Suomynona. Anne Lewis definitely teaches in the Foxtrot a collection point on an ( and ) after four. And makes a point of making this very clear Which now brings us to, in the Waltz, are some dancers playing about with the timing. For instance Reverse Turn. Stepping slightly before the beat and the body arriving on the beat. It would still be in time. Actually as I watched this tape I thought that the demonstration had been recorded silent. And a sound technician put the music in afterwards and was a bit out of synchronization with the dancers. But then I saw, and have it taped, the same couple demonstrating live. It was the same. From this I would assume that to look different to others there is some stretching of the music to get more musicality in the dancing. I wonder if there is any couple who dance a different timing in the Waltz for a sucopated Chasse after a Whisk or Open Imputus. Instead of the old faithful 1 2 and 3. Do 1 and 2 3. Or my favourite 1 2 3 and. The latter timing for the Reverse Fallaway and Slip Pivot was being taught that way in 1986. All of this is leading to Alex Moore who wrote. " It is hoped that no student will be foolish enough to think that a parrots knowledge of the contents of this book will be sufficient to satisfy an astute examiner ". I wonder what he meant by that ?.
Back to the Foxtrot. Also are you aware that there is a lot of foot shaping with todays dancers . For instance Anthony Hurley teaches the lady on the first of the Reverse which is back right foot to turn the toe inwards. Try that also on the Impetus for the man. And on a Link in the Tango for the lady.The later is taught by Richard Gleave. So there we go.

Standard timing is almost always the body instead of the feet. The one exception is that the first quick in foxtrot just happens to fall right on beat three - otherwise, you want the body on time and the feet as off time as necessary to achieve that.

I think the reason we can step straight back down the line of dance on the forth step of the natural turn is because with a good sway that we hold on three the body is not backing the line of dance. Although we keep the timing with our body,the Lead step has to be timed with the foot and just like soldiers marching the heal hits the floor on one the body arriving later. That is not to say that top dancers may delay or speed up moving on to that foot,but for the average dancer that is the way it should be danced .

No, the reason you can step straight down the LOD is because that is the direction in which the bodies should be moving after step 3. The rotation is a preparation to turn; the change of direction doesn't take effect in the placement of steps until step 6.

This is a *MAJOR* source of confusion amongst beginners... The given directions of steps are relative to the body which is turning, the resulting positions in the room are as I describe above.

That is what I said. As you lower on 3& the sway will straghten and the bodies will now start to move down the line of dance, the bodies can do this because they were not backing the line of dance on three. Pleas explain the meaning of ( The rotation is a preperation to turn.) Thanks Dave

"That is what I said. As you lower on 3& the sway will straghten and the bodies will now start to move down the line of dance, the bodies can do this because they were not backing the line of dance on three."

They could still do it if they were backing the LOD on three.

"Please explain the meaning of ( The rotation is a preperation to turn.)"

Contrary to common belief, rotation does not imply turn at the present time. It is merely preparation for turn at some point in the future, most often two steps later.

The key point here is that step direction has nothing to do with body orientation in the present. Step direction is a result of the direction in which the body is already moving, and cannot be immediately changed. Body orientation may be changed at will, but the only good reason for doing so would be to set up for a future change in direction of motion.

THis is comlex. So if the body is moving in a certain direction on three our step on four must go where the body is moving which may not be down the LOD. For it to go down the LOD we would have to plan our swing and sway in a way to make this happen? But since this is not a change of direction in the NT We will change our Body orientation when dancing a closed change after the NT. I must look up the word Orientation for a better understanding. I will file your infor for more study. Thanks Dave

"This is comlex. So if the body is moving in a certain direction on three our step on four must go where the body is moving which may not be down the LOD. For it to go down the LOD we would have to plan our swing and sway in a way to make this happen?"

Yes, you plan step 1 and 2 so that step three lowers with the body moving down LOD.

That means step four is placed down the LOD. You plan step four and step five so that the body lowers with step 6 moving to DC.

"But since this is not a change of direction in the NT We will change our Body orientation when dancing a closed change after the NT."

The closed change is different. While 3/8 turning figures have steps 1 and 2 continuing the direction the previous step 3, the closed changes, and the underturned natural or reverse making 1/4 turn, will change the direction of movement after step 1, so that step 2 moves in a new direction. For purposes of figuring out directions in the room, it matters not that the body turns in the underturned turns and not in the closed change.

Dave. I think this might also be a part of some peoples problem. When I first learnt the Foxtrot we were taught to do a Feather and Three Step straight down the LOD. Followed by a Natural Turn. This required a half a turn by the man. We quickly learnt that to do this the person on the inside of the turn had to make way. If they did not the man will push them back on their heels, and they will do a Heels Turn ( plural) and not a Heel Turn ( singular) Thats right ladies the Heel Turn is on one heel and not two. Turning on two heels will result in the toes popping up and your weight is too far back. Now you have to get out of the hole you have just dug. The whole thing becomes a struggle. It should be as smooth as silk.
The other thing with turning is the arms will travell faster than your centre. Just think how at the ice rink you used to make a chain of people. The one in the middle was hardly moving. The one on the outside was travelling at high speed. It is suprising how many seem to leave the arms trailing allowing the centre to move in front which also puts a twist in the spine. Another example would be a cycle wheel. Which is travelling the fastest , the hub or the rim.

"Dave. I think this might also be a part of some peoples problem. When I first learnt the Foxtrot we were taught to do a Feather and Three Step straight down the LOD. Followed by a Natural Turn. This required a half a turn by the man."

Trying to make any of the basic 3/8 turn foxtrot (or waltz) figures turn 1/2 causes severe problems. You have to drastically modify the technique to make them flow even remotely smoothly - it's not something beginners should be encouraged to do at all. Teachers need to either provide routines with proper alignments built in, or preferably teach how to floorcraft using progressive figures that turn no more than 3/8.