S Schwartz: Defying Gravity (from the cast recording of Wicked)

Overview

'Defying Gravity' is the spectacular Act One finale of the hit musical Wicked (2003), composed by Stephen Schwartz. As a set work within the 'Music for Stage and Screen' area of study, it provides an outstanding example of how composers use musical elements to support dramatic narrative, character development, and emotional climax. The song marks the turning point where the protagonist, Elphaba, rejects the Wizard's corrupt regime and literally takes flight, declaring her independence.

For GCSE Music, candidates must demonstrate a thorough understanding of how Schwartz manipulates pitch, tonality, structure, sonority, texture, tempo, rhythm, and dynamics to achieve these dramatic effects. Examiners consistently reward students who can move beyond simple description to precise analysis of how and why musical choices are made.

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Key Knowledge & Theory

Core Musical Elements (PTSS TTRD)

To secure top marks, candidates must confidently apply the core musical elements to this piece.

**Pitch & Melody:**The melody is intrinsically linked to characterisation. Elphaba's melodic lines are characterised by wide leaps (e.g., the rising fifths and octaves in the chorus), reflecting her soaring ambition and newfound freedom. In contrast, Glinda's melodies often feature stepwise movement and narrower ranges, mirroring her conventional, cautious nature. The 'Unlimited' motif is a crucial recurring melodic idea built on a perfect fifth.

**Tonality & Harmony:**The piece demonstrates complex tonal shifts. It begins in an ambiguous, unsettled tonal center (often described as D major with chromaticism) before firmly establishing a triumphant major key (Db major) during the choruses. A significant modulation (key change) occurs in the bridge, raising the emotional stakes. Schwartz uses sus chords and augmented chords to create harmonic tension that resolves at key dramatic moments.

**Structure:**The song follows an extended verse-chorus structure, adapted for theatrical storytelling:

1. Introduction: Recitative-like dialogue establishing tension.
2. Verses & Pre-Choruses: Building momentum as Glinda and Elphaba argue.
3. Choruses: The emotional core ('I'm through accepting limits').
4. Bridge: A shift in focus and tonality ('Something has changed within me').
5. Climax/Coda: Full orchestral power as Elphaba flies.

**Sonority (Instrumentation):**The track features a large theatre pit orchestra combining traditional acoustic instruments (strings, brass, woodwind, percussion) with modern electric instruments (electric guitars, bass, synthesisers). This creates a versatile sonic palette. The synthesisers provide a contemporary edge, while the heavy use of brass and percussion in the climax delivers the necessary power.

**Texture:**The texture varies dramatically to reflect the narrative. It begins with a sparse, melody-dominated homophony (solo voice and light accompaniment). As the argument escalates, the texture thickens. When Elphaba and Glinda sing simultaneously with different melodies and lyrics, the texture becomes polyphonic (contrapuntal). The climax features a dense, full orchestral homophonic texture.

**Tempo, Metre & Rhythm:**The metre is predominantly 4/4 (common time) but shifts occasionally (e.g., 3/4 or 2/2) to accommodate the natural rhythm of the lyrics. The tempo is marked Allegro for the main body of the song but features significant use of rubato (expressive timing) in the slower, more intimate sections (like the intro). Rhythmic drive is created through syncopation in the vocal lines and driving quaver ostinatos in the accompaniment.

**Dynamics:**Dynamics are used structurally to build the climax. The piece moves from intimate piano (p) sections to massive fortissimo (ff) orchestral swells. The use of crescendo is vital in the pre-choruses to propel the music into the powerful choruses.

Key Practitioners/Artists/Composers

Technical Vocabulary

Candidates must use these terms accurately in their responses:

• Polyphonic: Two or more independent melodic lines playing simultaneously.
• Homophonic: Melody and chordal accompaniment.
• Syncopation: Rhythmic emphasis on the off-beat.
• Rubato: Expressive freedom with tempo; speeding up and slowing down.
• Ostinato: A continually repeated musical phrase or rhythm.
• Colla Voce: The accompaniment follows the rhythm and tempo of the singer.
• Modulation: Changing from one key to another.
• Belt: A vocal technique using chest register to sing high notes powerfully.

Practical Skills

Appraising & Listening Techniques

1. Skeleton Score Navigation: Candidates must practice following a skeleton score while listening. Use structural markers (e.g., the start of the chorus) and instrumental cues (e.g., a cymbal crash or brass entry) to keep your place.
2. Aural Identification: Train your ear to recognize specific instruments (e.g., the difference between an acoustic string section and a synthesised string pad) and textures (identifying the moment the texture shifts from homophonic to polyphonic).
3. Comparative Listening: When practicing, listen to other Schwartz songs (like 'Corner of the Sky' from Pippin) or other modern musical theatre anthems (like 'Let It Go' from Frozen) and note similarities in orchestration and melodic shape.

Portfolio/Coursework Guidance

Assessment Criteria (Appraising Component)

Examiners award marks based on:

• AO3 (Appraise): Demonstrate and apply musical knowledge.
• AO4 (Context): Use appraising skills to make evaluative and critical judgements about music.

To achieve high bands, candidates must link musical features to their effect. It is not enough to say "the music gets louder"; you must say "a crescendo builds tension leading into the chorus, reflecting Elphaba's growing confidence."

Exam Component

Written Exam Knowledge

The listening paper will test your ability to recall facts (e.g., "Name the composer"), identify features aurally (e.g., "What is the texture here?"), and write extended responses analyzing how musical elements create an effect or mood.

Extended Response Preparation

For 6-9 mark questions, structure your answer using the P-E-E method:

• Point: Identify a specific musical feature using correct terminology.
• Evidence: Locate it in the extract (using timings or bar numbers if a score is provided).
• Effect: Explain how this feature contributes to the mood, characterisation, or dramatic narrative.