Homophonic: One melody + harmony (usually accompanied)

Tremolando: A trembling motion with the bow (string instruments only)

Chromatic: playing on from white key, to black key, to white key.

Monophonic: One melody (no harmony, no accompaniment)

Polyphonic: Two or more melodies at the same time.

1 ---- 5th (sounds very done because it goes (5)7); a softer tone.

Interrupted cadence from the first A chord to the B chord in bars 50 and 52 which auses a sense of uncertainty.

Elphaba sings higher than in the verse 1. She also sings at Forte, signifying her climax of confidence in her idea.

During Elphaba's singing, there are also occasional bare 5ths that signify possibility and anticipation

A link to Motif X (improvised notes) - it is an ostinato; which is an off beat metrical shift which signifies her idea of "going against the tide". It is linked to somewhere over the rainbow. It is played in high notes, which illiterates her flying.

The closed hi-hat playes a metrical rhythm that stands for Glinda, who does not go against the tide.

Glinda sings this time. Her dynamic is also Forte. She sings to a cross rhythm (tripplets) which is caused due to her unease throughout listening to Elphaba's idea (the chorus) because it is the opposite of Elphaba's part.

Perfect cadence from bar 62 (Link) into first bar of Verse 2 signifying her stronger confidence about defying gravity as the notes make a massive leap. (A4 to D3)

Different points to VERSE 1 : Elphaba sings at Forte, and the tempo remains at Allegro, which is both louder and faster than VERSE 1, confirming her confidence indicated at the perfect cadence from Bars 62 to 63.

Similar points to VERSE 1 : the bars 69 and 70 are similar to the melody of Bar 40. However, the rhythm is not the same

Perfect 5th chords at Bar 68 to 69, where there is a D maj to G maj and C maj chord. The A in the G major chord creates a dissonance.

Similar points to CHORUS 1 : Interrupted cadence when the A octave goes to a B major Bare fifth chord. We didn’t get the energetic chorus that we expected to get, but instead a calm sparkly sort of moment. This is because of the interrupted cadence. (Zen, ethereal, no climax.)

Different points to CHORUS 1 : Lyrics is different at Bar 83 to 84, also the rhythm there has a tripplet. The more complex rhythms are a sign of her confidence in her idea of "defying gravity."

The link to Motif X, which would be somewhere over the rainbow, is seen again.

interrupted cadence as From bar 79, it goes from an A chord to a B chord in Bar 80

There is a F# when she sings "Kiss me goodbye" at Bar 83 to 84, which signifies her certainty in her idea.

The notes of "Unlimited, together we're --" are the notes from Over the Rainbow, which is Motif X.

There are bare 5ths at bar 94 to 96, where the bottom notes have a sense of finishing.

Colla Voce from bar 99, where the dynamic returns from Forte in bar 98 to Mezzo Piano. The accompaniment turns to Piano.

There is a time signature change (simple time) to 3/4 for one bar, Bar 101, where Glinda and Elphaba sing together in unison. During this bar, the first chords played are dissonant; full of possibilities. The notes here at the bass line of the accompaniment form a Bb major chord.

Bar 102, the Bass chord of Bb Major in Bar 101 changes to a Eb Major chord on the bass line of the accompaniment. Also, the Key changes from G major to D Major during the lyrics "Just you and -- I" and the Ostinato starts again to symbolize the beginning of the Chorus once more.

In Chorus 3, the two singers, Glinda and Elphaba, are singing in harmony to each other, however, Elphaba is the only one who sings "They'll never bring us down" at bars 109 and 110.

At Bar 110, the Accompaniment holds whole notes while Elphaba says this, probably signifying how she is the only one who will continue on solo "defying gravity". #

Tempo changes to Andante after the Rallentando (rall.) in Bar 110 previously. #

Thinking about what might happen if she (Glinda) follows Elphaba

Thinking in F major, but the notes are never connected to it. Rather, because this is the revised version of the Introduction, there are chromatically descending chords here too. Due to this, the relative key is ambiguous yet again.

Tempo remains the same while Glinda starts singing followed by the accompaniment in Mezzo Forte.

The Chords want Elphaba to be happy, however, after the first D major chord in bar 115, it turns into a C# major chord, the same chromatic descent as in the true intro. In essence, it means that Although Glinda wants her friend to be happy, she believes that she will won't be truly happy.

There is a bare fifth between octaves D and A at bars 124 and 125

3rds = shows the connections between the two; unison and complience.

Tempo changes from the Andante in the Revised Intro to Allegro, which causes anticipation, and so does the crescendo (cresc.)

Motif B happens as the key changes to C major (No sharps or flats). The key changes again at Bar 132 to the home key. Motif B occurs here again (Bar 132)

Plagual Chord going from Bar 134's G major chord to Bar 135's D Major chord. (4 --- 1)

Crescendo adds to the tension along with the repetitive section of the G, F#, E, D notes in a sequence throughout bars 163 to 166.

Singing at Fortissimo; unlike the other three choruses; shows confidence.

Elphaba sings at Fortissimo again at bar 167 as the song comes to it's ultimate climax. The accompaniment are also playing their note as sforzando.

The entire accampaniment is based around Motif B, and it is played in A and D major chords.

Bar 168 An INTERRUPTED CADENCE from an A major chord at 167 to a B chord in 168. Elphaba keeps singing her D note; thinking that the key is still D major (the home key; the happy key), but Glinda sings a more mellow counter melody; also in D major, but due to the mellowness, supposedly seeming to foreshadow an unfortunate event.

"No-one mourns the wicked" in Bars 171 and 172 is the name of the first song of the musical, when people think Elphaba is dead.

Rallentando at Bar 173 as the chords ascend; Bb chord, then C chord. However, both chords are major, but they sound minor together. (Poly-tonal). The Bb chord ascends chromatically to the C chord, like the discord at the beginning of the song.