Technique on Footwork Sequences

How is it judged? I am not looking for GOE bullets, nor am I looking for answers like "skaters with good skating skills have good technique", nor for information about level calls. I mostly want to know what parts of blade skills are most useful in creating good footwork sequences, and how the pattern matters.

Good edging and being able to weave the turns and steps together and transferring between them, showing good blade control is a given. How much do flow, speed, and speed variation matter?

I think the pattern calls have been removed (like CiSt for Circular Step Sequence or something like that), but would someone who isn't good at making the correct pattern be said to have poor technique, even if the overall steps and turns are done with good edging and blade control?

How does rhythm and upper body movement matter? Would someone who does great patterns on the ice with the correct edging, control be thought to have poor technique anyway if they do minimal upper body movement? (The answer seems like "no")

I realize a lot of it also depends on the choreography and the character of the music, but still.

Who is a good example of having great technique on footwork sequences? What's are examples of great footwork sequences?


ETA: Oh, also, while we're on patterns, why were spirals usually done in a serpentine pattern? I remember very few done on a straight line (Sasha Cohen's back charlotte comes to mind, and that was still after doing a serpentine pattern). They were never called with a pattern at all.

skatesofgold said:

http://www.usfigureskating.org/content/Understanding Step Sequences - Singles.pdf

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That's specifically not what I asked for.

chopinskate said:

How is it judged? I am not looking for GOE bullets, nor am I looking for answers like "skaters with good skating skills have good technique", nor for information about level calls. I mostly want to know what parts of blade skills are most useful in creating good footwork sequences, and how the pattern matters.

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Being able to execute the turns and steps is a given.

skatesofgold's link should answer most of your questions about step sequences.Ask follow-up questions if there's anything you're still wondering about.

chopinskate said:

ETA: Oh, also, while we're on patterns, why were spirals usually done in a serpentine pattern? I remember very few done on a straight line (Sasha Cohen's back charlotte comes to mind, and that was still after doing a serpentine pattern). They were never called with a pattern at all.

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From ISU Comm. 1555 (which I happen to have saved on my computer, from 2009-10, the last year of the spiral sequence):

SPIRAL SEQUENCES A Spiral is a position with one blade on the ice and the free leg (including knee and foot) higher than the hip level. Spiral positions are classified according to the skating leg (right, left), edge (outside, inside), direction (forward, backward) and position of the free leg (backward, forward, sideways). Pattern of the Spiral Sequence - any combination of curves.

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Because spirals are defined in part by which edge they’re on, a position in which the blade isn’t on an edge at all wouldn’t count toward the requirements.

The minimum requirements for ladies’ short program spiral sequences even before IJS in some years required spirals on both feet, both forward and backward, and at one point IIRC on both inside and outside edges. (Also at one point all of the above including a back inside edge position counted as a level feature.)

In 6.0 the spiral sequence was originally required to be either a serpentine (2 or 3 lobes) or an circle or an ellipse. At some point the requirement allowed it to be a combination of serpentine and circle/ellipse. By 2009-2010 the rule allows any combination of curves but it doesn’t allow for straight lines.

When both feet, both edges, and both directions (forward and backward) were required either to meet the short program requirements, there are more options to achieve that in a serpentine pattern than a circular/elliptical pattern – especially once only the first three spiral positions counted for several years under IJS. Also, change of edge in spiral position was a popular feature toward earning higher levels, and that inherently will take the pattern onto two different curves in itself. The third position might be on the same curve as one of the two halves of the edge-change spiral, or it might be on yet a third curve.

As much as I rant from my armchair about poor judging on jumps - and I'm always right - I am completely at the mercy of the caller regarding footwork levels.

I think the requirements are complicated for the average fan (even super-fan), especially when viewing/scoring live, and I don't think strength and fidelity of edges always show up well on television and/or livestream.

I am ALWAYS amused at people who scream about a skater earning only a L3 on a sequence, when they couldn't tell you the requirements for a L4 footwork sequence at gunpoint.

TontoK said:

I am ALWAYS amused at people who scream about a skater earning only a L3 on a sequence, when they couldn't tell you the requirements for a L4 footwork sequence at gunpoint.

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Because fans would rather reserve that bit of memory for The Odyssey.

chopinskate said:

How is it judged? I am not looking for GOE bullets, nor am I looking for answers like "skaters with good skating skills have good technique", nor for information about level calls.

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chopinskate said:

That's specifically not what I asked for.

Being able to execute the turns and steps is a given.

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If you want to know how judges judge step sequences under IJS, the GOE guidelines, positive and negative, are the answer, plus any effect they have on relevant program components.

The level calls also tell you about the base value part of the scoring.

If you want more detail about how the criteria are applied in practice, we’re probably not going to find more detail in writing than the document skates of gold linked. We can only answer based on whatever we have heard or observed or figured out for ourselves over the years.

I mostly want to know what parts of blade skills are most useful in creating good footwork sequences, and how the pattern matters.

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Ability to do the turns and steps recognizably is very important to getting the levels called. If the edges are too shallow or not held long enough or if there are edge changes before or after the turns, the tech panel won’t give credit for them. (Or if intended loops don’t actually make a loop shape at all – or maybe if the loops are really tiny or really huge; I’m not sure.) So clean edges, clean turns, and holding the exit edges are blade skills necessary for earning the higher levels.

The judges don’t know which specific turns the tech panel gave credit for or not, but they can see if there are wobbles on the edges, flats or shallow edges, misshaped turns, edge changes in or out of turns, etc. If they see those errors/weaknesses, they won’t award the “deep edges, clean steps and turns” GOE bullet point under the current guidelines, and they may lower the overall Skating Skills component score in their minds.

The bolded criterion above is the first listed of the core criteria in the new GOE guidelines that are required for final GOE higher than +3. So the ISU clearly considers it important.

Good edging and being able to weave the turns and steps together and transferring between them, showing good blade control is a given.

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It’s a given that judges/tech panels want to see that. Many skaters may find that it’s easier said than done.

How much do flow, speed, and speed variation matter?

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That probably varies somewhat according to which individual judge is doing the judging.

“Effortless throughout with good energy, flow and execution” is also one of the core criteria, required for +4 or +5 GOE and clearly an important consideration in general.

“Good acceleration and deceleration” is also a bullet point now, but not one of the core ones.

I think the pattern calls have been removed (like CiSt for Circular Step Sequence or something like that),

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As far as I can tell from my archived documents, the different codes for different pattern shapes have been gone since 2012-13.

but would someone who isn't good at making the correct pattern be said to have poor technique, even if the overall steps and turns are done with good edging and blade control?

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Not necessarily. There is no longer any definition of a “correct” pattern for freestyle step sequences, only a requirement that they “fully utilize the ice surface.” A couple years ago this was defined that the sequence must fill the ice surface from end to end or the equivalent of at least twice from side to side. I can’t find the documentation especially in anything from this year. But basically, under today’s rules a “correct” step sequence pattern doesn’t mean anything more specific than “big enough.”

Now, specific turns, including the entry and exit edges, have specific characteristic shapes when done correctly, so if the edges are too shallow or there are changes of edge before or after, or the loops aren’t loop shaped, then that’s a problem as I mentioned above, but it would refer more to the correct execution of the turns than to the pattern of the sequence as a whole.

The overall shape of the pattern is now just a choreographic choice.

How does rhythm and upper body movement matter? Would someone who does great patterns on the ice with the correct edging, control be thought to have poor technique anyway if they do minimal upper body movement? (The answer seems like "no")

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Upper body movement is a level feature – because, as I understand, it’s more difficult to execute the turns and steps cleanly while also moving the upper body away from neutral positions. So that would mostly be reflected in the base value of the sequence. Judges also have bullet points for “creativity and originality” (which is more likely to happen with varied upper body positions than without) and “excellent commitment and control of the whole body” (which would be more obvious with varied body positions, though I suppose it would be possible to execute positions in neutral or default alignment with good stretch and full commitment enough to earn that bullet point from some judges).

“Element matches the music” is one of the core GOE bullet points required for higher GOE. Rhythm is a big part of that. So would be highlighting musical nuances or reflecting the emotional quality of the music in the movement qualities. All of those together would be better than only one of the above. It’s only one GOE bullet point, one of the more important ones. But it will probably also have a big effect on the judges’ assessment of the Interpretation and probably Composition components.

gkelly said:

If you want to know how judges judge step sequences under IJS, the GOE guidelines, positive and negative, are the answer, plus any effect they have on relevant program components.

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I wanted to know more about how I can say who has better technique on step sequences and such, and it's hard to say beyond "good skating skills". I should have phrased it differently, instead of saying "how is it judged" though. But your post explains it anyway. I assume someone who broke a pattern when it WAS relevant wasn't thought to have great technique on it?

For spiral sequences, aren't some back charlottes done on flat edges? Are those not spirals, in the ISU's opinion? How were flat edged spirals called? What about the skid spirals?

chopinskate said:

I wanted to know more about how I can say who has better technique on step sequences and such, and it's hard to say beyond "good skating skills". I should have phrased it differently, instead of saying "how is it judged" though. But your post explains it anyway.

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I'm glad it's useful.

I assume someone who broke a pattern when it WAS relevant wasn't thought to have great technique on it?

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It's important in the set pattern dances.

In step sequences, there was a SP deduction under 6.0 for "pattern incorrect," but I don't know exactly what would be considered an incorrect pattern. A straight-line step sequence was supposed to go end to end (usually down the midline, but not necessarily) or diagonally corner to corner. There was supposed to be a continuous long axis, but there could be edges/curves on either side of the axis. Skating in a perfectly straight line on flats would not be considered better technique than skating on edges.

Similarly, a circular sequence would fill the shape of a complete circle, but there would be curving edges toward the inside and the outside of the imaginary circle on the ice. There would be no specific "correct" place where the circle was supposed to curve in or curve out. If the imaginary continuous line the curves weave around were very misshapen, that might be considered an incorrect pattern. But whether the reason was poor technique would be something the judge would need to decide about each instance on its own merits.

Usually the problem would be that the pattern was too small -- a straight line or serpentine pattern didn't start close enough to the first end of the ice and/or finish close enough to the other end, or the circle was too small or didn't go around for a full 360 degrees and return to its starting point. Which could be because the skater is skating more slowly than the sequence was designed for.

Sometimes it could be more of a choreographic error than an execution error. There was also a deduction for "Jump of more than half a turn" in the SP step sequence, but more likely including something like a Euler or half-axel in the step sequence would be an error of reading the rulebook and of choreographic choice than an error of execution.

Another deduction was for "retrogression" (going back the way you came) rather than progressing steadily toward the opposite end of the ice or steadily around the circle. If a skater did retrogress in their pattern, it might be a choreographic error or it might be an execution error.

So a straight-line pattern that didn't follow a straight enough line in a judge's opinion might similarly be a choreographic choice rather than an indication of poor technique. The judge would have to evaluate the technique on its own merits.

With the introduction of IJS and step sequence levels based on inclusion of difficult turns and steps, the rules/guidelines were specifically changed to allow retrogressions and to encourage deep curves, so skaters would have more opportunity to show off their edge quality.

For spiral sequences, aren't some back charlottes done on flat edges?

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Yes, the Charlotte position is often done on flats. But as far as I know in Charlotte's day the way she performed it was referred to as a "Charlotte stop" not a spiral.

http://www.icestagearchive.com/charlotte.html

But her signature move was the Charlotte Stop, a backward gliding arabesque with the free leg stretched high up in back and upper body and head way down. Her very long hair would touch the ice as she came to a stop in that position. All these years later variations of the Charlotte Stop are often performed by skaters today.

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Are those not spirals, in the ISU's opinion? How were flat edged spirals called?

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The reason spirals are called "spirals" is because originally they were long held edges that would go around for more than a full circle and spiral in as the edge lost speed/momentum. The original definition was more about the edge than the position, which might just as likely have been in a low arabesque or other position rather than the 90 degrees or higher position.

Later the term "spiral" came to refer to holding the body position of the 90 degree or higher arabesque -- or with the free leg that high in a different orientation to the body -- no matter how long it was held. But the origin of the term and the general understanding of what makes a good spiral implies a strong edge as well as a strong body position.

In the short program spiral sequence, edges were required and implicit in descriptions of the sequence such as "progressing in bold curves and ending at the opposite end of the ice surface (serpentine) or skated in a complete circle or oval."

Here's what Maribel Vinson Owen had to say about spirals in her 1938 book Primer of Figure Skating:

"Moving statues," someone has called spirals, and that is an apt description. A spiral is nothing more nor less than an extended edge, skated large and with speed, in a graceful position which can be far more exaggerated than any of the ordinary school-figure edge positions. To hold this position unwavering, motionless except for the speed of your running edge, is the essence of a good spiral.

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Then she discusses some position variations, including which arm is in front as well as how high the free leg is and how low the upper body, and the best way to get up speed beforehand. She does mention "You can also shoot forward or backward down the ice in a straight line, on the flat of your skate, both arms out to the side, leg high, and head forward." But there's quite a lot more about edges and body positions.

What about the skid spirals?

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The skid is a way of transitioning from one spiral position to another edge (usually back outside to forward inside) while still in spiral position. The skid itself is not a clean turn, but the edges before and if possible afterward should be clean edges. It would not be possible to do that move on flats.

In IJS spiral sequences, the second edge after a turn or edge change transition was required to be held for 3 seconds in order for the transition to count as a feature. Pretty much no one was able to hold an edge for 3 seconds after a skid, so we didn't see people using that as a level feature, or at least not getting credit for it. If the level spiral sequence had remained on the books, probably some skaters would have gotten good enough at holding an edge after a turning skid in spiral position to get the feature. And/or maybe the specifics of the rules would have changed to make it easier to get a feature for a skid turn in a spiral.

But instead the required spiral sequence was scrapped. In the choreo sequence, or as a transitional move, anything goes.

Basically, "spirals" on flats are either beginner moves to introduce new skaters to gliding in a held extended position, or else transitions used to spice up freestyle programs with spectacular positions.

I feel like I should point out that straight-line, backwards charlottes are not the only way to perform that position. Both Naomi Nari Nam and Sasha Cohen did clear forward outside charlotte spirals on strong curves, fitting properly into the pattern, and in Sasha's case receiving Level 4. Typically they didn't go quite as low with the head and torso as with their back charlottes, though.

I can't find the old technical handbooks to double-check the requirements, but back charlottes on the flat, straight line seem to have been more problematic under IJS in regards to pattern and Level requirements than under 6.0 standards. Sasha Cohen's Malaguena SP had the back charlotte the first season she skated it, but in the 2003-2004 Grand Prix season where IJS was implemented, she wasn't getting the levels. So at Trophee Lalique she dropped the charlotte and added a change of edge instead, got the then-highest Level 3 and what will remain the highest-ever score on a spiral sequence. At 2004 Worlds, under 6.0 and without Levels to worry about, the charlotte made a comeback.

It's important to note that when she chose to put the charlotte in her 2010 short program, it was on a clear forward outside edge after the change of edge and was well-integrated into the serpentine pattern.

Thank you a lot, gkelly. The explanations were not for me and I also knew a lot of these things, but your informative, explanatory and analytic posts are always really interesting to read. Plus, the explanations about the patterns were still mostly new to me. So thanks once again.

Thanks gkelly! Very informative.

TontoK said:

I am ALWAYS amused at people who scream about a skater earning only a L3 on a sequence, when they couldn't tell you the requirements for a L4 footwork sequence at gunpoint.

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Well, almost always it's about making mistakes on the two 3 turn sequences. Jumped turn or just a poorly performed one. Otherwise, it could be them missing a mandatory turn elsewhere but skaters tend to have so many extras that they should clear it anyway. The other two levels are choreo and can't really be messed up if the choreography is correctly planned.

Shayuki said:

Well, almost always it's about making mistakes on the two 3 turn sequences. Jumped turn or just a poorly performed one. Otherwise, it could be them missing a mandatory turn elsewhere but skaters tend to have so many extras that they should clear it anyway. The other two levels are choreo and can't really be messed up if the choreography is correctly planned.

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Unsure if this post is a sarcastic agreement/response to TontoK's post or if you just have a fundamental misunderstanding of how step sequences are leveled.

karne said:

Unsure if this post is a sarcastic agreement/response to TontoK's post or if you just have a fundamental misunderstanding of how step sequences are leveled.

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ISU handbook:

"Level features
1. Minimum variety (Level 1), simple variety (Level 2), variety (Level 3), complexity (Level 4) of
difficult turns and steps throughout (compulsory)
2. Rotations in either direction (left and right) with full body rotation covering at least 1/3 of the
pattern in total for each rotational direction
3. Use of body movements for at least 1/3 of the pattern
4. Two different combinations of 3 difficult turns on different feet executed with a clear rhythm
within the sequence. Only the first combination attempted on each foot can be counted."

Shayuki said:

ISU handbook:

"Level features
1. Minimum variety (Level 1), simple variety (Level 2), variety (Level 3), complexity (Level 4) of
difficult turns and steps throughout (compulsory)
2. Rotations in either direction (left and right) with full body rotation covering at least 1/3 of the
pattern in total for each rotational direction
3. Use of body movements for at least 1/3 of the pattern
4. Two different combinations of 3 difficult turns on different feet executed with a clear rhythm
within the sequence. Only the first combination attempted on each foot can be counted."

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Yes, thus proving that the first two levels are NOT "just choreo".

karne said:

Yes, thus proving that the first two levels are NOT "just choreo".

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Not the "first two"... The "other two", for lvl 4 requirements(#2, #3 in quoted). Obviously, levels always have the accompanying mandatory step requirements. I'm just saying if it's choreo'd as lvl 4, it's tough to mess up on "body movements" or "rotations" unless there are actual stumbles. When a skater gets lvl 3 on a planned lvl 4 StSq, it's almost always on one of the two combinations of 3 difficult turns.

Shayuki said:

Not the "first two"... The "other two", for lvl 4 requirements(#2, #3 in quoted). Obviously, levels always have the accompanying mandatory step requirements. I'm just saying if it's choreo'd as lvl 4, it's tough to mess up on "body movements" or "rotations" unless there are actual stumbles. When a skater gets lvl 3 on a planned lvl 4 StSq, it's almost always on one of the two combinations of 3 difficult turns.

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Not always! There are examples of world class skaters who didnt get feature for (enough variation of) body movements during the steps! (not because they cant do it, but because they were too nervous at that moment and couldn't concentrate on using of their whole body during the steps)

Thank you gkelly for first rate explanations! You're very educational!

chopinskate said:

How is it judged? I am not looking for GOE bullets, nor am I looking for answers like "skaters with good skating skills have good technique", nor for information about level calls. I mostly want to know what parts of blade skills are most useful in creating good footwork sequences, and how the pattern matters.

Good edging and being able to weave the turns and steps together and transferring between them, showing good blade control is a given. How much do flow, speed, and speed variation matter?

How does rhythm and upper body movement matter? Would someone who does great patterns on the ice with the correct edging, control be thought to have poor technique anyway if they do minimal upper body movement? (The answer seems like "no")

Who is a good example of having great technique on footwork sequences? What's are examples of great footwork sequences?

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To answer your question from a technical standpoint, completely ignoring the specifics of the judging system, good technique on footwork sequences encompasses several factors. Strong edges and flow are key factors, but you are also looking for balance over the blade, depth of edge, lack of chatter (basically a shaky blade), acceleration and ability to generate speed from an edge (Patrick Chan is a master at this), and ability to transfer weight quickly and securely from edge-to-edge and foot-to-foot. Long edges in and out of turns are also a sign of good technique. The really good ones show a substantial edge even when doing quick turns. You are also looking for the ability to change direction, both rotationally and actual direction of travel. Someone who is well rounded will also show a variety of turns and steps which is tied to technique ie. you might have excellent 3-turns, but you aren't really considered to have good technique if that's all you can do.

Rhythm is an essential component to footwork. There is a rhythm to the knees that makes clean turns and steps possible. There is not a catch all rhythm for successful footwork as this is largely determined by a skaters own timing and the music they are skating to.

A skater can have good technique without a lot of upper body movement, however, excellent technique is required for a skater to be able to successfully pull off any upper body movement involving the core. Sometimes the arms are used to hide bad technique.

Skaters with excellent turn technique include Patrick Chan, Takahiko Kozuka, Jason Brown, Mao Asada, Fume Suguri, Irina Slutskya, Virtue and Moir, Davis and White, Gordeeva and Grinkov. There are more, but those are some of the best.