Schwartz: Defying Gravity

Question 1

Harmony and tonality

Answer 1

• Chords are in root position
• Use of dissonance (e.g. bar 30)
• Chord progressions are often unrelated (see opening shift D to C♯to C)
• Use of pedal at the end (bar 168)

Question 2

Melody

Answer 2

• Syllabic
• Starts conjunct/stepwise
• Verse and chorus combine conjunct and wide angular leaps in the melodic line
• Vocalisation used in ‘aah’ (b. 175)
• Ascending sequences (b. 6+7)
• Leaps often feature rising perfect 5th (b. 34)

Question 3

Texture

Answer 3

• Sparse texture (chord stabs)
• Monophonic/unaccompanied bars (bar 3)
• Homophonic chordal moments (bar 132)
• Elphaba and Glinda sing separately, in unison (b. 101) or in harmony (b. 127)
• Verses use MDH
• Ostinato accompaniment (b. 88)
• Ending is contrapuntal/polyphonic - 3 musical ideas with different lyrics (b. 168)

Question 4

Rhythm, tempo and metre

Answer 4

• tempo changes numerous and important
• 3/2 to 2/2 time signature change in opening section
• Syncopation (b. 67-70)
• Triplets (b. 60 and b. 96)
• Rests to break up phrases
• Fermatas lengthen and give freedom (b. 174 + 176)
• Rallentandos used at the end of sections
• TS change from 4/4 (b. 88) to 2/2 (b. 115)
• Dotted rhythms (b. 82)
• Phrases start with an offbeat entry (b. 15)

Question 5

Vocal range

Answer 5

large - nearly 2 octaves

Question 6

Instrumentation

Answer 6

• electric guitars - distortion
• large orchestra - woodwind, brass, strings, with 3 keyboards and a harp
• wide variety of percussion - drum kit, tubular bells, timpani
• brass - homophonic in a fanfare manner (b. 20)
• string tremolo to add tension (b. 34)
• hi-hat - crotchet rhythms in bar 51 to add rhythmic momentum
• cymbal roll adds excitement to key change (b. 122)
• climax (b. 135) all instruments playing
• synths and glocks play magical-sounding repeated quaver accompaniment to chorus
• tubular bells give ethereal sonority (b. 147)