Defying gravity by Stephen Schwartz Flashcards
What are musicals
entertainment for the public
What is the purpose of defying gravity
to end the first half of the musical.
Why is the piece called defying gravity
refers to elphaba vow to not give in and accept the rules of and limitations placed upon her. Just like defying the laws of graivty she attempts to rise above her place in life
What is a leitmotif
the recuring musical idea which is associated witha theme, character or place
Why does Schwartz only use the first 7 notes of somewhere over the rain as his leitmotif in defying gravity
copy right as once you took 8 notes of another composers things were used they were stealing.
What is motif b
elphabas theme, and uses the 7 pitches of motif x which is some where over the rainbow, it rises a 4th overall
What is motif c
it generates lot of melodic material in lead vocals and orchestral accompaniment. It is transporsed but of the same intervals
what is motif d
an accompanient figure that leads to the chorus . it contains all the notes of motif c.
what is metrical shifting
down beat shifted to different parts of the bar. Happens in Some thing has changed within me, something is not the same
What is the main verse
something has changed within me, something is not the same.
What’s the role of perfect intervals in the main verse
it derives the melodic interval, making it a melodic feature.
What happens after and you can’t pull me downnnnn
bitonality occurs where there’s 2 keys being played one in g another c major. Notice they’re a 5th apart.
How does introduction go
Melodic features:
Descending sequences for both but starting from two different key areas Glinda at D major and Elphaba at D flat major. Conjunct and descending.
Harmony
A bit of dissonance for the uncertainty of the situation. But also ascending chromatic sequence
Texture
Homophonic, voice and chordal accompaninent. long held chordal textures.
Rythmn
Mixed meter, syncopated rythmns
Instrumentation
Electrical guitar overdrive
Brass
Wood wind
Keyboard
Dynamics
loud, forte, crescendos used
How does 1st dialouge section go
Leitmotifs
Motif B and C appear for the first time in the piece
Melody
Steplike movement and diatonic
Harmony
Diatonic, extended chords, add 9 chords
Texture
Homophonic voice and chordal accompaninet , thin accompanient of instruments
Rythmn/metre
2/2 in rubato, syncopation vocally, and collo voce apears
Instrumentation
Woodwinds - flute, clarinet, bass clarinet violin on a high inverted tonic (F) pedal. Electircal guitar, tremelo
High tessitura in general
How does verse 1 go
Leitmotifs
Starts with motif B
Melody
Disjunct, based on 4ths and 5ths
Harmony
open chords and add9 harmonies
Bare 5ths
Tonality
D major
Texure
Homophonic
Rythmn
Syncopation, 2/2 meter, and collo voce
Instrumentation
strings give a sense of anticipation.
Keyboard, piano and electric guitar with overdrive effect and electric guitar with ebow (producing a supernatural/ other-wordly effect).
Dynamics
piano
How does chorus 1 go
Leitmotif
3 note ostinato based on leitmotifs which cause metrical shifting
Melody
Diatonic
Disjunct
Leap of 5ths
Harmony
Diatonic chords
perfect cadences
bare 5ths
Tonality
D major
Texture
homophonic
Ryhtmn
metrical shifting
syncopation
cross rythmns
steady allegro tempo
INstrumentation
a steady crotchet pulse on closed hi-hat and tom-tom fills and also tubular bells
How does link 1 go
Motif B appears
Melody
Ascending and descending stepwise movement outlining the perfect 4th.
Harmony
Plagal cadences
add9 chords
Texture
Homophonic
Tonality
D major
Rhythm
Syncopation, triplets in vocal
Instrumentation
Fuller orchestration with strings, brass, piano and more complex drums
How does verse 2 go
Letmotifs:
The bass and rhythm of Motif B form the foundation of the first half of verse 2 accompaniment.
* Motif C appears again (bars 78 - 79) to build into the chorus.
Melody:
Disjunct, based on 4ths and 5ths
Harmony
OPen chords add 9
Rythmn
highly syncopated and push rythmns
Instrumentation
Strings, piano, electric guitar are more prominent.
* Drums become more complex. Much of the work is on hi-hat. Strong snare. On th
How does 2nd dialouge section or first bridge go
leitmotifs
The ‘Unlimited’ theme ( first 7 notes of ‘Somewhere Over the Rainbow’ disguised rhythmically, harmonically and through melodic extension) in the vocal part
Melody
Octave, major 7th, perfect 5th and stepwise ascent of a perfect 4th.
Harmony
extended chord harmonies minor 7th, 9th
Tonality
Bitonal ostinato in C major and g major
Texture
homophonic
Rythmn
dominated in semi quaver rythmns and metre changes to 4/4
Instrumentation
high ostinato on keyboard and glockenspiel.
tremolo strings bar 88 - 98
Piano doubles the unlimited theme and dominates the instrumentation.
How does chorus 3 go
melody
harmonizing between 2 singers
texture
thick initially but thins soon
rythmnb
allego and driving 4/4 rythmns
What happens in the reprise of the introduction
the introduction is repeated but recast as the two witches reconcile they’re on different paths in life but stay friends
Harmony
harmonizing in 3rds
Texture
Thin but intimate but fuller orchestrateion at i hope you’re happy in the end
Rythmn
accompaniment now in long sustained chords
Instrumentation
cymbal roll Full orchestral forces with strings, brass, guitar with overdrive, and wind-chimes for “I hope you’re happy in the end”
What happens in the vamp
it’s based on motif b and texture thickens as brass and percussion join
What happens in the second bridge
Melody
dominated by perfect 4ths and 5th, much higher tessitura in belting range
texture
thicket texture in tutti
rythmn
triplets
What happens in 4th chorus
Melody:
* The chorus pushes up to its highest range (tessitura) up to F # (belt range) to suggest Elphaba’s confidence and determination (bar 156).
Texture:
* full band - very thick, busy texture
Rhythm/ Tempo/ Metre:
* Rallentando (bar 161 - 162) as Elphaba calms to make her final determined statement, “nobody in all of Oz…”
Instrumentation/ timbre:
* Full band. Synth and glockenspiel are prominent on the ostinato.
Dynamics/ articulation:
* Now ff (fortissimo)
What happens in link 3
Melody
Five melodic repetitions of a 5-note motif outlining the perfect 4th (some rhythmic variation)
Harmony:
* Dominant pedal note A sits under bar 162 - 165,
Texture:
* Suddenly thinner but builds to the end of this link section.
Rhythm/ Tempo/ Metre:
* Andante suggests firm conviction rather than excitement.
* Long held chords accompany this section to provide tension.
Instrumentation/ timbre:
* tremolando strings - anticipation. Horns enter at bar 164 and brass at bar 166 as her determination grows.
Dynamics/ articulation:
* Suddenly piano at bar 164 but crescendos to ff by bar 167.
What happens in the coda
Melody:
*Three melodies are superimposed - Elphaba singing the final note of her line “bring me down”. Glinda sings “I hope you’re happy” from the introduction and the ensemble sings a melody from the opening song of Act 1 ‘No one Mourns the Wicked’.
- Octatonic scale (tone-semitone intervals B, C#, D, E, F, G) used by the ensemble to create a dissonant effect showing anger.
- “Bring me” outlines for a final time the perfect 5th from the leitmotif.
Harmony:
A pedal note, and lots of dissonance
Tonality:
* Minor tonality (B minor)
* Bi-tonality used in bar 173 - 174 between the vocal harmonies and the lower accompanying chords (also heard in ‘No one Mourns the Wicked’ when the ensemble sings “She’s Dead”) to show conflict between the characters and a mood of violence.
Texture:
* Full band - the thickest texture of the song. Brings a climax to end Act 1.
Rhythm/ Tempo/ Metre:
* The band play syncopated chords based on motif B from bar 168 - 172 which interlock with the rhythms of the ensemble.
* Elphaba’s final motif is set to notes of long duration (rhythmic augmentation) from bar 168 - 174 and then to shorter notes (rhythmic diminution) at the end of bar 174 - 175.
* Maestoso (majestically). A slow tempo which adds gravity to Elphaba’s plight.
* Rallentando (bar 174 - end) and pause marks (bar 174 & 176) to bring the piece to a dramatic close.
Instrumentation/ timbre:
* Full band
Dynamics/ articulation:
* Fortissimo - the loudest dynamic of the song. Brings a climax to end Act 1.
* Crescendo to sfz accent (bar 176 - 177) on the staccato unison ‘full stop’.
