Turning the body during step one as the the book suggests only restricts your flight if you haven't yet learned how to initiate swing with the action of the standing foot. Swing is a foot action before it is a body action - learn to generate it in the feet and only finish it in the body, and then you won't have to delay the body turn to create it. Execute the book footwork for step one (heel and then toe, not heel flat) before the end of step one and then simply continue that pickup to develop the left side up into step two without further body rotation.

This will also fix your outside partner natural - if you are depending on bringing the side through late to create swing, this step would be dead since you commence already having a side lead that will become the CBMP. But if you create the swing from the foot you can make the natural big from either commencing position.

Phil. If the right foot does not turn as the weight is placed on it. We have something that differs from the technique book. First, I have been looking at a IDSF tape of a grand final. In it six couples performed a solo Waltz. Only one used the technique which I think you suggested. He started with a Natural facing diag to centre, then swung it along the LOD just as we would a V. Waltz. He only did it once and that was at the very beginning. I would like to see that after a syncopated chasse taken on a normal alignment. The other five were as my technique book. Very clearly seen. One more thing. Originaly I was trying to point out that the technique is consistant. Take the chart of a Natural Turn for the man. Hold it to a mirror. You will find that you now appear to be looking at a Reverse Turn. The difference is minimal and the technique remains the same. The guy who took the V.Waltz alignment was an exceptionally tall person.

Phil. If both feet are pointing in the same direction you won't be too far wrong. You will find that this has never altered and never will. On video I would like to see a overhead shot of the teaching. Especially in the Rumba. In the Waltz whichever way you choose to do this step, a flexing and use of the standing leg will give all the power needed to swing onto the second step. Another if. If you can on your closure be high on your toes and both feet absolutely in line and are able to freeze right there, stay there. If you find that you need to take the fourth step to stay balanced, then there is something wrong. The technique needs to be looked at. If your Natural Spin Turn on the first four resembles a Tipple Chasse trying stay on balance. There again we have a technique problem. Over the years I have been there and done that. One way coaches cover up bad basics is to give a couple all open steps, and to use a lot of syncopation. Latin is the most offended. I saw a couple, where the man did not do one basic either forward or backward. The lady did , she danced all around him. He stood there in the middle going from one shape to another with the minimum of movement through the feet. Sometimes I think that some of the adjudicators need to go back to school, because this couple actually were placed.

Annon. Your description of the first two steps of the natural is Excellent,but Geoffry Hearn in his latest book on technique does say that when the heal touches the floor on ONE the the foot will immediately flick down to being flat.

I'm not sure I'd say immediately flat, but fairly promptly.

That wasn't my concern though. The issue is that the foot must not stop or even pause at flat, it needs to go right on through to the toe, with the heel lifted by the end of the step which is when the left foot draws even with it. If you keep the heel down as you move into step two, you don't use the foot to generate a pickup and send the hips into the swing. Without the hip leading, the swing will be be broken and lead by one or both of the left foot or upper body instead. The common way to make a broken swing like this feel full is to save a lot of the rotation for the early part of step 2 - a mistake, since the action is CBM on 1, not body rotation on 2. Get the heel up to generate an aligned, hip-lead full body swing, and on time rotation doesn't rob anything from the step the way it does when the full footwork of step one is neglected.

Yes , this is why we say " swing the hips forward and up" to the lady. The left knee is leading the body and comes along side of right leg before weight is fully on right toe,the left foot arriving as you said. But of course there is further body rotation after step two, we are still turning slightly as we draw the right foot along side of left foot and complete the turn as we lower between (three )and (three and), and correcting the sway at the same time.

Originally it is the left hip that is leading in the CBM. Then the left knee will start to draw forward, with the foot still behind. You want to use the pickup of the right heel to get the hips swinging, but you want to swing the body first, with the free left leg unfolding slowly, so it only catches up with the line made by the left side of the body as you place the 2nd step.

Anonimous. Nothing is being said about the ladies part of the first three of a Natural. They are not the same in reverse as the mens steps. Reading here just might give the wrong instructions to the ladies. One of our top lady coaches teach the lady to throw out the anchore on step one NFR , stay there untill the man passes , then follow him up,not with him. No two people swing at the same time, and that includes the V. Waltz. One for the notebook Bill Irvine said in a lecture given in Singapore that he teaches that in the Foxtrot the third beat should be accentuated. That in a Feather is the first quick, and so on. The reason was given as musical expression.

Yes Don .I agree with you. WE take it in turn to swing . The person on the inside of a turn waiting for the person on the outside of the turn to swing through and pass. This creates a more powerfull movement using less energy than if we danced by our self. This also happens in the pivots and spins, at least on our part. My mistake in the past was forgeting to keep my body turning when i was on the inside of the turn. My partners mistake was to slow her body down when she felt me slow down to allow her to pass, we still have this problem at times. When I say waiting on the inside of the turn ,we still have to swing our hip back and up but not with the same power that the person is using to drive forward and up into the turn. You lost me on the foxtrot .

Cdroge. It seems that ladies have difficulty staying on the LF longer after having pointed their RF to the side. I suppose the fault lies with the teaching in the early stages of a dancers basic training. The same of course is for the man on his backward step or anywhere where NFR is mentioned.For those who do not know what NFR means it is NO FOOT RISE. And would you believe there is a whole load of NFR in the basic Quickstep. Now Foxtrot. There is only one way which is try. Hit every third beat a little harder. If it looks good and feels good, then do it. If not forget it. It is possible to be a bit too dreamy on that third beat and actually be behind the music. I was always instructed to be spot on the beat with my quicks and let the slow's take care of themselves.