Hi,
Does CBM in the man's leading in anyway help in make the lady dance the heel turn or any turn for that matter?
Also are CBM and CBMP foot psotion related to each other in any way?
Is CBMP foor position the result of CBM

"Does CBM in the man's leading in anyway help in make the lady dance the heel turn or any turn for that matter?"

Yes, think of CBM as beginning a turn or declaring your intent to turn by rotating your body. You rotate your body while your path of movement across the floor is yet unchanged, which foreshadows the change in path that will follow a step or two later.

"Also are CBM and CBMP foot psotion related to each other in any way?"

They are related visually but not functionally. CBMP is a position which appears as if it could have resulted from the use of a strong CBMP, but the term is generally reserved for situations not caused by CBM on the present step.

"Is CBMP foor position the result of CBM"

CBM often results in a position hard to distinguish from CBMP, but the term CBMP is never legitimately used for a position of the moving foot achieved by CBM rotation during that same step.

Instead, "CBMP" is used to indicate a position achieved by carrying through a side lead from a previous step; most commonly carrying through the result of CBM rotation two steps previous. (Note that CBM and CBMP can co-occur, for example on the first step of a natural turn in many situations, but the CBMP in that situation is destined to occur due to the pre-existing body orientation, and the CBM rotation is danced on top of that.)

There's a second rather sneaky usage, which is that during a pivot allegedly the CBM rotation of the body results in the DEPARTED foot's position being redefined as CBMP. There's some question if it's really dance that way though.

Finally, no mention of CBMP would be complete without pointing out how closely CBMP is associated with outside partner (and promenade) actions.

As it has been said before. Dancing is an Art and not a Science. Wording is something that if I wrote a book on dancing I would not use the word fall as in rise and fall. We dont fall anywhere in dancing. Might just as well say rise and crash. Fall would go to the rubbish bin. Alan Fletcher on Latin said if he wrote a book he would do away with the term Ball Flat and replace it with inside edge of toe. The word rotate is used often . But rotate the body doesn't mean turn the body. Turn is when we change direction. Rotate is when the hip that is facing West rotates to North West and the other hip turns accordingly as on a Feather Step. Even Alex Moore who compiled the book wrote. The use of the term ball of foot has been omitted and toe now includes the ball of the foot as well as the higher position of the toe. So when discribing a dance or writting, the correct termonoligy should be used at all times. If it got translated into another language and the word fall was translated literaly, could we blame them if they crashed on three in a Waltz. Rise and Lower, not Rise and Fall.

just to get things back on something approaching the topic...

"Does CBM in the man's leading in anyway help in make the lady dance the heel turn or any turn for that matter?"

Yes, think of CBM as beginning a turn or declaring your intent to turn by rotating your body. You rotate your body while your path of movement across the floor is yet unchanged, which foreshadows the change in path that will follow a step or two later.

"Also are CBM and CBMP foot psotion related to each other in any way?"

They are related visually but not functionally. CBMP is a position which appears as if it could have resulted from the use of a strong CBMP, but the term is generally reserved for situations not caused by CBM on the present step.

"Is CBMP foor position the result of CBM"

CBM often results in a position hard to distinguish from CBMP, but the term CBMP is never legitimately used for a position of the moving foot achieved by CBM rotation during that same step.

Instead, "CBMP" is used to indicate a position achieved by carrying through a side lead from a previous step; most commonly carrying through the result of CBM rotation two steps previous. (Note that CBM and CBMP can co-occur, for example on the first step of a natural turn in many situations, but the CBMP in that situation is destined to occur due to the pre-existing body orientation, and the CBM rotation is danced on top of that.)

There's a second rather sneaky usage, which is that during a pivot allegedly the CBM rotation of the body results in the DEPARTED foot's position being redefined as CBMP. There's some question if it's really dance that way though.

Finally, no mention of CBMP would be complete without pointing out how closely CBMP is associated with outside partner (and promenade) actions.

Just for the sake of a clearer understanding and being that CBMP is more important than CBM. Obviously the person asking does not know. It would have been far better to have put your last sentence first and that is CBMP is associated with stepping outside partner sometimes written as O/S Partner. Being that it is most important and used all the time. It should then be pointed out that stepping outside the partner with no CBMP. there will be too much of the hips of both exposed. Then it should be explaned that CBMP A term used when the body is not turned, but the leg is is placed across the body. Which to me is the shoulder is in place and the foot is placed across the front or behind. The third step of a Feather is a classic example where the step is placed across the body on the toe.
The cold facts are. You can dance to a fair standard without worrying about CBM. But without CBMP it becomes quite ugly.