Jumps to the Beat
- Thread starter tokoyami
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Come on and jump to the beat (jump!)
Come on and dance with me
(Stacy Lattisaw)
Come on and dance with me
(Stacy Lattisaw)
- Joined
- Nov 19, 2017
Article about jumps in musical accents
https://www.sports.ru/tribuna/blogs/zapiskisumashedshego/2312409.html
unfortunately in russian only - but it has expressive enough video examples to understand the message. Very interesting read
Your own favorite examples are welcomed here :agree:
https://www.sports.ru/tribuna/blogs/zapiskisumashedshego/2312409.html
unfortunately in russian only - but it has expressive enough video examples to understand the message. Very interesting read
Your own favorite examples are welcomed here :agree:
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There was a thread about this subject here.
https://www.goldenskate.com/forum/showthread.php?77057-Jumps-to-the-Beat
https://www.goldenskate.com/forum/showthread.php?77057-Jumps-to-the-Beat
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- Jul 28, 2003
Kurt Browning of course, Torvill and Dean, Virtue and Moir
https://www.youtube.com/watch?v=t2zbbN4OL98
Torvill and Dean's Bolero every move was to the beat
https://www.youtube.com/watch?v=t2zbbN4OL98
Torvill and Dean's Bolero every move was to the beat
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- Nov 19, 2017
Sorry, I missed that. Move the content there then :con3:
I like the part about jumps in silence. I am not sure whether they are qualified for musical accent GOE or not - but they definitely should!
I like the part about jumps in silence. I am not sure whether they are qualified for musical accent GOE or not - but they definitely should!
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- Feb 14, 2018
That was a good read. Thanks for posting. I enjoyed the exploration of the various ways in which a jump can accent the music — including by jumping into silence. Reminds me of the conversation at 13:58:
https://youtu.be/xddnpRdcJNA
One aspect of musicality I look forward to seeing more exploration of is how to creatively incorporate elements when using music with lyrics, especially English lyrics. I was trained in dance from a young age (ballet, tap, jazz for about five years) and later returned to dance as an adult (Latin and hip-hop, primarily the latter), and I also choreographed routines for fun (especially when considering becoming an instructor). When I was working on routines, I often had a music video or some “primary source” to draw from, but I choreographed to music that wasn’t sung in my native tongue (I knew what the lyrics meant, often via human translation, and had knowledge of any wordplay/puns being used, but not the ability to understand while listening) — which was actually easier than when using English lyrics, at least for me. There’s a temptation to put a particular move (a jump, spin, floor transition) on a line that “fits” or suggests the concept. (For example, if a line includes the word “down” or “get down,” it’s easy to think — “This is where a jump should land/the transition to the floor should hit/etc.”) But that may not truly express the music and often comes off as rather juvenile and literal. When I was choreographing to Mandopop, I felt less constrained by specific vocal cues and more free to create positive tension between the music and movement.
I think the placement of Yuzu’s 3A on the “bring us down” lyric is a good example of the kind of positive tension I mean — the music isn’t at its peak at that moment, and the real release comes from the kick done after landing. But if you just listened to LGC without seeing the routine, I think most of us would envision the jump landing a bit later, when the kick occurs, as that “sounds” like the musical highlight that should accompany a jump. (Your mileage may vary based on how much musical training you have. I mean, I had a decade or so, but pieces with lyrics in your native language(s) are harder, at least in my opinion.) And some songs have that dissonance between vocals and instrumentals already built into the track, which is even more fodder to be explored.
The “jumps to the beat” thread definitely covers some of this territory, but as the article outlines, jumping to the beat and jumping to the music aren’t one and the same.
https://youtu.be/xddnpRdcJNA
One aspect of musicality I look forward to seeing more exploration of is how to creatively incorporate elements when using music with lyrics, especially English lyrics. I was trained in dance from a young age (ballet, tap, jazz for about five years) and later returned to dance as an adult (Latin and hip-hop, primarily the latter), and I also choreographed routines for fun (especially when considering becoming an instructor). When I was working on routines, I often had a music video or some “primary source” to draw from, but I choreographed to music that wasn’t sung in my native tongue (I knew what the lyrics meant, often via human translation, and had knowledge of any wordplay/puns being used, but not the ability to understand while listening) — which was actually easier than when using English lyrics, at least for me. There’s a temptation to put a particular move (a jump, spin, floor transition) on a line that “fits” or suggests the concept. (For example, if a line includes the word “down” or “get down,” it’s easy to think — “This is where a jump should land/the transition to the floor should hit/etc.”) But that may not truly express the music and often comes off as rather juvenile and literal. When I was choreographing to Mandopop, I felt less constrained by specific vocal cues and more free to create positive tension between the music and movement.
I think the placement of Yuzu’s 3A on the “bring us down” lyric is a good example of the kind of positive tension I mean — the music isn’t at its peak at that moment, and the real release comes from the kick done after landing. But if you just listened to LGC without seeing the routine, I think most of us would envision the jump landing a bit later, when the kick occurs, as that “sounds” like the musical highlight that should accompany a jump. (Your mileage may vary based on how much musical training you have. I mean, I had a decade or so, but pieces with lyrics in your native language(s) are harder, at least in my opinion.) And some songs have that dissonance between vocals and instrumentals already built into the track, which is even more fodder to be explored.
The “jumps to the beat” thread definitely covers some of this territory, but as the article outlines, jumping to the beat and jumping to the music aren’t one and the same.
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- Aug 16, 2018
https://www.sports.ru/tribuna/blogs/zapiskisumashedshego/2312409.html
unfortunately in russian only - but it has expressive enough video examples to understand the message. Very interesting read
This article is fantastic, it covers pretty comprehensively almost all types of placement that is used for jumping passes. It's so fascinating to see all possible interpretations.
Chiming in to add more love, that Shoma's Balada Para un Loco in 2016-2017 is pretty witty(?) with how they play with the lyrics in placing his jumps. Adding to the coolness is that the choreographer/coach for that program is Japanese while all the lyrics is in Spanish. The (accidental but yet pretty awesome) 3A on the beat is already mentioned, as well as the 4T2T on the como un acrobata demente saltare. All cool, but one of my favorite is the first 4T at 2017 Worlds because they placed it at a deliberate music cut, where the lyrics is supposed to go Baila! Veni! Vola! in the original music, but in the program they choose the record where Vola! is cut so that 4T is right after Baila! Veni! which is fitting because Vola! translates to Fly! and fly he did. I still laugh from the wit of that placement.
In general, Shoma's 3a1lo3f in his FS programs (2016-onwards, since that combo is birthed then) is almost always backloaded in the right part of his FS where he can choose which musical accent to time it with? The one right on Turandot's percussion beats at the Olympics is a particularly triumphant example, but he somehow makes it work in a program like Moonlight Sonata, where he timed it in the silence after this one loud chord in the Third Movement, giving the impression that his landings continues where the chord left off before the music picks up again.
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- Aug 29, 2017
My favorite "on the beat" jump I can think of is Kaori Sakamoto's "Amelie" from 2017 Skate America when she lands her 2A-3T-2T right on the accents of the music. I was really sad she never hit it quite as well on the music after this competition, but that moment was really what made me fall for this program last year. And then followed almost right after by her gorgeous 3Lo right on the height of the violins.... 
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Sometimes random errors in programs also occur in the rhythm of the music. I have seen some male figure skaters successfully falling to the beat. It is remembered, because it is always unexpected and unique. Unfortunately I can not remember specific examples.
My favorite "on the beat" jump I can think of is Kaori Sakamoto's "Amelie" from 2017 Skate America when she lands her 2A-3T-2T right on the accents of the music. I was really sad she never hit it quite as well on the music after this competition, but that moment was really what made me fall for this program last year. And then followed almost right after by her gorgeous 3Lo right on the height of the violins....
YES YES YES TO THIS! Im actually glad im not the only one who noticed it! I fell in love with Kaori when i watched that FS! everything was just amazing.
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