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Defying Gravity from 'Wicked' by Stephan Schwartz (Structure (The…
Defying Gravity from 'Wicked' by Stephan Schwartz
Dynamics
Wide-ranging dynamics change dependant on the mood of both the song and each of the main characters - Elphaba and Glinda.
Genre
Defying Gravity by Stephan Schwartz is from the musical genre.
It is classed as a book musical - it uses song and dance to tell a story with a serious sense of drama.
Stephan Schwartz is also known for his music written for Godspell(1973) and the music tracks for Pocahontas, The Prince of Egypt and The Hunchback of Notre Dame in the 1990s.
Defying Gravity was written for the West End musical 'Wicked'.
The musical genre of music usually contains big chords and choral groups, designed to wow the audience.
The musical genre has grown in popularity since ~1920 and continues to stay popular today.
Musicals cover a massive range of musical styles and have influences film and theatre in equal measures.
Structure
The song utilises a basic verse-chorus structure.
The use of recitative (reciting in a speech-like manner as character sing) is prevalent throughout.
Scena - conversational style between two characters (example would be the intro to the song).
Underscore - instrumental music under spoken dialogue.
Reprise - repeat of a previous section with some minor musical alterations/variations.
Coda - the final section of the song.
Bridge - a linking passage of music which joins two sections together.
Verse - same melodic and harmonic ideas shared amongst the verses, just with differing lyrics.
Chorus - same melody, harmony and lyrics (usually) and often includes the title of the song e.g. 'I think I'll try
Defying Gravity
'
Texture
Texture remains mainly homophonic throughout the piece although there are occasional moments of counter melody provided by the accompanying instruments - e.g. strings at the start of verse 2
The way the song is scored is the main way the texture is altered - the more instruments playing at one time the thicker the texture feels (and vice versa)
To see this listen to the end of the intro and compare to the end of the coda
Harmony/Tonality
Modulations and Tonality throughout the piece:
Intro - Varied until bar 20, where B major chords are played, then F major chords in bar 22
Most chords are in root position
Couple of perfect cadences but intro contains no fixed tonality
Lots of chords that shift up and down chromatically
Short Link - Modulates to D major in bar 32
Lots of use of open 5th chords
Perfect cadence to D in bar 31-32
Verse 1 - Still in D major
Lots of 5th chords and sus chords thoughout
Chromatic moments using C sus 2 chords
Chorus - Still in D major
Lots of 5th chords and sus chords thoughout
Chromatic moments using C sus 2 chords
Short Link 2 (based on bars 20-21) - Still in D major
Lots of 5th chords and sus chords thoughout
Chromatic moments using C sus 2 chords
Verse 2 - Still in D major
Lots of 5th chords and sus chords thoughout
Chromatic moments using C sus 2 chords
Chorus - Still in D major
Lots of 5th chords and sus chords thoughout
Chromatic moments using C sus 2 chords
Long Bridge - G (main modulation) with transient modulations to Eb in bar 101 before...
Use of C chord with a Lydian feel - bars 88-92
No open 5th chords in contrast with previous sections
Chorus - ... a modulation back to D major in 103
Lost of uses of 5th chords and sus chords throughout
Reprise (based on link 2 followed by intro) - Eb in 113, varied from 115-122, Ab in 123 and C major (aug) in 127
All chords mentioned shift up and down chromatically
Verse 3 (with a quite altered vocal line) - Modulation to D major in bar 132
Same as Verses 1 and 2 in terms of accompaniment
Chorus - Still in D major
Use of 5th chords and sus chords prominent
Bb chromatic chord used in 161
Coda - Still in D major until 168 where music enters Bm
Reverts to chromatic chords rather than a standard cadence to end the song - not the end of the play
Rhythm/Tempo
Large amounts of syncopation - specifically 'push' rhythms.
Tempo changes include:
Andante - Walking Pace
Moderato - Moderate tempo
Allegro - Fast tempo
Maestoso - Majestic and broad
Use of rallentando (rall) to slow the tempo temporarily at the end of certain sections .
The time signature changes throughout, including the time signatures 3/2, 2/2 and 4/4.
Colla Voce - Means 'With the voice', links to recitative (recit) in that the voices determine the tempo.
Tempo changes in order:
Andante (20)
Allegro (34)
Moderato (88)
Allegro (102)
Andante (111)
Allegro (129
Maestoso (168)
Melody
Leitmotifs - musical phrases associated with a character, emotion or idea.
Cipher - a code hidden in the music with a message e.g. D,E,F#,G = Defying Gravity
Copyright laws - can only use seven consecutive notes before the law is broken.
Schwartz takes advantage of this in his 'Unlimited' leitmotif which is a nod to the original Wizard of Oz's 'Over the Rainbow'.
The interval of a 4th is an important part of the melodic shape in Defying Gravity.
Rhythmic Syncopation - used in the construction of most of the melodies in the piece.
Very modern style of music writing - prevalent in musicals especially.
Instrumentation
Glinda - Soprano singer
Elphaba - Mezzo Soprano singer
Strings section includes:
Violin
Violin cello
Double bass
Harp
Viola
Reeds section - contains many different instruments that the performers switch between between numbers - and sometimes even during them.
Guitars include:
2 x Electric gruitars
1 x bass guitar (performed by the double bass player).
Brass section includes:
2 x Trumpets
1 x Horn
1 x Trombone
Keyboards - used as piano, synths and to bolster the small string section with synthesised strings.
The percussion section includes:
1 x Drum Kit
1 x Glockenspiel
Various other handheld percussion instruments.
Chorus - a group of singers used to emphasise certain points in the music (such as the final chord of the coda).