Mastering the Attitude of "Chicago"
"Class" is one of the most beloved numbers from Kander & Ebb's Chicago. Performed in the film adaptation by Catherine Zeta-Jones (Velma Kelly) and Queen Latifah (Mama Morton), it acts as a comedic lament about the loss of manners in society. Musically, it is a vaudeville-style duet that relies heavily on character acting, precise diction, and a strong chest register.
Unlike pop ballads, you cannot just sing this song beautifully; you have to sing it cynically. The challenge lies in balancing the "conversational" quality of the lyrics with the musical requirements of the harmony.
AI Coach Tip: Character over Beauty
Do not smooth out the edges. Our analysis shows that users who over-polish the vowels score lower. Keep the sound brassy, forward, and slightly aggressive to capture the "Velma" essence.
Phase 1: The Low Range (Mama Morton)
Queen Latifah's performance is grounded in a rich, warm Alto range. When singing lines like "Mothers, fathers, uncles, aunts," avoid letting your voice become breathy. You need solid vocal cord closure.
Technique: Think of speaking the notes on pitch rather than "singing" them. Keep your larynx neutral or slightly low to maintain that authoritative, prison-matron tone.
Phase 2: The Belt (Velma Kelly)
Catherine Zeta-Jones utilizes a brighter, more nasal placement. On lines like "Whatever happened to fair dealing?", you want to engage your "twang." This helps cut through the orchestration without straining your throat.
Be careful not to yell. The volume comes from resonance in the mask of the face, not from pushing excessive air.
Phase 3: The Harmonies
The song features tight harmonies, often in thirds. The AI Coach detects pitch drift easily here because the two voices move in lockstep.
- Synchronization: You must end your phrases exactly when your partner does. Watch the cut-offs on words like "Class" and "Ass."
- Blending: While the characters are different, the vowels must match. If one singer sings a round "Ah" and the other sings a flat "Aa," the harmony will sound out of tune.
Frequently Asked Questions
Yes, absolutely. It is one of the best musical theatre songs for Altos and Mezzos because it sits comfortably in the low-to-mid range (F3-C5) without requiring high soprano notes.
Yes. While it is written as a duet, you can choose to sing either Velma's line or Mama's line individually. The Singing Coach AI app allows you to mute one vocal track to practice.
The rhythm is conversational (rubato). Listen closely to the "pick-up" notes. The lyrics often start on the off-beat to mimic natural speech patterns.
