Correcting a couple of details: the opening circle (verse 1, line 1) is clockwise (I’ve updated my earlier post); and in line 2, when she steps across with the left, she swings the sword left, too.
I’m halfway through verse three, in the position shown above, at 1:20 in the Meng Fok video. To recap verse 3 (see Aug 8):
- Xue hua piao piao bei feng xiao xiao: Step R, lift hilt, wheel sword, step R.
- Tian di yi pian cang mang: step around L/R/L, gong bu xia ci, withdraw.
- Yi jian han mei au li xue zhong: Now see below.
- Zhi wei yi ren piao xiang
From the position shown above: Stab once, then bing bu xia ci, wheel the sword the other way (counterclockwise) while stepping across in back with the left foot. Swing the sword first back, then out to this position:
That was line 3. This is line 4 (tres complique!): The right foot is nailed to the ground until the very last beat. From the position above, step out to the left, as in the first frame on the left below. Circle the sword up, left and down (ie, big counterclockwise circle).
Then step left around to the right to face backwards (180 degree turn on the right foot, which has not moved, frame 2). The sword, still making a big counterclockwise circle, has reached the high point when you’re facing the back.
The right foot (circled) does not move, except to swivel, as she steps around left, left, left.
Keep going! Step around with the left again to face front (frame 3), shift left and make a small counterclockwise circle with the sword. Then the right foot will cross behind. So footwork for this line is left, left, left, right.
The sword emerges from the small circle leading with the point rather than the hilt. It then spirals through a figure eight on the right side. This whole thing takes 6 seconds, between 1:26 and 1:32, and ends like this:
This is the hardest move in the whole form if you ask me. That last bit with the sword is tricky; I can only suggest using the gear tool to slow the video way down. After this, there are just two more lines of lyrics. Then four lines of instrumentals. And from there, it’s all repeats! And close form.