this section is the 3rd chorus

• the key returns to D major

• both Elphaba and Glinda are singing

• They sing in unison, then in harmony on the second ‘you and I’

• there is a strong piano accompaniment with loud drums

• the dynamics are forte

• there is a rallentando at the end (tempo slows down)

• the tempo is andante, and there is a rallentando at the end

• the texture is homophonic and chordal

• the melody mirrors the recitative-like opening

• the key modulates to Eb major at the start

• after the modulation, a flute plays the leitmotif, and then a glock plays

• before she sings, the key modulates again to Bb major

• after ‘regret it’ the key modulates to Ab major

• the dynamics start of mezzopiano, then the vocals come in at mezzoforte, then there is a crescendo, and then the section ends on mezzopiano

• the tempo is allegro

• the 3rd and final verse starts at bar 135

• the final chorus starts at bar 151

• this is the climax of the song

• instrumentation = full orchestra

• the key returns to D major

• the crescendo is emphasized at the beginning by short quavers of strings and piano

• At bar 141, the vocal rhythm changes to triplets and the tempo slows down (rallentando), and then at 143 the vocal rhythm changes back and the tempo of allegro returns (a tempo)

• dynamics: crescendo at start from mezzoforte to forte, and the final chorus is in fortissimo

• tempo slows down (rallentando)

• the tempo goes from andante to maestro

• this section is the finale

• the key modulates to B minor at bar 168

• Everyone is singing: Elphaba, Glinda and the ensemble - they are singing in counterpoint, with different musical lines and lyrics

• Dynamics start mezzopiano, crescendo to fortissimo on ‘me’

• the tempo slows down at the end (rallentando)

• syllabic throughout with rhythms moving in a speech like manner

• there is vocalization at the end in bar 175

• the melody starts in a conjunct / step like manner

• leaps often feature a rising perfect fifth (e.g bar 34), some unusually large leaps

off beat notes/rhythms

where notes are pushed slightly ahead of the beat; type of syncopation

time signature, how many beats in a bar

a break/gap in the music

ties between notes, and rests before phrases

they don’t fit strictly to the beat, which gives a sense of excitement.

• in the vocal line “too late for second guessing” in bar 42

• in the chords during the chorus - show syncopation as well as push rhythms