Rhythm, Tempo and Metre of Defying Gravity

What words can you use to describe the rhythm, tempo and metre of a piece? Complete the
spider diagrams below.

Rhythm:
- Triplets
- Crotchets, Quavers etc.
- Dotted rhythms
- Syncopation
- Augmentation
- Diminution
- Anacrusis
Tempo:
- Allegro
- Andante
- Moderato
- Maestoso
- Largo
- Rubato
Metre:
- Simple time
- Compound time
- Double time, triple time etc.

Answer the questions below in full sentences. Use musical terminology in your answers and
give as much detail as you can!

1. Make a list of the tempo changes in Defying Gravity in the space below. What is the
effect?
- 1 – 19 Free tempo
- 20 – 48 Andante
- 49 – 87 Allegro
- 88 – 102 Moderato
- 103 – 110 Allegro
- 111 – 128 Andante
- 129 – 161 Allegro
- 162 – 177 Andante to Maestoso

The changes in tempo are related to the structure of the piece. For example, the
tempo is usually allegro in choruses and climax points such as bar 49 and slows down
to andante or moderato for verses and for quieter sections such as bar 88. This
enhances the impact of the section changes in order to build momentum and
tension throughout the song.
2. Are there any particular rhythms that stand out? E.g. triplets or dotted rhythms.

Dotted rhythms are used throughout however they are consistently used in the chorus
especially on the word gravity, for example bars 53, 57, 82 and 86. By doing this a
constant emphasis is placed upon that phrasing, communicating the message of the
song perfectly and contributing to the spotlight on the chorus.

Triplets are used in bars 60 to 62 during Elphaba and Glinda’s ‘argument’. This
placement is used right after the tempo change for the chorus and consequently some
rhythms are shortened as well to quicken the pacing. The context of the argument is
also significant to the speed making that another reason why the part should be faster.

3. Is there any syncopation? Can you give examples of where if so?

There is use of syncopation throughout such as in bar 60 and in bars 67 – 70. In bar
60 the triplet in the vocal line is syncopated with the chords played by the band
underneath it. In bars 67 – 70 the vocals and band are both similar syncopated
rhythms often in unison with each other.

4. How would you describe the metre of the piece? Does it change or does it stay the
same throughout?

In the opening the piece is originally in ¾ and then switches to 2/2 in bar 9 which it
stays in until bar 88 where it moves into 4/4 and then back into 115 to 2/2. The
metre is generally consistent however it also changes with the structure. For
example, the opening is ambiguous in rhythm, tempo and tonality so it makes sense
for the metre not to be set in stone at the beginning. The only other time it switches
is for the contrasting section in g major which also makes sense since it is a
contrasting metre to the previous 2/2.