"I agree. Of course it is converted, but we talked about the timing. In my opinion (and as stated in the ISTD technique) this conversion is started at the end of the second "quick"

Actually no. The ISTD technique is written in terms of muscle actions, so the timing is given for that of the lowering actions and rising actions. However, the energy conversion is related to the change of altitude which starts before the official lowering or rising action and continues after the end of it. Looking at foxtrot, it's pretty much at the lowest altitude with the legs divided into step 1, and at the highest altitude as the body passes over the foot in step 2, but this is not the timing of the rising and lowering actions.

Yes, and this is what I see being danced by the present world champion in his teaching vidio.

Suomynona. Here we go again getting far away from the first enquiry. Which was. "Is there a and count after the second quick in the Feather 4 & ". I will add to that , the Three Step also. John Wood clearly states and demonstrates on his video that there is. So no argument there please. All that other talk that has infiltrated this thread is, Bend, flex, recharge, call it what you like, will take place after the moving foot comes into a neutral position. If anybody thinks that they can retain the none standing leg behind will be chasing the beat on the next step. One gentleman has got it all wrong when he thinks that an( and ) count is a syncopation. Is he in trouble if he gets into Latin, the Rumba, with a count of 1 and. 2 and. 3 and. 4 and. Also he not knowing where the and is coming from. Anybody interested should watch a video in slow motion to appreciate how far the knees should bend. I once asked my teacher if I was bending my knees too much. She said I doubt that you will ever bend your knees too much. But whatever you do 'don t bend the knees to your fullest whilst your other leg is in the rear otherwise you will trap the moving leg. Now hasn't that got away from the original question.

There's an "and" count between every pair of numbers, but in foxtrot there's only one number per measure and that number is "3"

Daffy Duck. Not sure what you mean, Is this the Third Step which is the fourth beat. or is it the second step which is the third beat. Either way there is a gap between each beat of music. If you don't believe this try to say 1.2. at the same time. You can't. You can say it in quick succesion but not at the same time, So there is a gap there if we wish to use it, and on the toe lower before the slow we do use it. Even though you may not be aware of what you are doing you are also .

Every time you insert a new symbol to fill a gap, you create two new gaps in which someone else could insert a filler - on to infinity, as a guy named Xeno figures out in ancient Greece.

Now in terms of the foxtrot, there's only one point in the measure you should be worrying about, and that is beat three. All of the actions are relative to each other, but only in any sensible way relative to the musical beats in the alignment of the first quick with the third beat. Worrying about anything else is just going to distract you from the things that are important - coordinated movements - with concern about things that aren't

Quickstep. So what your saying is that the & in the FSP is not a syncopation and that we can dance it only as 1234 and that in the cha cha the count is 12345. What about the A in jive.

If you are not sure about "and" and "a", I explained it here:
https://www.ballroomdancers.com/Message_Board/view_messages.asp?MsgID=15510&PageNum=1

cdroge. It is difficult at first to come to grips with this one. In the Foxtrot there aren't as many syncopated steps as there are the Waltz. So lets go to the Waltz you can just substitute 3 (and), thats lowering on the (and)in the Waltz. To 4 (and) in the Foxtrot. In the Waltz we have heaps of syncopated steps. An easy one is after a Whisk, The Syncopated Chasse which has four steps to three beats and we count 1 2 (and) 3. but on the end of the three we have an (and) count which is lower and bend the knee. With that stored power we can hit the one with gusto. Without the bending of the knee we have nothing to offer. This happens all through the Waltz. Now apply all of the above to the Foxtrot. On the fourth beat count 4 (and) That's your lowering in the neutral position and the flexing of the knee ready to punch off into the next step. If you try to lower whilst your none standing foot is still to the rear. The following step will be weak. This might suit a Social dancer but not a competition dancer. All of this can be seen if you play a good video in slow motion and look at the lower half only, you will learn a great deal guaranteed. To those who have trouble and think that the forward steps are harder than the backward step.They are lacking in technique Better to leave the Cha or Jive to some other time. The Cha is 234 and 1. The and becoming a step. I'm glad I never had to write a book.

"On the fourth beat count 4 (and) That's your lowering in the neutral position and the flexing of the knee ready to punch off into the next step. If you try to lower whilst your none standing foot is still to the rear. The following step will be weak. This might suit a Social dancer but not a competition dancer."

Actually this lowering while the trailing foot is still trailing is exactly what top comeptitors do - their arriving foot is flat before the trailing foot has closed. The do not get stuck because they continue to bend the knee as the feet collect - though the good ones have their body already beyond that foot before the trailing foot finally passes it.