I asked. In a busy competition like Blackpool 360 couples. 20 on the floor at a time . 12 needed from each heat. 1.1/2 minutes to decide.How do you do it in the Waltz for instance. Easy. I look for the correct rise and fall. If it is not there i look no further, that usually illuminates half the field. What if one couple are doing a group down the middle of the ballroom. You know , the usuall Fallaways and so on. For starters on a crowded floor it wouldn't be possible and shouldn't be tried. If it was tried it would not impress me. What about Professionals. We would expect them to be fairly proficient in what they do. Yes and have you watched a Foxtrot Final and seen how basic most of their groups are and again with the correct rise and fall.I think the 2006 final at Blackpool proves that. So, in the Waltz Commence to rise at the end of step one. Continue to rise on the next two steps and lower at the end of the third beat. And a straight knee at the extent of the stride. Then bend it as the weight arrives. All from the technique book and i will be looking for just that action, if it isn't there. Goodbye.

An over simplification of " adjudication " .

Yea but the rise and fall differs depending on the step, so you can't really go by that. Besides you don't have time to look at all that. If done right all the technique creates a certain image and characteristic of the dance.
Maybe in a final but in quarter, and semi you just need to get attention.

Tell me where in the Waltz the rise and fall differs. Does it alter on a Whisk or a Open Telemark. No. What about a Double Reverse Spin or a Back Whisk. An Outside Spin it does alter. At the end of a Drag Hesitation it does for obvious reasons.Open your book on any page and learn. Commence to rise at the end of one Continue to rise on two and Three. Lower at the end of Three. If you are not doing that you are not doing a Waltz.

Don,
Don't you believe there is a difference in Comm to Rise e/o 1 and Rise at the e/o 1?
What about, Up on 2 against Cont to Rise on 2? Or was the posting done so you could 'spout your knowledge' about the basic rise and fall in the Waltz?

Ha,
Yea i would read the book again if I were you. Maybe get some more coaching too.

As a competitor, I would never want to dance for a judge who bases his entire decision on just one of the innumerable qualities that go into good dancing. As a competition organizer, I would certainly never hire such a judge.

Regards,
Jonathan

You are correct in your assumptions .

Interesting, how people have a fixed idea, on what they believe , an Adjudicator should base his choices.

It speaks speaks, to a total lack of experience

Let me say it again. There are twenty couples on the floor for a Waltz. Only twelve will be passed through to the next round. I have one minute thirty seconds to look at each couple. How do I eliminate the good dancers from the not so good.I look at those that are performing the Waltz with the correct rise and fall. If they are not , they are out. I'll leave the arithmatic to you. 20 couples. Twelve are needed. One minute thirty seconds to decide. Which includes the time it takes to write . Now we can see why some judges pre- judge. They start marking even before the music is played. But that's another subject isn't it.
lluv2dance. Rise at the end of one is Foxtrot. Commence to rise at the end of one is Waltz. And don't forget to get that knee straight at the completion of the stride. That's another thing that can get you eliminated in both Waltz and Foxtrot. Exactly when are we up on two in a normal Waltz step as opposed to continue to rise.

Do you really believe-- that when I adjudicate, ALL I am looking for is Rise and Fall ?-- It is only one component, that brings me to a conclusion, as to mark or not to mark .

And by the way, if it were Pros, I doubt that R and F, would be a determining factor .