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Defying Gravity - Stephen Schwartz (Melody (Mostly syllabic, Introduction…
Defying Gravity - Stephen Schwartz
Structure
Extended structure
Introduction
Verses & Choruses
Link sections
A coda
Verse Chorus form
Multiple sections are defined by tempo, contrasting moods and melodic material
Melody
Mostly syllabic
Introduction is like a recitative (half spoken)
Vocables at end
Begins conjunct
Begins descending chromatically then an ascending sequence
Lots of wide, angular leaps (especially 4ths & 5ths)
Melody is altered in last chorus, it has a top F# (a very powerful note for a theatre singer)
Arpeggiated chords
Leap of 11th on 'the rules'
Intervallic expansion from 5th to 6th at start
Tonality
Ambiguous in opening with chromatic notes and unrelated chords
In D major
Many modulations throughout but most return to tonic key
Glinda starts in D major
Elphaba starts in Db major
Sudden key change in the andante section to distant key (F major the submediant major)
Ending is in B minor then it finishes in a D major chord
Bitonality in 2nd dialogue (C maj in bass parts, G maj in higher parts)
Texture
Opening is sparse with instrumental chord stabs
Some monophonic bars at start
Mostly melody dominated homophony
Homophonic chords in climax
Ostinato accompaniment (repeated semi quavers) in moderato section
Some unison with E&G or singing in 3rds towards the end
Very ending is contrapuntal
Rhythmic unison at end
Harmony
Chords in root position
Some dissonance
Pedal (D) at end
Parallel triads at end
Complex, extended, chromatic chords at end
Sus 2 & sus 4 chords used at motif x (andante)
Chords in verse have 5ths creating a sparse feeling of apprehension
Interrupted cadence at start of coda, takes music in a new direction
Tempo,Metre & Rhythm
Many tempo changes throughout
rallentandos used at end of sections and at end of piece
Changes from 3/2 to 2/2 in opening then changes from 4/4 to 2/2 later on
Frequent syncopation to create a sense of urgency
Dotted rhythms. Triplets creates cross rhythms to make music sound expansive
Rests used to break up phrases
Each phrase starts with an anacrusis after a crotchet rest
3 note ostinato in choruses
Fermatas used to lengthen phrases