Alex Moore as we all know compiled the technique Book at the request of the Imperial Society many years ago and it is still with us today.
He was a very precise individual. If he wrote one line somewhere at the beginning of the book. It probably will not be repeated but the intension is that we will apply it as written.
As it is written page 110. On the forward part of any tuirning figure it is more important to feel a forward swing rather than a conscious TWIST of the body.
But that is beside the point. Which is. Could the description of the rising and lowering in the Waltz have been written differently.
Commence to rise at the end of one.
Continue to rise on two and three
Lower at the end of three.
I think it would have been better written.
Commence to rise at the end of one
Continue to rise on two
Continue to rise on three
Lower at the end of three.
They both mean the same thing exactly. You would be suprised how many people have no rise on three because they have done it all on two.
If you want to test a teacher out to see how knowledgable they are just ask them about the above.
Now go to the Foxtrot and see how you would interpret the first second and third steps.
The only reason I am familiar with this is because at the studio we have to answer questions like that regularly. Before I was never told or asked. Now I think I know the book back to front.
If anyone, and I do mean anyone
can tell me of any book or of any teacher of any note, preferebly one who competes and not a backyard mechanic, that teaches that the spine is taken out of alignment in Modern.
Not Latin where it happens all the time. Happy Days.

whats your point Anon3

Twinkltoes. Do you commence to rise at the end of one in the Waltz. In the Foxtrot do you rise at the end of one. When you are dancing how would you apply this. Is it telling you that the Waltz is a more gradual rise not reaching its maximun till three. But the Foxtrot reaches its maximum on two. What do you think.. Because we have all been subjected to bad teaching we don't see anymore. If you can get out there and in the Waltz make sure you rise and lower on three. If you are going to rise on three and lower, you cannot be too high on two and you need to be there ready to rise. So we count the Waltz 1 and 2 and 3 and. Drawing the feet together on an and count. May your toes always twinkle.

Well i can understand where you are coming from but i dont think we need to break the waltz count with a and.
Make sure you are using your knees and ankles properly on 2 and dragging your moving foot (inside edge of toe) towards the standing foot which in turn makes your wt gradually arrive at the standing foot thus controlling your rise.
Which part of the work are you from out of curosity.

"You would be suprised how many people have no rise on three because they have done it all on two."

Anon3

Try looking up the official instant at which step 2 ends and step 3 begins and you might realize almost everyone actually is continuing to rise on three.

Someone remind me when Alex Moore first put together his book? Has it changed since then? Didn't 'rise' originally only apply to foot rise?
As anonymous points out, is '3' beat 3 of the music, or step '3' as defined in alex Moore's book?.

Actually I wasn't worrying about 3 of the music at all.

What I mean is that step 3 begins when the closing foot is halfway closed. Almost everyone is still rising at that point.

Some might also believe that you should still be rising even as you transfer weight - I'm going to reserver judgement on that. My point was that if you are still rising after step three has begun - after the foot is halfway closed - then you have satisfied what has actually been written.

Which is a whole seperate question from what is ideal.

There are two ways of looking at this. If this is the first three of a Natural Turn or wherever
First split the three beats of music into six. 1 and 2 and 3 and.
1 step forward turning at the
end of
( and) Bring the LF to a
neutral position under the
body bending the right knee.
2 Step to the side
( and) Draw feet together.
3 (and) Rise and lower.
That is steps with the music
as per Richard Gleave who suggests
that in practise both should count
out loud including the ( and's ).
Second method positions not music.
1. RF Forward. 2. Bring leg under body and compress. 3. Step to side.
4. Close feet.
5. Rise. 6. Lower.
As an excercise
On the even numbers the foot was lifted off the floor and replaced. This is to make sure that the weight is fully commited on each step. Dancing foot to foot are the words used. In both methods it can be seen that the rise and fall are seperated from the rest This is exactly as was given to me by two teachers who would both know what they were about..Richard and Andrew.

"In both methods it can be seen that the rise and fall are seperated from the rest"

If you take a step back far enough to look at the overall action, it is quite obvious that the rise and fall must be continous across multiple phases of your 6-segment breakdown. You can't concentrate it all in a few of those half beats and expect to create anything that looks like dancing - rise and fall have to begin and end slowly, to create a smooth movement with no sharp jerks to it.

"2 Step to the side
( and) Draw feet together.
3 (and) Rise and lower."

This breakdown either contradicts the official technique or proves my long-held suspicion that the step numbers and musical beats do not in fact match.

Officially, step three begins when the closing foot is halfway closed. You have labeled that as the second half of beat two, so either the beats mismatch the steps, or you have described a sequence of actions which violates the official step description.