Could someone kindly "remind me" of the man's steps in the running weave in international waltz?

Start either in promenade position, or preparing to step O.P. with RF, towards diag center.

1. RF forward in CBMP towards diag center. Commence to turn R.

2. LF side. Continue turning to R. If commenced in PP, closing to lady.

3. RF back, right side leading. Feet do 1/2 turn over 1-3, body slightly more.

4. LF back in CBMP, partner outside.

Timing in Foxtrot is QQQQ, Waltz is 12&3 or 1&23.

According to the book, rise & fall would start at end of 1, continue through 2-4 and lower at end of 4. In reality, most people soften the rise on 2 and then go up again on 3, but not so much as to affect the footwork (HT, T, T, TH).

Regards,
Jonathan

Thank you very much.

Clive Harrison.The Running Weave from a Promenade Position. Advice from John Wood. If the lady takes exactly the same size steps with the same beat values as the man in theory the man will never get past.He adds . But he will by using his strong left arm which as we all know is not the way to do it. Hope this helps a little. There are many other places where the same rule, call it technique, applies.

CliveHarrison. a Running Weave in the Waltz. Sometimes a different alignament can put an obsticle in the mind. If you were asked to do the mans step facing diagnal to the wall , a Natural Turn as in the Foxtrot first three steps starting in Promenade with a changed timing. You would get around your lady without any trouble at all. If that is the problem confronting most of us. I always think . We have 3 or 4 beats of music and only two legs. There has to be a similarity in anything we do. Only alignements make things seem different in many cases..

We use the running weave in our slow waltz. I'm never completely comfortable with it. We use the 1&2,3 timing because it offers the opportunity to 'hover' slightly on the 2 (beat 2). I've tried the 1,2&3 but am not excited by it.
The problem is that on the '&' i have to move in front of my partner and shape slightly to my left. There is little time to do this. Plus it curtails my partner's movement as she has to allow me to do this. It's not like the slow foxtrot, which, using q,q,q,q gives slightly longer to perform this movement (for those of you into technicalities the slow waltz & is 1/3 of a second, the foxtrot q is 1/2 second, which is 1.5 '&'s.)
To be honest, we'll probably be removing this running weave and replacing it with the little rountine on Gozzoli's new DVD involving the 'syncopated side cross' (i'm not 100% sure i've remembered that name correctly) which is a much freer-flowing movement, and is lovely to dance.

Phil. Steven Hillier once said. If you have something in your routine you don't do well. The chances are you never will. His advice was throw it out. Sounds like good advice to me.

I agree with throwing out a step to a certain extent. Our smooth coach holds that same opinion that there is no sense spending endless hours and $$'s on something that does not work.

We however have an opening, and a short wall in our waltz that I just love. It is challenging for us, yet it stays in. Why?, because I love it that much and I would rather spend the time to understand the technique and dynamics of the steps and "get it". I tell you after about a year of tiny adjustments and tweeks it works and I have no regreats in keeping at it.

Other stuff that has not worked that I was just not crazy about gets thrown out and replaced in a months time.

Jan567
That's pretty much our approach too.
What's a 'wall'? is this an american smooth figure?

Phil. It would appear that the expression Short Wall is side two on the floor. Start side one, short wall side two, to start side one.This would be called a two sided routine where i come from .