"Anonymous/ The person going forward is in control."

Only to a very limited extent.

Consider that the follow can't even be the person going forward unless the leader decides to invite a movement in that direction...

but once he's done that, then he will of course have to work with wherever she ends up, regardless if it does or doesn't reflect the character of how he invited it.

Anonymous. I think where you have fallen down over there is to use the word the Leader. It creates the wrong impression from the very start. V. Waltz. I swing. The lady swings.No two swing at the same time. But when it is time to go. That's what she should be doing. 50% of the work.
By the way. I haven't yet found anybody doing a Hesitation Change. That along with a normal Whisk have been given the elbow it would seem..

If you are seeking basic figures ( bronze level ) they will appear in most Novice 1 dance comps .

Seldom filmed , as they have little or no commercial appeal .

"Anonymous. I think where you have fallen down over there is to use the word the Leader. It creates the wrong impression from the very start. V. Waltz. I swing. The lady swings.No two swing at the same time."

Nope, you both swing at the same time, but the person going past will have a bigger swing, and theirs will end before the person on the inside. It would be an oversimplification to say that one swing happens before the other, because in fact they substantially overlap.

"But when it is time to go. That's what she should be doing."

She still must move in the context of what the leader has invited - he, and not she, is the one who knows as he initiates the swing if they will be dancing the back half of a turn or instead, or a back change step, and so it is he and not she who inflects it with the appropriate character to result in one or the other. She might suspect from the phrasing or place in the room, but that's not information that it's safe to act on. Of course if he invites and she doesn't go because there's someone in the way, he needs to pay attention to that too.

Anonymous. You must have heard NFR
( No Foot Rise ). This is linked with no Swing as the man swings past on step one of a Natural. That is on any dance whether it be Waltz or Quickstep or Foxtrot or the V. Waltz. NFR, Those words which are written in the technique books cannot be ignored. If you don't understand how to apply you are missing a very basic cocept.
This happend to a friend of mine who is now a Professional very highly placed in the world rankins.She had her first lesson with a top profile teacher on her arrival in the UK. She didn't get past the first three in the Waltz when she was told that she had moved a few centimeters out of position on the first three of the Natural. That's right , she had applied foot rise where it was not. needed.
To continue. If no foot rise is applied the second step will point down the LOD. If Foot Rise is wrongly applied the second step will be pointing diag to wall. That is the ladies steps on the first step and the second step of a Natural Turn. NFR. How important is that.

"Anonymous. You must have heard NFR
( No Foot Rise ). This is linked with no Swing"

No foot rise does not by any means imply no swing!!

The smaller type of swing used on the inside of turns does often go hand in hand with no foot rise, and a pointing alignment type of second step, but it is most definitely still a swing.

We do not, after all, want to separate from our partner if we can help it. If she swings, then to stay with her our body will have to move in a quite comparable path at the same time. However, being on the inside our path will be smaller. For beginners where the person on the outside can at most barely achieve a swing themselves, the person on the inside may not be encouraged to think of their action as a swing. But as the travel on the outside increases, the more the reality of a swing on the inside (continuously tracking the person on the outside) will become apparent.

Another reason for confusion is that even as their hips swing to track the person on the outside, the person on the inside will feel like they can stay over their standing foot longer. Their hips will swing through tracking their partner, but the actual push from one foot to the other may feel like it is occurring a bit later.

Who did really answer the question about the lead and the difference against 4-6 Nat. Turn?

My lead: I assume that ladies (especially at social dance) can't really feel the difference between a man using NFR (step 4 Nat. Turn) or staying down (at the Heel Pull of the Hes. Change). Of course, it's true that we don't raise at 4-6 of the Hes.Change, but for leading this figure I try to let the lady feel the different distribution of TURN between 4-5. At a Nat.Turn we use "body turns less" and "body completes the turn"; not so at a Heel Pull (4-5 Hes.Change) where I do all of the turn until e/o 5.
So the lady feels "every thing ready on 5, nothing to do at 6 - just hesitate". So technically at the Nat.Turn 4-6 are at one line (LOD), while at the Hes.Change we break the line e/o 4 into a line moving sideways dia. to wall (man facing / lady backing center already at 5.)
All of the ladies I ever danced with feel that difference, whether I do a closed three-step-turn or a Heel Pull.
And to be sure that the lady won't go into the next movement with the wrong foot the man can always produce a clear picture of weight distribution - e/o 6 at the Hes.Change standing on his R leg, and the other side at the Nat.Turn.

German Teacher. In my humble opinion the ladies don't lower enough through the knees. From there it is stay as you are, or rise if it is to be something else. Those skilled dancers who would know about bending the knees don't do that Hesitation Change anymore.

"Those skilled dancers who would know about bending the knees don't do that Hesitation Change anymore."

Only because it's a little boring compared to other options. I'm sure they'd be happy to demonstrate it to you.