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Defying Gravity Stephen Schwartz - Coggle Diagram
Defying Gravity
Stephen Schwartz
Structure
Verse chorus
Repeat of introduction shows that Glinda and Elphaba have resolved their differences
Introduction, Intoduction Reprise, Coda
Ends Act 1
Melody
Leitmotifs (ranging a perfect fifth - D to A)
The text setting is syllabic throughout with rhythms moving in a speech-like manner
There is vocalisation at the end in bar 175 to the word ‘aah’
The melody starts in a conjunct/stepwise manner.
Bars 6 and 7 show an ascending sequence
Leaps often feature a rising perfect fifth (e.g. bar 34).
Rhythm
Syncopation
Rubato (stolen time)
Cross-rhythms
Dotted rhythms (Eg. Bar 82, ‘gra-vi-ty’
Crotchets and quavers
Triplets (bar 60)
Dynamics
Full dynamic range (pp to ff)
a slow-progressing dynamic crescendo which represents the confidence that Elphaba gains while singing Defying Gravity
Metre & Tempo
Starts 2/2 but changes to 4/4
Bar 101, changes to 3/4
Bar 32 - andante (walking pace)
Bar 49 - allegro (fast)
Colla voce at start
Tonality & Harmony
Ambiguous tonality at beginning
Verses and choruses in D major
Modulation in bridge to G and in introduction reprise to F
Bitonality from bar 88
There is some use of dissonance (e.g. bar 30)
At the end there is a pedal at bar 168
Instrumentation
Pit band + Synthesisers
Glinda and Elphaba have a wide range (G3 to F5)
Electric guitars use overdrive (a distortion effect)
The brass section plays homophonic chordal music in an almost fanfare-like manner (e.g. bar 20)
The closed hi-hat of the drum kit plays constant crotchet rhythms in bar 51 to add rhythmic momentum
There is a cymbal roll to add excitement as the piece moves into a key change (e.g. bar 122)
The full band plays at the climax of the song at bar 135
Synthesisers and glockenspiel are used to good effect with the high magical-sounding repeated quaver accompaniment to the chorus.
Texture
Mainly homophonic
Polyphonic at end