That overlapping step which has always been a mystery. That is the Foxtrot Feather Step finishes on the man's LF. Which is the first of the next move for, instance the Reverse Turn. Could it be that in his infinate wisdom he or they wanted that LF to come out on the correct alignment. Which it will if the CBMP on the third step is done correctly. But if in learning we stop there to continue. Do we start afresh from a strong CBMP position. Or is our first step is too wide. Should there be even the slightest gap between the thighs there, which would put us off the one line. Done corectly we should be able to lift the heel on the LF and be on the two toes for the next step istead of coming off a flat LF..

LuvLatin.
It's about time this query was put to rest. In all the years I've been associated with dance I can't recall any teacher ever teaching the extra walk at the end of a Feather or the Reverse Turn. So, why is it included in the technique? Just picture the candidate in the examination room who's been asked to dance the Feather Step as gentleman and give the positions of feet. Having given and demonstrated step 3: RF fwd in CBMP. OP. The candidate has finished on the toes of both feet and is holding a sway to the right. Now, a demonstration should be accurate in ALL aspects regardless of which is the subject of a question. It would be wrong for the candidate to hold the 3rd step of the Feather and lower the right foot to show the correct footwork of toe, heel, and recover the sway WITHOUT moving the left foot. That's why the extra walk is used. The walk is for the technical demonstration and not for the teaching of the figures. When giving a technical description of a figure in the Waltz - let's say the Natural Turn - and the candidate has finished on the toes with the feet together. Here again the candidate has to lower the heel of the closing foot to show the correct footwork of toe, heel for step 6 and recover the sway whilst demonstrating an extra step. Although this extra step has never been included. If you think this is wrong then give a detailed description of a lowering action.

"aving given and demonstrated step 3: RF fwd in CBMP. OP. The candidate has finished on the toes of both feet and is holding a sway to the right. Now, a demonstration should be accurate in ALL aspects regardless of which is the subject of a question. It would be wrong for the candidate to hold the 3rd step of the Feather and lower the right foot to show the correct footwork of toe, heel, and recover the sway WITHOUT moving the left foot."

Except that step 3 is not officially finished until the standing foot is flat and the moving foot next to it... so you candidate would not yet have finished the assignment at the point you imagine him being left hanging.

Anon.
All I was trying to point out is that the LF must move to show the correct technique of step 3. It has always been accepted (right or wrong) that the extra walk be taken to show this. What I find interesting about your reply is that the suggestion that the moving foot finishes under the hips next to the supporting foot which is flat to the floor. This was suggested in a lecture in the Winter Gardens in June of this year. Kind regards.

Please explain in the context of your theory why many figures which do not end with foot closure don't have an extra step on them then?

Anon,
What figures are you on about?

Anon,
MARY, U R taking your time. Again, what figures R U on about?

Luv2Dance. To add to my original thread. Wouldn't it be more professional to rewrite the manuel and not continue with this nonsensiclal theme. There was a great opportunity when the last editions was written.
I have been to more than one studio who do finish a movement with that extra step. I can remember well how Bob Burgess finished whilst teaching with that lapping step. It was in an Open Telemark in the Foxtrot. As you said , we were never left standing there on our toes.
Whist you are here .What if anything is being done about 2/4 and 4/4 Tango's. My teacher treats them as a 4/4 regardless whether they are or not. For those who are thinking what on earth is this all about. To make it easy try a Four Step and a Closed Promenade in 4/4 time. You are now out of rhythm. 2/4 you are in rhythm. I did ask a visiting lecturer how do you manage a Four Step. Easy he said either turn it into a Five Step, or stand still for two beats, or do a head flick for two beats.

"To make it easy try a Four Step and a Closed Promenade in 4/4 time. You are now out of rhythm. 2/4 you are in rhythm."

But you are still out of phrase...

In some tango that phrasing is so strong that we say they are in 4/4. In others we consider them to be in 2/4, but there is still a sense of pairing in the measures - the unit of four very much still exists for anyone with a good ear.

So the teacher who treats everything as 4/4 is being not just safe, but wise.

I am still concerned with the lack of guidance from the people who have written the book. First I am refering to in rhythm, not in phrase. In haven't worked out yet 2/4 at 33 bars a minute how fast I will be going.I would imagine that in 4/4 we would have about 30 Bars Per Minute.
Being in rhythm in 4/4. We go into a Link on 1 2 we start the Closed Promenade on 3 4 finishing on the count of 3 4. Ready for a Reverse Turn.
As I said before if we go into a Four Step we will not step out on 3 4 but 1 2 if we continue we will go into the Reverse Turn in time but out of rhythm. If the music is 2/4 it won't matter we will always be in rhythm and in time. It is not possible to step out on a 3 4 beat because there isn't one. If anyone would care to count what I did in a Silver Medal years ago. Two Walks, Progresive Side Step. One Walk and a Link. Closed Promenade into a Reverse Turn.If this is 4/4 I am right out of rhythm. I am now dancing 3 4 1 2.When I did that Medal all Tango's were 2/4 that is two beats to one bar.
Just make myself more clear. At Two Beats to a Bar. Two Walks = Two Bars. At Four Beats to a Bar Two Walks = One Bar.
Its worth carrying on her. In my book just to make it more awkward to understand. One Slow = One Beat One Quick = Half a Beat.in 2/4 time In the book a Closed Promenade is S Q Q S. That's only three beats. I'ii leave it there. Who could learn Tango from a book.