S Schwartz: Defying Gravity (from the cast recording of Wicked) — Edexcel GCSE Music

Defying Gravity, from the musical Wicked, is a powerful song that marks a pivotal moment in the story. Composed by Stephen Schwartz, it is performed by Elphaba (the Wicked Witch of the West) as she rejects societal expectations and embraces her true identity. The song is set in the key of D-flat major, with a time signature of 4/4, and features a wide vocal range, dynamic contrasts, and a rich orchestration. For your Edexcel GCSE Music exam, you need to analyse how Schwartz uses musical elements to convey drama and emotion, and how the song fits into the context of musical theatre.

This piece is part of Area of Study 2: Vocal Music, and it is one of the set works you must study in depth. Understanding Defying Gravity will help you develop skills in analysing melody, harmony, rhythm, texture, and structure. The song exemplifies how music can drive narrative and character development, making it a key example of contemporary musical theatre. You will be expected to discuss its musical features, the use of leitmotifs, and how it reflects the themes of empowerment and rebellion.

Mastering this piece will also prepare you for the unfamiliar listening section of the exam, as you will learn to identify similar techniques in other vocal works. Pay close attention to the orchestration, the use of chromaticism, and the way Schwartz builds tension through modulation and dynamic shifts. This song is not just about notes on a page—it's about understanding how music tells a story.

• →Leitmotif: Schwartz uses a recurring 'Defying Gravity' motif (a rising perfect fourth) to represent Elphaba's defiance and freedom. This motif appears in the orchestra and voice throughout the song.
• →Modulation: The song modulates from D-flat major to E major at the climax, creating a sense of uplift and triumph. This key change is a classic musical theatre technique to heighten emotional impact.
• →Word painting: The lyrics 'I'm flying high, defying gravity' are set to ascending melodic lines and soaring orchestral swells, literally depicting the act of flying.
• →Rhythmic drive: The use of syncopation and a steady quaver pulse in the accompaniment creates a sense of forward momentum, reflecting Elphaba's determination.
• →Texture: The song builds from a sparse, piano-led verse to a full orchestral and choral texture in the chorus, illustrating Elphaba's growing power and isolation.

• Identification of key musical features aurally
• Understanding of the context within which the work was composed
• Ability to express and justify opinions on the set work
• Knowledge of musical elements (pitch, tonality, structure, sonority, texture, tempo, metre, rhythm, dynamics) as applied to the piece
• Recognition of instrumentation and instrumental techniques
• Identification of melodic and rhythmic devices
• Understanding of the piece's place within the 'Music for Stage and Screen' area of study

• 💡Familiarise yourself with the set work as a whole before focusing on specific musical elements
• 💡Practice comparing and contrasting the set work with unfamiliar pieces in the same style
• 💡Use the provided skeleton score to follow the music and identify reference points during the exam
• 💡Ensure you can identify key musical themes, chord patterns, and rhythms aurally
• 💡Refer to wider listening pieces to support your answers and demonstrate breadth of knowledge
• 💡When analysing the melody, always refer to specific intervals (e.g., the rising perfect fourth in the motif) and how they relate to the lyrics. Examiners reward precise musical vocabulary.
• 💡Discuss the role of the orchestra in supporting the vocal line. For example, the use of strings and brass in the final chorus adds grandeur. Mentioning instrumentation shows deeper understanding.
• 💡Link musical features to context. For instance, the key change at the climax not only creates excitement but also signifies Elphaba's transformation. Contextual analysis scores higher marks.

• Using inappropriate terminology (e.g., describing texture as 'thick' or 'thin' instead of using correct terms like 'homophonic' or 'polyphonic')
• Failing to use accurate musical vocabulary when appraising
• Treating the set work in isolation rather than making connections to the area of study
• Inability to place the music in its historical, social, and cultural context
• Misconception: The song is just about flying. Correction: While flying is a literal action, the song symbolises Elphaba's rejection of oppression and her embrace of her true self. The music reflects this emotional journey, not just physical flight.
• Misconception: The key change is random. Correction: The modulation from D-flat major to E major is carefully planned to occur at the most dramatic moment, after the line 'And nobody in all of Oz, no wizard that there is or was, is ever gonna bring me down!' This key change is a semitone higher, a common device to increase intensity.
• Misconception: The song is in a simple verse-chorus structure. Correction: Defying Gravity has a complex structure: intro, verse, pre-chorus, chorus, interlude, verse, pre-chorus, chorus, bridge, key change, final chorus, and outro. This structure mirrors Elphaba's emotional arc.