Step
4. Now raise the heel of the right foot so that you are standing on the
front of the right foot as if you are taking a step. The left foot must
stay where it is (take care not to move it).
Although
Michael Jackson did not invent the move (Jean-Louis
Barrault pioneered it in the 1945 film Children
of Paradise and Marcel
Marceau called it Marche Contre Le Vent), he certainly perfected
it. First shown to the world at the Motown 25th Anniversary in a performance
of "Billie Jean".
The moonwalk is an illusion engendered by the following steps:
Step 1. Find a pair of low grip shoes you could try to do it in your socks to start off with.
Step 2. Make sure that the ground you use to practise to moonwalk on is also not too grippy, try and find a polished floor.
Step 3. Stand with both feet close to each other, left foot slightly ahead of the right (toes of right should be in line with half the left foot)
Step
4. Now raise the heel of the right foot so that you are standing on the
front of the right foot as if you are taking a step. The left foot must
stay where it is (take care not to move it).
Step 5. As you lower the heel of the right foot, lean all your weight on the right foot, and drag back the left foot to so that its toes are in line with the heel of the right foot. The left foot's heel must be slightly off the ground at this stage. As you drag back, do not push down on the left foot at all or it will not glide. Make sure as you lower the heel of the right foot (slowly) the left moves at an equal speed. This will need lots of practice to master the right speed.
Step 6. Keep practicing up to the above steps until you can make the movement subconsciously without any difficulty.
Step 7. Once you have mastered that, "kick" outwards with the left foot, but although not quite touching the ground, make it look as if it is touching. Move it out a foot-size's worth away from the toes of the right. No part of the left foot should be raised higher than another.
Step 8. After you make your left foot move so it is at the starting position, lift up the heel once more of the right foot. Make sure the left leg is bent at the knee. Now repeat step 5. Keep practicing until you have the whole thing figured out, and it has been verified by others, and you feel quite comfortable with it. You should eventually get that gravity-defying effect and you'll MoonWalk like the pro.
Step 9. Once you've figured it out for the right leg bending, switch legs, and try the same with the other foot. Lift heel of left, lower left as you glide right back. Left still on the ground, throw out right foot, lift up heel of left foot, and once again drag right foot back as left heel is lowered.
Wilson,
Keppel and Betty were a popular British music hall act in the middle decades
of the 20th century who capitalised on the trend for Egyptian imagery following
the discovery of the tomb of Tutankhamun. Their stage act, called the "sand
dance", was a parody of Egyptian postures, combined with references to
Arabic costume. The lithe and extremely lanky Wilson and Keppel, who wore
long mustaches and made up to emphasize the sharp angularity of the features
so as to appear almost identical, would demonstrate their impressive suppleness
in adopting wild gestures and dancing in identical "stereo" movements (using
gestures vaguely reminiscent of Egyptian wall paintings), while Betty watched
their antics. Theirs was a soft-shoe routine performed on a layer of sand
spread on the stage to create a rhythmic scratching with their shuffling
feet. The act was usually performed to the familiar Egyptian Ballet (1875),
by Alexandre Luigini.
The people of South Shields are popularly referred to as "Sand-dancers" with reference to this act.
Their "Cleopatra's Nightmare" routine was performed in 1936 in Berlin and condemned by Josef Goebbels as indecent. In the UK they were regarded as one of the best 'speciality acts' - acts designed to balance and support the star of a variety programme. Typically these acts would last about ten minutes, and be repeated twelve times a week (matinee and evening performance, every day except Sunday) in variety theatres all over the country. A fine example of the "Cleopatra's Nightmare" routine can be seen in the Harold Baim film 'Starlight Serenade". In 1950 they appeared at the London Palladium on the same bill with Frank Sinatra. They toured all over the world, performing at shows in London, Europe, Las Vegas, India, the Far East and Near East, Australia, Scandinavia and South Africa. They finally retired in 1963. Betty Knox retired from the act in 1941 to go into journalism, becoming a war correspondent during the Second World War, and reporting on the Nuremberg Trials for three years.
Jack Wilson was born in Liverpool on January 29th, 1894. At a young
age he emigrated to the United States where he made his stage debut as
a high kicking dancer in 1909 in Bristol, Connecticut, before he
journeyed to Australia and joined Colleano’s Circus. He served in the
Royal Navy during the First World War. Joe Keppel was a year younger, and
was born on May 10th 1895 in County Cork, Ireland. As with
Wilson, he emigrated to the United States at an early age, and made
his stage debut in 1910 as a tap dancer with the Van Arnheim Minstrels
in Albany. During the First World War he was with the RAF. How
the duo met is uncertain, and it may have been in Australia before
the war, but what is certain is that they teamed up with Colleano’s Circus
in Australia after being demobbed, and that they then travelled to the
United States via Japan before launching their full stage career together
in New York in March 1919, as a comedy acrobatic and tap dancing act. In
Wilson’s words, they were ‘“hoofers” of the “Wooden Shoe” era,
playing everything from a medicine show to curtain raiser to Jewish
drama’.
The
Chalk Line Walk as it was originally known became popular around 1850 in
the Southern Plantations. It originated in Florida by the African-American
slaves who got the basic idea from the Seminole Indians (couples walking
solemnly). Many of the special movements of the cake-walk, the bending
back of the body, and the dropping of the hands at the wrists, amongst
others, were a distinct feature in certain tribes of the African Kaffir
dances. The cakewalk, as done in Africa, was performed during a rest period
in a dance. It was inserted as improvisational "breaks"
The
Breakdown and Walk Around a Minstrel parody later to be named the Cakewalk
was one of the main sources of the Chalk Line Walk.These "Walkers" as they
were called, would walk a straight line and balance buckets of water on
their heads. Over time the dance evolved into a exaggerated parody of the
white, upper class ballroom figures who would imitate the mannerisms of
the "Big House" (masters house) with such dignified walking, bowing low,
waving canes, doffing hats, and high kicking grand promenade.
By the 1890's, the Cakewalk was the hottest thing around and Charles
Johnson & Dora Dean are said to have introduced the Cakewalk in 1893.
However in 1889 The Creole Show would feature the Cakewalk and in 1892
the first Cakewalk contest was held in a New York ballroom). Williams and
Walker Inspired a Cakewalk in the play "Clorindy" origin of the Cakewalk.
The Cakewalk sheet music would also list the March and Two-Step as dance
options to the song so white audiences would be interested in buying it
even if they did not know the Cakewalk. It was first introduced upon the
Broadway stage by Dave Genaro.
The Idea of the Cakewalk was that of a couple promenading in a dignified
manner, high stepping and kicking, mimicking high society. Some of the
better plantation owners would bake a cake on Sundays and invite the neighbors
over and have a contest of the slaves, different prizes were given but
originally it was a cake and whoever won would get the cake...thus the
term "That Takes The Cake!" and the name "Cakewalk" was now set. The Minstrel
shows of the time would paint their faces black and at the end of the show
would do a "Grand Finale," which often times was the Cakewalk.
The competition dancers were called "Walkers" and these dance contests
grew very big, such as the National Cakewalk Jubilee in New York City as
well as others, where the champions would receive gold belts and diamond
rings. There were two categories of contests:
The Cakewalk was the first American dance to cross over from black to white society as well as from the stage (Minstrel shows) to ballroom. The Cakewalk would be the window for other African-American dances to enter white society in the future. The Cakewalk eventually died in the 1920's, but there were still traces of the Cakewalk in the newer, more modern forms of dance, even the Lindy hop had the Apache and the Cakewalk thrown in as can be seen in the "Shorty George" video clip in "At The Jazz Band Ball" Video.
In Ireland, There was a practice of offering a cake to the best Jig
Dancer on the Sunday get togethers. These dancers would do
a Penny Jig, which the dancer would pay the Fiddler a Penny after
dancing, trying to win the cake. Qouting from Mrs. Lully's Book :"Although
the fare of Sunday seldom rises beyond the accustomed potatoes and milk
of the rest of the week, some few halfpence are always spared to purchase
the pleasures which the Sunday cake bestows. This cake set upon a distaff
is the signal of pleasure and becomes the reward of talent; it is sometimes
carried off by the best dancer, sometimes by the archest wag of the company."
One
of the most engaging, if tragic, figures in rock and roll history, Gene
Vincent personified the wild, lusty, lower class side of the music as a
touring artist. Scoring one of the earliest smash rockabilly hits with
the classic "Be Bop-a-Lula" in 1956, Vincent recorded some of the most
exciting libidinous rockabilly of the era propelled by the outstanding
lead guitar work of Cliff Gallup.
In May, 1955, during a July weekend, while still in the navy, Gene had an accident while riding his brand new Triumph motorcycle. A woman in a Chrysler ran a red light, hit Gene and put him into the naval hospital with a severely smashed left leg. By all accounts Gene's doctors were considering amputation but he begged his mother not to allow the operation. He was released from the navy and was to spend the rest of 1955 in and out of the hospital. His leg remained severely damaged and steel brace was attached. The navy may have lost a sailor, but the world gained a rock 'n' roll legend. The injury would never heal properly and he spent the rest of the year in a brace. While in Veteran's Hospital in Portsmouth, Virginia Vincent wiled away the hours playing the guitar.
By early 1956, his leg still in plaster, Gene began hanging around this
radio station occasionally singing with the staff band, The Virginians.
He regularly appeared on WCMS's Country Showtime program and would perform
a song called "Be Bop A Lula." 
Here's three versions of how "Be Bop A Lula" came to be. The song was
supposedly based on a comic strip heroine called Little Lulu and Gene said
he co-wrote it with fellow hospital patient Donald Graves. Then Sheriff
Tex Davis, a local DJ, saw some potential in Gene and the weird song he
sang and decided cut himself into the writing credits by buying Graves'
rights to it for a mere $25. But, another story ignores Donald Graves completely
and claims Gene and Sheriff Tex wrote the song together one afternoon while
listening to a 78-prm recording of "You Can Bring Pearl with the Turn-Up
Nose, But Don't Bring Lulu." A third version has
Graves writing the song entirely on his own and selling to Gene for
$50. The real story still remains in question. It is a fact, though, that
Sherriff Tex Davis did sign a bewildered Gene Vincent to a management deal
and later did co-write songs with Gene.
Gene rounded off 1956 with a long stint at the Sands Hotel in Las Vegas
where his unusually wild stage act backfired on the management as the gamblers
left their tables to watch the show rather than helping to swell the Sands
coffers! But the strain on Gene's damaged leg was beginning to take its
toll. Still in a plaster cast from previous hospitalization the leg began
to bleed regularly and cause Gene considerable pain. Before the end of
the year it was clear that Gene needed a long rest.
Coupled with this, a third original Blue Cap, bassist Jack Neal, decided
to quit and Sheriff Tex also parted company with Gene at about the same
time.
Touring caused Vincent's injured leg to act up just as he was to film a cameo for the movie "The Girl Can't Help It". Vincent was able to sing in the movie "Woman Love" after the wardrobe department hid the cast under his jeans and painted the toe of the cast to resemble a shoe.
Though 1956 had obviously been a great year for Gene, having seen the
launch of his rock 'n' roll career, it had not been without its problems.
In a matter of months Gene found himself managerless, without a complete
band and in desperate need of medical treatment to his injured leg. In
many ways it was a Godsend that Gene and The Blue Caps were ordered off
the road until a legal dispute over their management had been resolved.
Reluctantly returning to naval hospital at least gave
Gene a much needed rest as well as giving him time to contemplate what
1957 might have in store.
In 1957 he was fitted with a metal brace that he would wear for the
rest of his life. He began touring again.
Sweet Gene Vincent Lyrics
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When your leg still hurts, but you need more shirts
You got to get back on the road
Robbie williams Blue Gene baby
Chantilly
Lace, The Big Bopper (1958)Chantilly lace and a pretty face
And a ponytail a-hangin' down
That wiggle in the walk and giggle in the talk
Makes the world go round
There ain't nothin' in the world like a big-eyed girl
That makes me act so funny, makes me spend my money
Makes me feel real loose like a long-necked goose
Like a girl, oh baby, that's what I like
The Locomotion,
Little Eva (1962)
Nancy
was on the same record label as her famous father, but they were going
to drop her because her first few singles flopped. Things changed when
they teamed her with producer Lee Hazelwood, who wrote this for her and
had her lower her delivery. It was her first hit.
In the 1987 movie Full Metal Jacket, this was used in a scene where a prostitute solicits business in Vietnam.
Nancy Sinatra was a huge influence on me. I wanted to put on my go-go
boots and walk all over someone
Madonna
The
narrator's girlfriend has lied about him to his friends, so he resolves
to "walk like a man" out of the relationship. Frankie's stratospheric three
octave falsetto sold over a 100 million records making them the most long
lived and successful white doo wop group.
Walk like a man, fast
as I can
Walk like a man from
you
I'll tell the world "forget
about it, girl"
And walk like a man from
you
The
Beatles, Abbey Road
It is this
image that attracts countless Beatle fans to get off the London Underground
at the St. John’s Wood Station and take the five minute walk up to Abbey
Road Studios, in the middle of an otherwise quiet, middle class residential
neighborhood. There is a synagogue nearby, and the residences along that
stretch of Abbey Road are townhouses, apartments and condos.
Adding to the mystique of the photo is its contribution to the ‘‘Paul is Dead’’ conspiracy theory, which was at full throttle in 1969. The clues are obvious. The cover shows the Beatles walking across Abbey Road. John is dressed in white, as the preacher. Ringo is dressed as pallbearer, Paul, who is out of step, barefoot, and the only one holding a cigarette in his right hand when he is a left hander, is obviously a corpse. It is rumored, although we aren't sure, that people are buried barefoot in England. George is dressed like the grave digger. A Volkswagen has a license plate that says "28 IF" followed by "LMW." At the time of the release of the album, Paul would have been 28 if he were alive (counting 9-month pregnancy) and hmm... Linda McCartney Weeps? See the hearse in the background ?
Years later, in the ‘90s, McCartney would release the album Paul Is
Live, with a cover parodying Abbey Road. This time, McCartney is tugging
on the leash of his
sheepdog, and the white Volkswagen licence plate is 51 IS, telling
us that he "IS" alive and 51 years old and obviously still doesn’t know
the answer to the question, ‘‘Is nothing sacred?’’
Partially paralyzed by polio as a child, Dury became an unlikely star
at 35 when his 1977 debut album "New Boots and Panties'' propelled
him and his band, The Blockheads, to critical acclaim and a yearlong stay
in the British charts. When he was seven, Dury himself had caught polio
on a trip to a Southend swimming pool. It left him walking with a limp
and he also had an atrophied arm. He spent two years in hospital, before
attending a school for the physically handicapped. In 1998, he became a
goodwill ambassador for UNICEF, publicizing and taking part in a
polio immunization program in Sri Lanka. He is regarded as one of the progenitors
of Punk Rock. Spasticus (Autisticus), released in 1981 for the Year
of the Disabled was a cross between a battle cry and an appeal for understanding—"Hello
to you out there in normal land”—"Get up! Get up! Get down! Fall over!
Whoah!” The BBC in its infinite wisdom deemed it offensive to polite sensibilities
and denied it airplay, only confirming the validity of Dury's uncompromising
lyrics.
I'm spasticus, I'm spasticus
I'm spasticus autisticus
I'm spasticus, I'm spasticus
I'm spasticus autisticus
I'm spasticus, I'm spasticus
I'm spasticus autisticus
I wiggle when I piddle
Cos my middle is a riddle
I'm spasticus, I'm spasticus
I'm spasticus autisticus
I'm spasticus, I'm spasticus
I'm spasticus autisticus
I'm spasticus, I'm spasticus
I'm spasticus autisticus
I dribble when I nibble
And I quibble when I scribble
Hello to you out there in Normal Land
You may not comprehend my tale or understand
As I crawl past your window give me lucky looks
You can be my body but you'll never read my books
I'm spasticus, I'm spasticus
I'm spasticus autisticus
I'm spasticus, I'm spasticus
I'm spasticus autisticus
I'm spasticus, I'm spasticus
I'm spasticus autisticus
I'm knobbled on the cobbles
Cos I hobble when I wobble
Swim!
So place your hard-earned peanuts in my tin
And thank the Creator you're not in the state I'm in
So long have I been languished on the shelf
I must give all proceedings to myself
I'm spasticus, I'm spasticus
I'm spasticus autisticus
I'm spasticus, I'm spasticus
I'm spasticus autisticus
I'm spasticus, I'm spasticus
I'm spasticus autisticus
54 appliances in leather and elastic
100 000 thank yous from 27 spastics
Spasticus, spasticus
Spasticus autisticus
Spasticus, spasticus
Spasticus autisticus
Spasticus, spasticus
Spasticus autisticus
Widdling, griddling, skittling, diddling, fiddling, diddling, widdling, diddling spasticus
I'm spasticus, spasticus
Spasticus autisticus
Spasticus, spasticus
Spasticus autisticus
Spasticus, spasticus
Spasticus autisticus
Spasticus, spasticus
Spasticus autisticus
I'm spasticus!
I'm spasticus!
I'm spasticus!
I'm spasticus!
I'm spasticus!
I'm spasticus!
I'm spasticus!
Spasticus!
Jake the Peg, Rolf HarrisI'm Jake the Peg, deedle eedle eedle um,
With my extra leg, deedle eedle eedle um.
Wherever I go through rain and snow,
The people always let me know:
There's Jake the Peg, deedle eedle eedle um,
With his extra leg, deedle eedle eedle um.
The day that I was born, oh boy, my father nearly died.
He couldn't get my nappies on, no matter how he tried,
'Cause I was born with an extra leg, and since that day begun,
I had to learn to stand on my own three feet,
Believe me that's no fun.
I'm Jake the peg, deedle eedle eedle um,
With my extra leg, deedle eedle eedle um,
Wherever I go through rain and snow,
The people always let me know:
There's Jake the Peg, deedle eedle eedle um,
With his extra leg, deedle eedle eedle um.
I had a dreadful childhood, really,
I s'pose I shouldn't moan,
Each time they had a three legged race,
I won it on my own.
And also I got popular,
When came the time for cricket,
They used to roll my trousers up,
And use me for the wicket.
I'm jake the peg, deedle eedle eedle um,
With my extra leg, deedle eedle eedle um.
Wherever I go through rain and snow,
The people always let me know:
There's Jake the Peg, deedle eedle eedle um,
With his extra leg, deedle eedle eedle um.
I was a dreadful scholar,
I found all the lessons hard,
The only thing I knew for sure was three feet make a yard.
To count to ten I used my fingers,
If I needed more,
By getting my shoes and socks of,
I could count to twenty-four.
(Pause...count: 1 2 3 4 5....) To twenty-five!
I'm jake the peg, deedle eedle eedle um,
With my extra leg, deedle eedle eedle um.
Whatever I did they said was false,
They said 'Quick march,' I did a quick waltz.
Then they shouted at me 'Put your best foot forward.'
'But which foot?' I said.
'It's very fine for you, you only got a choice of two, but me!
I'm jake the peg, deedle eedle eedle um,
With my extra leg, deedle eedle eedle um.
Thomas Dartmouth
"Daddy" Rice popularized the black-faced minstrel on the American stage
with his 1828 caricature of a crippled plantation slave, dancing and singing
the words:
"Weel about and turn about and do jus' so,
Eb'ry time I weel about, I jump Jim Crow."
Spaeth (A History of American Popular Music, p. 71) amplifies with a bit of folklore (not automatically false) that Rice heard the chorus from a Black walking down the street and made it his own.
After touring American cities, Rice took his immensely popular act to London in 1836. By then "Jim Crow" had proliferated in prints and sheet music, and he became a stock character in minstrel shows, along with his counterparts Jim Dandy and Zip Coon. White audiences readily accepted the stereotype of the happy-go-lucky, singing, dancing, grinning buffoon as representative of blacks, at the same time that white hostility and violence against free blacks escalated.
Ira Aldridge, one of the few black actors of the period to portray Shakespearean characters before white audiences, sometimes ended an evening's performance with a rendition of "Opossum up a Gum Tree" or "Jump Jim Crow," which he delivered with pathos rather than humor before offering a plea for the abolition of slavery.
According to Mezz Mezzrow's "Really the Blues", Jim Crow was a term used by persons of colour to refer to white racists. The south is sometimes referred to as the “Jim Crow South,” meaning that it perpetuates racial stereotypes from an earlier age.
Interestingly, Eric Lott notes the overlaps with clown and harlequin traditions registering first 'in British productions such as "Cowardy, Cowardy Custard; or Harlequin Jim Crow and the Magic Mustard Pot" (1836)' which 'marked a trend beginning in the 1830s of appending the name Jim Crow to all sorts of British clowns and Punch-and-Judy figures'
Dave Evans remarks on the similarity of the title "Jim Crow" to "John Crow," a folk name for a buzzard, and suggests that the "Jim Crow" song and dance is perhaps derived from the slave dance "The Buzzard Lope" (see Parish, Slave Songs of the Georgia Sea Islands, 1942).
Randolph has a report that this song has been heard as far afield as Delhi, India. It can perhaps be questioned whether "Jump Jim Crow" and "Uncle Joe" are the same song, as all they have in common is the chorus. Since, however, the song consists of unrelated lyrics that readily "float," it seems best to put them together.
Here are the lyrics:
Come, listen, all you gals and boys, I'm just from Tuckyhoe;
I'm gwine to sing a little song, My name's Jim Crow.
Chorus: Wheel about, an' turn about, an' do jis so;
Eb'ry time I wheel about, I jump Jim Crow.
I went down to de river, I didn't mean to stay,
But there I see so many gals, I couldn't get away.
I'm rorer on de fiddle, an' down in ole Virginny,
Dey say I play de skientific, like massa Pagganninny.
I cut so many munky shines, I dance de galloppade;
An' w'en I done, I res' my head, on shubble, hoe or spade.
I met Miss Dina Scrub one day, I gib her sich a buss;
An' den she turn an' slap my face, an' make a mighty fuss.
De udder gals dey 'gin to fight, I tel'd dem wait a bit;
I'd hab dem all, jis one by one, as I tourt fit.
I wip de lion ob de west, I eat de alligator;
I put more water in my mouf, den boil ten load ob 'tator.
De way dey bake de hoe cake, Virginny nebber tire;
Dey put de doe upon de foot, an' stick 'em in de fire.
Walking On The Moon, Police
(1979)
Walk Between Raindrops, Donald
Fagan (1980)
I said, "in these shoes? what is this, the peace corps?"
I said, "honey, let's do it here"
So we're sitting at a bar in guadalajara
In walks a guy with a faraway look in his eyes
He says, "i got a powerful horse outside
Climb on the back, i'll take you for a ride
I know a little place
We can get there 'fore the break of day"
I said "in these shoes?
No way jose"
I said "honey, let's stay right here
No le guta caminar
No puede montar a caballo
Como se puede bailar
Es un escandalo
Then i met an englishman
"oh," he said, "are you american?"
"won't you walk up and down on my spine
It makes me feel strangely alive"
I said, "in these shoes?
Oh, i doubt you'd survive"
I said, "honey, let's do it"
No le gusta caminar
No puede montar a caballo
Como se puede bailar
Es un escandalo
She doesn't like to walk, she can't ride a horse
But the way she dances, it's a scandal
Walking
On Sunshine, Katrina and the Waves (1985)I fell alive, I feel a love, I feel a love that's really realSome music you just shouldn't overanalyze, for fear of taking all the life out of it. "Walking On Sunshine" by Katrina and the Waves, was not ground breaking or especially thought-provoking. It was just an upbeat, catchy dance track with a 1960s pop sound and a message about feeling good. The heart of the act was not their talented singer Katrina Leskanich, but guitarist Kimberly Rew, who had previously worked with Robyn Hitchcock's Soft Boys. Rew wrote most of the band's early tracks, including their 1985 hit "Walking On Sunshine." The band has since tooled around with their sound, unable to duplicate their
I fell alive, I feel a love, I feel a love that's really real
I'm on sunshine baby, oh, oh yeah, I'm on sunshine baby, oh
I'm walkin' on sunshine, whoa oh
I'm walkin' on sunshine, whoa oh
I'm walkin' on sunshine, whoa oh
He do the song about the sweet lovin' woman
He do the song about the knife
He do the walk, he do the walk of life
Camminando Camminando,
Angelo Branduardi (1996)
Using various
devices – crutches, rope, prostheses, horizontal bars, and harnesses –
the company’s ten dancers execute variations on the theme of freedom. This
use of accessories gives rise to unusual bodily shapes and gestural dynamics
and opens onto a universe of meticulous and playful explorations in which
solos, duos, trios and group work, in their labour, pleasure and invention,
echo the human condition. An aesthete beyond norms, French Canadian choreographer
Marie Chouinard 
presents
her ideas on the way the indefinableness of the Other and the flagrancy
of Beauty brush up against one another through an interpretation of Johann
Sebastian Bach’s Goldberg Variations. Subtle and extravagant, sumptuous
and wild, the work’s movements plumb the insoluble mystery of the body,
of the living being.
(Final/Full/Full Close/Complete) final sound of verse in chant on tonic dominant followed by tonic (V-I or V-i) e.g. G major (GBD) to C major (CEG) strongest of all cadences |
(Amen/Church/Complete) dominant chord followed by tonic (IV-I) e.g. F major (FAC) to C major (CEG) sung to Amen at end of Protestant hymns |
(Interrupted) dominant followed non-tonic (usually superdominant or submediant, V-VI) e.g. G major (GBD) to superdominant A major chord (ACE). |
(Half Close/Imperfect) dominant preceded by tonic in second inversion (I 6/4-V) e.g. C major (GCE) to G major (GBD) produces two chords with same bass note in both chords |
subdominant in first inversion followed by dominant (IV6 -V) e.g. E minor (CEA) to C major (BD#F#). |