Nobody ever mentions or asks about timing. I suppose we all know it, I don't think so. Sticking to the Waltz. We know that in practice we should count aloud. Four ways to go here. One is just 123 123. or 123 456 the other can be 1 & 2 & 3 & 4 & 5 & 6 &. All of these are 2 bars of music each. When we come to counting in eight bar phrasing it can be counted 123 223 323 423 through to 823 ready to start on 123. That is counting in an an eight bar phrase. On a disc you will have a 4 bar introduction followed by eight blocks of eight. The first bar of each block is played with more intensity which can be called strong, the next 123 is light and so on coming to the next phrase which is strong on the first 123. A skilled dancer will use the music to create light and shade in their dancing. What they won't be doing is the first three of a Natural on the light bar of music which if we continued on after a Spin Turn give us a light entry into the Reverse. Last of all here Both man and lady in practice should count aloud in which ever way they are counting. This means the lady does not wait for the mans one and then count fractionaly behind. Both are with the music, both are counting at exacly the same time out loud . For the more experienced.If in the studio in a lesson we finished with a Open Impetus and stopped there. The next time in we started right where we finished. We can not start on the first 123 for a Chasse.We would have to let the first three beats go then start. This gets very interesting in a complicated routine starting some distance into the routine. Lets hear if there are any disagreements.

I forgot to add that another benifit to counting aloud is it will improve the breathing. I will recount this recent spell in our studio and why I made a point of saying the lady must not take her count from the man. Anyway each had to do the routine and count solo. The men were very good. The first lady counting was good but was not stepping to her own count. The second lady was not with the music it was in time but not readable choreography with the music( there are a few 1&23 's, and 123 & as well as the old faithful 12&3. The third lady was by this time was getting nervous and was told we can't hear you .What made it doubly difficult was that we had to start on 623 ( the sixth bar in an eight bar phrase )and count ourself in. This incidently is a technique class, not for the faint hearted. By the end of the class, ( six in the class, and the teacher at this present time in the top twenty world wide and climbing ).At the end each of us had a clearer picture of what dancing is all about as regards dancing in phrase and in rhythm with the music. I was not too keen when we had to actually sing the bars of music. But if that's the way to go so be it. We will all be there next Wednesday.

Picking the start of an 8-bar phhrasing is not that easy. Sometimes the first bar is played with more intensity, but by no means is this always the case. For example, the tune "boy next door" (Judy Garland sang it in Meet me in St Louis) starts the second 8-bar sequence fairly quietly, and in fact the first note of the fist bar of the second sequence is a rest, if i recall it correctly.
What you do tend to have is a feeling of 'coming home' at the end of an 8-bar phrase, and you can sense it. It's much easier if you're a musician, but can be difficult otherwise.
By the way, i'm a Judy Garland fan (in case you didn't guess already)

Phil. Michael Barr said that he was not in favour with vocal discs for ballroom dancing. But I think they are here to stay.There are no vocalist at Blackpool.
If you want to test your skill a Waltz that is played quite often in studios is Norah Jones Come Away with Me.. Behind the singer the beat is as it should be , but if you listen to the singer it could cause trouble. There is a eight bar introduction. But the singer starts singing on the 3rd beat of the first bar, and does so throughout the disc. So block out the singer and listen to the back ground.
If you listen to a good recording for ballroom dancing. See if you can see how bar seven and bar eight are played with the same intensity ,followed by a strong one. This is how to tell when the new phrase is comiing up.Some people have what is refered to as Elephant Ears. If they walked into a room and the music was playing, they could tell you what bar was being played. It's a gift. Anybody who is serious about dancing should learn to count in bars, Foxtrot the same only this time 4/4 . four beats to a bar.1st beat is strong, second light. third strong but not as strong as one, fourth light. Counting in bars 1234 2234 3234 through to 8234. Which brings me to Billy Irvine who teaches that the first quick Foxtrot 3rd beat is strong, which it is if you listen to the music is correct. Not as strong as one but never the less more intense that the second or fourth. I also like Judy Garland . The film I enjoyed the most was with Gene Kelly in. For Me and my Gal. Made in 1942. The tunes are still being played today.