Chicago – Cell Block Tango

Context of the Cell Block Tango The Tango has its roots in African and European music.

The above pattern is a key rhythmic feature of many Latin American dances. Accents on the weak beat give the rhythm its syncopation

The song is performed entirely by murderous women, which is ironic because the tango is danced traditionally by men. This make the women seem more aggressive.

Melody

Piece begins with a spoken word by each woman which relates to the verse that they sing.

Melody is fairly conjunct, and moves in steps apart from occasional jumps on phrases such as “seen it” (bar 37)

The only distinct change in mood in the piece comes during Hunyak’s dialogue, as she claims she’s innocent whereas the rest of the women almost seem proud of their murderous ways! During this section the strong tango rhythm found throughout the rest of the song is absent, which shows how she differs from the other women.

Rhythm

The rhythm is very similar throughout, and a strong tango rhythm is present in the bass at all times apart from Hunyak’s dialogue.

The avoidance of the beginning of phrases on the first beat of the bar adds to the syncopated feel.

Crotched triplets create a cross rhythm and help certain lyrics stand out.

Rhythmic augmentation after Hunyak, slower harmonic pace allows for reflection on whether she is actually guilty or not.

Harmony

Begins in F minor Moves to F major in bar 22. F# minor in bar 60 (with a small section of F major within) G minor in bar 165. This harmonic shift upwards in semitones adds to the

building of tension throughout the song.

Structure

Opens with a clave rhythm with each murderess repeating their word that links to their story, this originally takes 6 bars, then 4, then just two bars, this is diminution.

All murderesses tell their story above music, rather than vamping, the music stops where it is written and the dialogue continues above until the spoken cue for it to be brought back in.

The song has two possible endings, the film style (Boo ) repeats the introductory 6 bars until it fades out. The stage ending features the women singing in unison accompanied by a Latin style fanfare. The song ends with a button on the the tonic note, G.

Relationship between voices and accompaniment

Accompaniment highlights tango rhythm Helps to highlight points at the end of phrases with

sudden, staccato chords. Very similar accompaniment throughout, as previously

mentioned there is no tango rhythm and reduced instrumentation during Hunyak’s dialogue.

Dynamics and Texture

Choruses are ff Ensemble sings p during dialogue as backing, and pp after

Hunyak’s dialogue, stark contrast, ff at ending.

Melody and accompaniment. Some polyphonic qualities bar 157-173.

Character development

The song provides a backstory for all of the principal characters in jail, showcases the dark and twisted humour of the inmates, in contrast to Roxy.

All characters try to blame the murders on the men, despite making it obvious that they killed them, denial? Are they suppressing their guilt through aggressiveness?

Instrumentation

Drum kit Auxiliary percussion (claves, tambourine, cymbals) Strings, double bass Brass Section – Trumpet, trombones, horns, adds to latin

feel. Saxophones Mandolin Oboe