Laughing. That's true, people said concentrating type look on my face throughout my dancing . Yes , I do worry too much things in my hard long journey although I enjoy the whole process of learning dancing . I should keep in mind that just flow with the man , giving response to his action . Great thanks , phil.

If you as lady end up facing DC on six, then you did make the classic 7/8 turn.

But the spin turn can have anywhere from 5 to maybe almost 9/8 of turn, depening on what you want to follow it with. You can end with the lady facing DC against line of dance and do a 1/4 turn 456 of reverse. Or you can complete more than a full turn and continue turning in the next figure with a turning lock.

Most do not dance the spin turn today quite as a natural pivot turn followed by a spin - step 4 becomes a bit looser, more of a pointing action and less of a pure pivot. But if you look at the turn in the feet, it should accomplish about 1/2 turn by the time you arrive on step 5, even if not by the time you start departing step 4. The amount of spin on step 5 itself is highly variable - that is the nature of a spin action - and this is why the overall amount of turn that is proper for the figure depends on its context.

Contact: I would not worry about it, instead that each person have good posture and maintain perfect position in relation to partner. Simply teaching constant contact is a cheap way of satisfying some of this requirement, but more visually than functionally - sometimes ultimate function requires breaking contact as recent champions have been seen to do.

Thanks a lot for expert advice .

Yichen 1. You have a lot of good advice from people who obviously know what they are talking about, having probably asked the same questions them- selves at some stage. Shoulders . I was taught to have somebody place their two hands on each of my shoulders from behind at arms length. They should be able to feel you roll your shoulders back and down. Now empty your shoulders of any weight. The Spin Turn, for the lady. A major fault is that on step five the foot collapses and sometimes the heel of the left foot comes down. You can than say goodbye to any attempt to do a overturned Spin Turn. Remember step five is a toe only for the lady. Another tip for the lady comes off a Richard Gleave tape and that is, the lady on the beginning of step four turns her head much futher to her left, and make sure the head is the last thing to arrive. For the man imagine you are on the inside of a barrel where both elbows are touching the sides. As you turn keep them there. Gee, and that's only the Spin Turn. It should be pointed out that the technique book is only on foot positions. The shoulders are more often than not doing something else. Keep trying. but don't be too trying with your coach. After all he is trying also.

Dear Don, I feel warm here as in a big family.
Very helpful advice about only toe on 5 , with much further leftward head on step 4 and head is the last thing to arrive. I found better shaping because of left upper part extention and stability deu to continuous motion. Great thanks!
shoulder :rotating back and down and emptying the weight .
I will keep in my mind when I suspend my elbows toward my coatch.

Hi Don
THat "rolling the shoulders back and down" didn't work for me - but it might for someone else of course. I would say that for me, my physio telling me to "separate upper body and hips" resulted in the greatest improvement(and it's still improving) for the smallest number of words i've ever encountered.
Someone elsewhere on the topic of CBMP responded to my example by suggesting i think more of rotating hips than upper body. I realised that i hadn't been doing that.
Yichen - please keep asking the questions. You're doing a great job here. We're all learning all the time, and the better we get, the more there is to learn.

Phil. This was given to me just recently
Put a tie on. Place your arms across your chest . Palms towards you. finger tips touching. elbows up. See exactly where your upper arms are in relation to your body. Open your arms palms facing. but don't move the upper arms , they stay. Place the end of your tie in your right hand and keep it straight. That's where it stays. The lady can also wear a tie for this . The instructions are the same. Now dance around solo keeping that right hand with the tie still. Keep the tie straight One more thing . With your tie in its normal position. The ladies right side must never touch the tie.

Dear Rha, thanks for sharing your ideas which open my mind .
Accepting the great point that technique is in all things even within myself. I am practicing the follwing steps at my clinic :big top started from pp, -->pivot--> double reverse spin-->ronde---> check--->ronde...
I attempt to gain better vertical allignment , weight transfer ,balance and coordination through these steps. :)). A crazy beginer I am.

Dear Phil, I am trying all you said , I get a little bit more confident when synchronizing " separate ribcage from hip ( I do it via contracting my back muscle to let my spine lenghten in opposit way) with my scapulae are gently rotating outward, downard and my lower part of scaulae slightly toward the man , my elbows seems lighter.( I feel tow suportting points somewhere.).
I was taught to maitain strong muslce tension of my anterior abdominal wall and' mid-back" for good contact and nice side line . and "quiet " upper part. but I don't want to loose the compliance. How to train the mid part of body maintain proper tension and to have compliance needed ?
It seems suitable for the lady to do more hip ration than upper part in CBM. (My job is to keep my elbows in line , tightened to my body whenever, relaxed forearms and hands.) upper part body rotation is limited by the man in CBM.(

You want to keep hip, center, shoulders, and head aligned as if on a common axis, while free to rotate about that axis individually. As lady your alignment won't be perfectly straight, but it still needs to be consistent.

Rotationally, the area just below your shoulders will always be parallel to that area of your partner. Your hips may move together or in opposition. Your feet generally point in or against the direction of motion, or at a small angle to it for CBMP steps. And your head usually follows the angle of your feet - magnified a bit, but surprisingly close.