Defying Gravity

Seite 1

About the Piece:

Key: D major

Time Signature: 4/4

Structure: Intro| Verse 1 | Chorus 1 | Verse 2 | Chorus 2 | Bridge | Chorus 3 | Reprise of Intro | Verse 3 | Chorus 4 | Coda

Theme: Empowerment

Defying Gravity is the final song of the first act of Wicked. The song is sung when Elphaba discovers that the Wizard of Oz is not the heroic figure she had originally believed him to be. Elphaba vows to do everything in her power to fight the Wizard and his sinister plans. She sings of how she wants to live without limits, going against the rules that others have set for her.

The main parts of the song are in D major but in other parts of the song, the tonality is less settled, featuring chromatic writing and sudden changes of key. The numerous tempo changes help to separate the sections of the song and create emotion.

Schwartz uses leitmotifs throughout the musical; leitmotifs are used to help unify the work and as a simple reminder of things witnessed earlier, rather like musical labels. For example, when Galinda (later called Glinda) reassures Elphaba that she can still be with the wizard (bars 234–252) she quotes the motif sung by Elphaba in The Wizard and I, near the start of the show. Where the word "unlimited" is used in Defying Gravity, the melody is taken from Somewhere Over the Rainbow from the original Wizard of Oz film.

Defying Gravity features a lot of spoken dialogue to blend the song into the musical and to make certain words and phrases stand out.

Wicked is scored for a band of 23 musicians. Because pit space was limited on tour, many musicians had to double up on the instruments they played. Instruments used include:

Four strings (two violins, viola, cello)

Double bass

Four reeds

Six brass (two each of trumpets, trombones and horns)

Two guitars and harp

Drums

Percussion

Three keyboards

Elphaba's vocal part is mezzo-soprano and Galinda's part is soprano.

Seite 2

Introduction:

The introduction (bars 1-32) of Defying Gravity varies in time signature between duple time (2/2) and triple time (3/2).

The song begins with Elphaba and Galinda criticising each other's actions. There are orchestral chord stabs at start of the introduction, followed by sparse monophonic moments and the accompaniment becoming chordal and sustained.

The vocal line is syllabic throughout. The melody is often syncopated, starting on the second crotchet beat in the bar. The first section of the introduction has a free tempo. This changes to andante at bar 20.

The key in the opening is ambiguous; Elphaba and Galinda both sing in different keys (Galinda in D major and Elphaba in D♭ major). The key modulates to B major at bar 20 only to change to F major two bars later.

The chord progressions are often unrelated and in the opening we can see shifts downwards in parallel semitones. For example, a D major chord to a C♯ minor chord to a C major chord.

When Elphaba enters, she mimics Galinda's taunts from the first four bars in a slightly different key.

Hints of the change that is about to occur in Elphaba, and the song she will sing about it later in the musical, are heard in the underscore of bars 20–24 . The syncopated introductory chords to her song are first heard here, along with a version of the "unlimited" motif on synthesiser, but the juxtaposition of two totally unrelated keys (B major followed by F major) creates an unsettling effect.

Elphaba’s realisation that ‘Something has changed within me’ in the first line of the verse is underpinned by another sudden change of key in bar 32 where the key finally modulates to the tonic, D major. This modulation is introduced by a perfect cadence in the bass line.

Seite 3

Verse 1 & Verse 2:

Elphaba asserts her desire to break free from expectations in a 16-bar verse accompanied mainly by the violins.

The strings play sustained tremolo notes to create a sense of anticipation and tension.

Contrasting the introduction, the melody in the verse is sung legato and features wide leaps. There are several perfect 5th intervals (see below) and a compound perfect 4th interval in bar 39/40.

Electric guitar with overdrive enters in bars 40 and 45 to add to the building tension.

The verse ending on an A leaves it unresolved, building to the chorus in the next bar.

The second verse is heavily syncopated, featuring even more offbeats than the first.

Seite 4

Chorus 1 & Chorus 2:

As the chorus is introduced in bar 50, the title hook leaping melody is sung over broken chord accompaniment and driving hi-hat rhythms. Many of the leaps in the vocal line are triadic.

The chorus moves to an upbeat allegro time signature.

Above the vocal line, a repeating accompaniment pattern of three ascending quavers cuts across the beat, seeming to defy gravity itself. This accompaniment is played by the synthesiser and glockenspiel.

During Galinda's questioning of Elphaba at bar 60, introductory chords from bars 32–3 return as accompaniment. Galinda's vocal line is composed of syncopated crotchet triplets to contrast Elphaba's lines.

Gaps in phrasing are usually marked by a drum fill.

Seite 5

Bridge & Chorus 3:

After the second chorus, the tempo relaxes and the key changes to G major for a development of the ‘Unlimited’ motif during which Elphaba levitates a witch’s broom. The motif (shown below) is reminiscent of Somewhere Over the Rainbow from The Wizard of Oz.

Elphaba's melody features auxiliary notes used in sequential phrasing in bar 97.

Both characters sing in unison over semiquaver accompaniment in the bridge. Vocal harmonies are introduced in the chorus, where the key changes back to D major, creating a richer texture. The chorus has a strong piano accompaniment and the harmonies move in 5ths, 4ths, and 3rds.

Seite 6

Intro Reprise:

The introductory music from bar 32 returns in bars 111–114, leading into a reprise of the introduction.

The reprise moves into F major and is based on the chromatic chords from the opening bars of the scene. The word ‘now’ is removed from the sarcastic ‘I hope you’re happy now’ from the introduction, turning it into an affirmative ‘I hope you’re happy’ as the friends wish each other well.

The use of major 3rds in the vocal line adds warmth to the melody, showing the friendship between the characters.

As the characters sing in unison, the key modulates to A♭major and then to C major, followed by a triumphant modulation to D major for Elphaba's final verse.

Seite 7

Verse 3 & Chorus 4:

The tempo returns to allegro for the final verse and the introductory syncopated motif to the verses is heard again in bars 129 and 132.

A coup de théâtre is seen when the castle guards break in, only to see Elphaba soar above them as she launches on her triumphant final verse.

Parts of this verse are sung an octave higher than previous verses to show Elphaba's confidence.

The use of tubular bells at bar 147 give an ethereal sonority.

The final verse of Defying Gravity opens with homophonic chordal music, building up to the climax of the piece, the final chorus.

The highest note in the piece (shown below) is an F#, the highest note in the mezzo-soprano register.

Seite 8

Coda:

The coda begins quietly and at a slower pace but quickly crescendos into the final bars.

There is a build up to full tutti finale in B minor at bar 168, with Elphaba, Galinda, ensemble chorus and orchestra in counterpoint with different musical lines and lyrics. This creates a contrapuntal texture.

The lyrics sung by the ensemble link back to the first song in the musical, No One Mourns the Wicked.

Pauses are used to allow the vocalists to have free rhythms, adding to the drama at the end of the piece.

The song ends with a triumphant sustained D major chord.