Wicked

Question 1

How is Wicked different from Godspell or Pippin?

Answer 1

Much larger pit band - makes wide use of sonorities available to those instruments

Much more of an impression of a film score e.g. spoken dialogue

Schwartz’s style still very much influenced by jazz, rock, and pop, however here adapts them into a music theatre style as opposed to direct pastiche

Question 2

How is a shimmering, hovering harmony created at the start of The Wizard And I at Elphaba’s entry?

Answer 2

Use of slash chords with an Ab in the bass (Ab, C/Ab, Fm/Ab)

Changing chords tethered by the Ab do not suggest going anywhere harmonically so hover with no clear direction

Question 3

How are the ‘shimmering’ chords at the start of The Wizard And I contrasted?

Answer 3

Realisation on “help me meet the Wizard”

Melody soars

Chords are suddenly lusher and extended, adding colour (Ab7(add4), Ab7#5 Dbmaj9)

Question 4

What decisions does Schwartz make in relation to the vocal style in The Wizard And I?

Answer 4

Knew the singer was known for her belt range, so decided to keep her relatively low at the start and make the audience wait until the end for the climax - impact.

Question 5

What is the journey of style in The Wizard And I?

Answer 5

Subdued recitative-like opening
Pop-y
“Unlimited” section is dreamlike
Last section is a “belter” in typical musical theatre style

Takes us on a journey of key, mood, vocal style, and vocal range

Question 6

How is a sense of excitement created following the recitative section at the start of The Wizard And I?

Answer 6

Tonic pedal on C played in tremolo strings - pulsing feel

Syncopated accompaniment moves the music on and energises it

Question 7

How are mood changes created in The Wizard And I and what function do these serve?

Answer 7

Changes of key and style

Storytelling - each section represents different experiences Elphaba can envision

Question 8

How does What Is This Feeling musically convey Elphaba and Glinda’s dislike for each other?

Answer 8

Stab chords in accompaniment create a stilted rhythm and a spiky backdrop

Question 9

What is the narrative function of Popular?

Answer 9

To characterise Glinda as superficial

Question 10

How does Schwartz create his desired style in Popular?

Answer 10

“Ozian Bubblegum Pop”

After intro:
Change from 4/4 to cut common time
Modulation from Am to F major (brighter key)

Singsong-y triplet feel to quavers

Relatively high-pitched repeated staccato chords on keyboard

Comedic half-spoken interjections

Keeping melodic development simple e.g. by using sequences

Question 11

How does I’m Not That Girl convey feelings of dejection?

Answer 11

Lack of long soaring lyrical line

Vocal melody ends really low, E3

Metre change to compound time in bridge - restlessness