# data[].attributes.body
Based on major and minor system of scales.

# data[].attributes.body
It follows a typical song structure, but it has other sections specific for this song, for example, dialogue sections, multiple link sections, and a vamp sections.

# data[].attributes.body
A vamp section is a repeating bar or bars used in a musical to keep the music in one place while the actor gets ready to do the next position. It repeats until the actor is ready. The vamp section in Defying Gravity is used for the actress of Elphaba to go backstage and attach herself onto a harness for her to 'fly' which is a key moment in the musical.

# data[].attributes.body
Chords that are built from two or more keys simultaneously

# data[].attributes.body
The Link sections link two different parts together(transition). For example, in bar 59 there is the first link section that links chorus 1 and verse 2

# data[].attributes.body
Flute
Oboe
Two Electric Guitars (One with Ebow)
Drums
Synthesiser
Bass Clarinet
Bassoon
Baritone Saxophone
Two Horns
Two Trumpets (Mutes)
Two Trombones
Various Percussion
Harp
Two Violins (Pizzicato)
Viola
Cello
Bass
Three Electronic Keyboards
Vocals

# data[].attributes.body
A cadence that goes from V-I. Creates a sense of satisfaction, often used at the end of the song, as the V (or V7) wants to be followed by I

# data[].attributes.body
There are multiple dialogue sections in which the characters stop singing and talk over the music.

# data[].attributes.body
Progression of IV-I. Often used in church hymns.

# data[].attributes.body
Schwarz uses colla voce to give the melody emphasis, and create a sense of unease (as there is no clear beat)

# data[].attributes.body
Introduction starts with chromatic descent melody which gives the audience a sense of uncertainty.

# data[].attributes.headline
Song title refers to Elphaba's vow to not give in and accept the rules and limitations placed upon her.

# data[].attributes.subject
Song title refers to Elphaba's vow to not give in and accept the rules and limitations placed upon her.

# data[].attributes.headline
The song ends the first act of the musical. 

# data[].attributes.subject
The song ends the first act of the musical. 

# data[].attributes.body
At bar 168, the full band is involved(polyphonic) in forte to create a finishing,  full atmosphere to the audience (coda).

# data[].attributes.body
Glinda has D major key and Elphaba has Db major key. This creates opposing melody.

# data[].attributes.body
in the introduction (bar 1).

# data[].attributes.body
Bars 1-14 there are dynamic "stabby chords" in some parts and loud drum impacts throughout. The loud dynamics are indicated by the Sforzando sign.

# data[].attributes.body
The alternative chromatic name for the same sounding pitch. For example; F# = Gb

# data[].attributes.body
Melody ascending or descending in semitones.

# data[].attributes.body
Most commonly comprises chord V followed by chord VI. So-called because it interrupts an expected perfect cadence V-I. See b.50-51 and b.167-168

# data[].attributes.body
A cadence ending on chord V and sounding incomplete. Usually preceded by chord I, II or IV.

# data[].attributes.body
A texture comprising a melody part and an accompaniment.

# data[].attributes.body
When one note is played per syllable.

# data[].attributes.body
Refers to vocal melody with several or even many notes per syllable.

# data[].attributes.body
With emphasis on the off beat.

# data[].attributes.body
A series of chords in which the root note of each chord is a fifth lower or a fourth higher than that of the previous one.

# data[].attributes.body
Chords lacking the third and therefore ambiguous in terms of major/minor tonality.

# data[].attributes.body
In bar 6 and 7,  Schwartz uses sequence in melody with perfect 5th.

# data[].attributes.body
At bar 15 the dynamics become more consistently loud.

# data[].attributes.body
with the voice; an instruction to the band and musical director to follow the vocalist's tempo.

# data[].attributes.body
Rapid playing on the same note to produce a wavering, tremulous sound

# data[].attributes.body
There is a crescendo from bar six to seven from mezzo forte of the piano part. A consistent forte is present in the spoken vocals. Tension is built up from the crescendo

# data[].attributes.headline
Use of Augmented chords and half-diminished chords

# data[].attributes.subject
Use of Augmented chords and half-diminished chords

# data[].attributes.body
In bar 7, there is an augmented melody with minor 6th, and in bar 122 as well.  In bar 19, there is half-diminished chord. These are for dramatic effect.

# data[].attributes.body
A triad built on two major thirds.

# data[].attributes.body
Some words are spoken however, most are sung throughout the piece.

# data[].attributes.body
Schwartz uses sequences in Defying Gravity. An example of a sequence is in bar 6, where the same melody is repeated up a semitone.And the final interval is augmented from a perfect fifth to a minor sixth in b.7

# data[].attributes.body
A lovely solo by Glinda majestically enters with only shivering violins (tremolando) to support her, to create an isolated(?) effect.

# data[].attributes.body
An EBow is used with the Electric Guitar. Bar 11 a guitar with overdrive is used.

# data[].attributes.body
Refers to music in two keys at the same time.

# data[].attributes.body
To minimise the amount of money spent on musicians. Also adds a modern touch to the music. Used to play a motif at bar 21.

# data[].attributes.body
The dynamic changes from forte to mezzopiano(louder than piano and softer than mezzoforte of the piano area.

# data[].attributes.headline
Based on the 1939 film: The Wizard of Oz.

# data[].attributes.subject
Based on the 1939 film: The Wizard of Oz.

# data[].attributes.body
Some 3/2 bars, largely 2/2 later 4/4 (b.88) and 3/4 (b.101).

# data[].attributes.body
The downbeat is shifted to a different part of the bar.

# data[].attributes.body
A short melodic phrase of just a few notes.

# data[].attributes.body
One of the most important motifs in the song is based on the first seven notes of "Somewhere Over the Rainbow" from "The Wizard of Oz". This motif is called the "Unlimited theme". Some other motifs include Motif C which first appears in bar 21.

# data[].attributes.body
Schwartz also uses metrical shifting in the melody of Defying Gravity, which means that the downbeat in a three-note pattern keeps falling on a different note in different parts of the chorus, making the melody sound magical.

# data[].attributes.body
A recurring musical idea which is associated with a particular theme, character or place.

# data[].attributes.body
Brass enters at bar 20; flute and clarinet... and violin enters at bar 24. The bass clarinet makes its short entrance at bar 28 and the bass(bas)  enters at bar 31.

# data[].attributes.body
Hi-Hat to set a new tempo. At bar 51 a closed Hi-Hat is used.

# data[].attributes.body
See b.20 & b.22

# data[].attributes.body
For opening and colla voca dialogue sections.

# data[].attributes.body
see bar 51.

# data[].attributes.body
Crescendo at bar 22 leading to a diminuendo in bar 23 to signal a new start in vocals which starts at mezzo piano. At bar 23 the flute and clarinet become piano.

# data[].attributes.body
Schwartz uses many leitmotifs throughout his score to Wicked which are usually focused on the interval of a fifth or its inversion, the fourth below.

# data[].attributes.headline
Long legato phrases are used in the piece.

# data[].attributes.subject
Long legato phrases are used in the piece.

# data[].attributes.body
see bar 115.

# data[].attributes.body
bar 11 Guitar overdrive adds heaviness to the texture

# data[].attributes.body
See dialogue and colla voce sections. See b.24

# data[].attributes.body
Defying Gravity uses many fourths and fifths in the main verse and chorus to create a strong and assertive melody.

# data[].attributes.body
Bar 31 both vocal and piano have a crescendo, then both contain mezzo forte while there is a crescendo in vocals, in bar 33 theres a diminuendo of the synths than in bar 34 the solo voice is on in mezzo piano and the piano plays in the piano dynamic

# data[].attributes.body
The dynamics are loud as there is a lot of things happening and the climax in which she, Elphaba, is being attacked by the people. Tension and uncertainty is made with the loud dynamics