"Anonymous. What I am saying is I don' t move. The lady comes to my right side as if she is going straight past me. Then we make all the neccesary conections, I then send her more to my right putting her weight slightly back which adds to her shape. The problem is staying in that shape and not losing it."

If you want her to stay to your right (her left) you have to reciprocate by staying to your own left. Otherwise you are in an unbalanced position, and like it or not will tend to return to a balanced one, in this case one with both as central as you were in your body.

Phil. The sway on three in the Waltz. Imagine a triangle in front of you. The base about half the height.Imagine the slanting side is being drawn in without the base moving.As this is being drawn in the long side will curve up and over. Sway on three. Is't this what we do on an Oversway also.

More like sway on two and the beginning of three, neutralize end of three. The sway is a result of the swing, your body doesn't all arrive at the end of it at the same time and you hold the top trailing position a bit. Then your top arrives and you lower.

Sometimes the sway is held into the next figure,for example: natural into impetus or although not a sway but shape the lady holds her shape coming out of the contra check into a curved feather to the right. There are of cause many other examples.

Dave. If you are interested, and was taught as I was. In an Oversway position. To draw my right foot to my left rising. Feet together on two and up. Step out in Promenade on three. Wrong and can be proved. Oversway Position. Draw the R.F, to the left and stay down. Thats one. From there rise on two. Step out on three. This is consistant with the correct rise and fall in the Modern Waltz. The other way is't. It had me up on the count of one.

Don. We come out into a nateral pivot and rondi,got this from Gleave years ago.