GCSE Music
SET WORK BOOKLET
Stephen Schwartz (b.1948) Defying Gravity from Wicked
Student Name……………………………………… You will need to use this booklet in conjunction with your course book, where you will find the score of each set work. 1
Basic Information Background Musical theatre (MT) is a lighter and more modern version of opera, usually based around popular styles of music. It started out as an American art form, developed from operettas, with shows based on Broadway and becoming a popular genre of film. Stephen Schwartz is an American MT composer and lyricist. He studied at the world famous Julliard School of Music in New York and began his successful career in the 1970s. He has worked on shows and films including: Godspell, Pocahontas, The Hunchback of Notre Dame and Prince of Egypt. He has achieved his greatest success with Wicked, a musical that gives an alternative version of The Wizard of Oz.
Defying Gravity is the finale of the first act of Wicked. It is a duet between the characters Elphaba and Glinda, with some spoken dialogue as well as singing. The chorus also participates at the end of the song. The dialogue phrases are marked in the score with crosses instead of normal note heads. The piece is notated in short score. Although the piece is in the key of Db major, the score has been notated a semitone higher, in D major, to make it easier to read. Defying Gravity is influenced by the most famous song from The Wizard of Oz, Somewhere Over the Rainbow. Schwartz said that he did this as a tribute to the earlier musical. Stephen Schwartz wrote both the music and lyrics for Wicked.
KEY FEATURES OF MUSIC THEATRE 1. Usually based on popular music forms. 2. Some musicals are jukebox musicals, with stories made up around the songs of a wellknown pop group (e.g. Mamma Mia, We Will Rock You). 3. Musicals have songs (solo and ensemble), dialogue and dances. 4. They are often accompanied by full orchestra, although some do use rock bands. 5. They often make use of Leitmotifs or hooks. 6. Most musical songs are easy to listen to and memorable. 7. They mostly use diatonic harmony.
Other well-known Music Theatre composers
Leonard Bernstein _________________________________________________
Stephen Sondheim ________________________________________________
Rodgers and Hammerstein __________________________________________
Andrew Lloyd Webber ______________________________________________
Schönberg and Boublil ______________________________________________
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Consolidation activity Here is a selection of tasks that get progressively more challenging. You should spend about an hour completing this. 1) Name a successful musical by each of the MT composers listed on the previous page. (Write these next to their names). 2) Write definitions (that YOU understand) of all the key terms which have been underlined on the previous page. You should do this in the box below. 3) Solo songs in musicals developed from the operatic aria. What is an aria? ______________________________________________________________________ 4) Where does the term Leitmotif originate? Identify the classical opera composer who invented it. ______________________________________________________________________ ______________________________________________________________________
5) Listen to another song from Wicked and complete the statement below. I listened to_________________________________ and I thought that things which were similar were: a) _________________________________________________________ b) _________________________________________________________ c) _________________________________________________________ And things which were different were: a) _________________________________________________________ b) _________________________________________________________ c) _________________________________________________________
Keywords and their definitions Finale ___________________________________________________________ Duet ____________________________________________________________ Dialogue ________________________________________________________ Short score _______________________________________________________ Ensemble ________________________________________________________ Leitmotif __________________________________________________________ Diatonic __________________________________________________________ Hook ____________________________________________________________ Orchestra _________________________________________________________ Chorus __________________________________________________________
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Wider Listening (General) Each piece you listen to requires you to also know about other SIMILAR types of music. They could be similar because the same composer wrote them because they are written in the same musical period, many other reasons. Here is a list of pieces of music which could be linked to this set work and the composer. The Youtube links are also provided (should you wish to access this booklet online or do the listening on your computer). In the boxes provided, make some notes about why you think each piece is included in the wider listening for this set work. Piece 1: Somewhere Over The Rainbow from The Wizard of Oz by Harold Arlen Youtube link: https://youtu.be/PSZxmZmBfnU Comments:
Piece 2: Mama, I’m a Big Girl Now from Hairspray by Marc Shaiman Youtube link: https://youtu.be/y6_tpLAtvRo Comments:
Piece 3: Revolting Children from Matilda by Tim Minchin Youtube link: https://youtu.be/o6PXm34OBP8 Comments:
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Analysis of Defying Gravity from Wicked Facts about the context and background of the piece What style is it? What are the key features of this style? Are they in this piece? Is it part of a bigger piece? If so, where does this piece ‘sit’ in comparison?
Performing forces and their handling Think about: what instruments are playing in the piece? What role does each of them have? (don’t forget singers!). Is it tricky to play? Why? Does it use a large range for that instrument? Are there any specific techniques used (like mutes, effects etc)? What are the dynamics like in the piece?
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Structure Think about is it varied? Repeated? Contrasted? Ternary? Sonata Form? Another structure?
Texture Think about: Monophonic? Polyphonic? Homophonic? Antiphonal? Heterophonic? Pedal? Countermelody? Exchanging ideas in parts? (DIALOGUE).
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Melody Think about: instruments? Doubled melody? Octaves? 3rds? Unison? Regular phrases? Tessitura? Conjunct? Disjunct? Diatonic? Chromatic? Rising? Falling?
Tonality Think about: Major? Minor? Modal? Atonal? Does the key change?
Harmony Think about: Use of chords? Chord progressions? Circle of 5ths? 12-bar blues? Important patterns at cadences? Diatonic or chromatic? Functional (I and V and cadences)? Harmonic rhythm? Does it stay the same?
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Tempo, rhythm and metre Think about: Dotted notes? Triplets? Swung quavers? Syncopation? Hemiola? Anacrusis? Time signature (and changes to it)? Strong beats of the bar? Repeated patterns? Key rhythms in the piece? What is the speed of the piece? Does it change? Can you use an Italian term to describe the tempo?
Dynamics Think about: How would you describe the volume of the piece? Does it change? Are all the instruments the same volume?
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Listening activities related to your set work LISTENING 1 (0.00-1.11) You will hear the piece 3 times. 1) Name the time signature at the start. _________________________________ (1 mark) 2) Describe the accompaniment in the first 30 seconds. ______________________________________________________________________ ______________________________________________________________________ ______________________________________________________________________ (2 marks) 3) Give two ways in which the opening vocal lines reflect the relationship between Elphaba and Glinda. a. _______________________________________________________ b. _______________________________________________________ (2 marks) 4) Identify the key at the end of this extract (1.10-1.11). ____________________ (1 mark) Total
/6 marks
LISTENING 2 (4.08-5.15) You will hear the piece 3 times 1) Which of these words best describes the change in dynamics that comes after ‘friend’ and before ‘so if you…’? Diminuendo Sforzando Marcato Crescendo (1 mark) 2) The next phrase (starting ‘look to the Western sky’) shows Elphaba’s mood clearly. Identify how the musical elements contribute to this. ______________________________________________________________________ ______________________________________________________________________ ______________________________________________________________________ ______________________________________________________________________ (4 marks) 3) Describe how the use of percussion changes during this extract. ______________________________________________________________________ ______________________________________________________________________ ______________________________________________________________________ (2 marks)
Total
/7 marks
REINFORCING YOUR LEARNING; In addition to these listening questions you should also be listening to this set work at times when we aren’t studying this piece. You should also be able to identify when particular sections change and also the keys and instruments.
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Extended Response question For each set work, you MIGHT be asked to write in more detail about the piece. You will hear the piece played to you and you will also have a piece of music you’ve NOT studied as well. They will be linked in some way (for example, if you are asked to write about a vocal piece, then the unknown piece is quite likely to be a vocal piece too). Naughty from Matilda by Tim Minchin. (0.00-2.14)
https://youtu.be/dExxFRTwBsw
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NOTES ON ‘UNFAMILIAR’ PIECE OF MUSIC
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Typical Question Using the notes you have made above and the notes earlier in this booklet about your set work, then answer the following question. You should spend no more than 25 minutes putting the answer together.
Things to consider You need to give facts EQUALLY about both pieces. It will be marked out of 12 (see the page 17 for the marking guidance from the exam board). You should back up each point with a bar reference (or example) from the score. You will need to use the score from your course book for the Purcell. Include a conclusion at the end.
QUESTION Evaluate how effectively the word-setting, rhythm and melody of Defying Gravity and Naughty from Matilda illustrate the personality and dramatic situation of the characters singing each song. You should ensure that you reference any valid points made. (12 marks)
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Teacher comments and mark
/12
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Writing Frame Help Essay Question: Evaluate how effectively the word-setting, rhythm and melody of Defying Gravity and Naughty from Matilda illustrate the personality and dramatic situation of the character singing each song. You should ensure that you reference any valid points made. (12 marks) Which musical elements in your notes is this question asking you to discuss? Paragraph 1 – short introduction. When were these pieces composed? Are they the same kind of piece (solo or chorus etc)? Do they have a similar structure? Write one sentence about how you are going to set out your answer.
Paragraph 2 – word-setting in Defying Gravity. Is word-setting mostly syllabic or melismatic? Does the music emphasise the natural rhythms of the text or work against it? Is there word-painting or other ways in which text is emphasised (dynamics, high notes on key words etc)? How does the accompaniment support the text? How does this illustrate the character and dramatic situation?
Paragraph 3 – word-setting in Naughty. Is word-setting mostly syllabic or melismatic? Does the music emphasise the natural rhythms of the text or work against it? Is there word-painting or other ways in which text is emphasised (dynamics, high notes on key words etc)? How does the accompaniment support the text? How does this illustrate the character and dramatic situation? What are the main similarities and differences to Defying Gravity?
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Paragraph 4 – rhythm in Defying Gravity. Identify the tempo and metre. Are there repeated rhythm patterns that underline the text? What does the rhythm tell you about the character and dramatic situation? How do you know? What effect does the choice of note values and rhythm patterns have on the music?
Paragraph 5 – rhythm in Naughty. Identify the tempo and metre. Are there repeated rhythm patterns that underline the text? What does the rhythm tell you about the character and dramatic situation? How do you know? What effect does the choice of note values and rhythm patterns have on the music? Identify the main similarities and differences with Defying Gravity.
Paragraph 6 - melody in Defying Gravity. What is the range of the melody? Is it mostly conjunct or disjunct? What kind of intervals does it use? Where is the highest part of the melody? Does the melody have an overall shape? What does that tell us about the character and dramatic situation?
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Paragraph 7 - melody in Naughty. What is the range of the melody? Is it mostly conjunct or disjunct? What kind of intervals does it use? Where is the highest part of the melody? Does the melody have an overall shape? What does that tell us about the character and dramatic situation?
Paragraph 8 – short conclusion. What are your conclusions? Could you identify features of the character and dramatic situation in both songs? Did you find more differences or more similarities? Did you find one more interesting or effective than the other? If so, why? In your judgement, do the differences and/or similarities suggest that they are typical of their genre or not?
Teacher comments and mark:
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Mark Scheme for 12 mark responses
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Challenge and consolidation activities Here is a selection of different activities you could try in relation to this set work. Some are designed to help you check your understanding and others (marked with an *) are designed to challenge you. Sometimes, these will be set as personalised homework, but other times, they should be used by you outside of your classroom learning to support your knowledge.
1) What does the term colla voce (written at the start of the score) mean? 2) Can you create a word search which includes at least 20 keywords related to this piece? 3) What key is this piece written in? How does this differ from the recording? 4) What is a motif? Give an example from the song. 5) Find an example of the main Leitmotif in the piece. Write the bar numbers. 6) What is ‘metrical shifting’? Find an example in this piece. 7) Is the word-setting in this piece predominantly syllabic or melismatic? 8) What does the word ‘bitonal’ mean? Find an example in Defying Gravity. 9) Give a bar number where the mood changes and say HOW the music creates this change. 10) This piece modulates on several occasions. What does that mean? 11) *Describe the music of the opening introduction (bars 1-14), referring to melody, harmony, tempo and texture. 12) *Describe the structure of the song AFTER the introduction, mentioning at least three sections. 13) *Explain how Stephen Schwartz uses the intervals of perfect 4th and perfect 5th as a unifying device in this song. 14) *What are the keys in the written score of this work? Cross off each of the questions when you have completed them. Lined paper is provided at the end of this booklet for these tasks.
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