The current ISU judging for jump combinations and sequences is the total base value of the 2 or 3 jumps involved. This creates a scenario where less risky less difficult jump combinations are attempted to gather the same amount points.
This following poster puts it well into perspective,
What's even more irritating are the 'double-double's performed at the end of a 3-2-2. Even most Juvenile skaters are capable of doing 'double-double's, though it is different doing them alone than doing it off a triple, it is still weak to see a 3-2-2 being performed by top amateur skaters today.
The first three jump combination was really meant for the 4-3-2, 4-3-3, 3-3-3, or 3-3-2, now it is basically used to milk points with a 3-2-2. We rarely see other innovative jump sequences anymore such as Tara Lipinski's 3Lo-half loop-3S, or Evgeni's 3A-half loop-3F. Though what I miss most is the traditional 3A-3T.
So what are some possible options to revise the CoP in regards to Jump Combination's?
- Create a base value for EACH POSSIBLE jump combination/sequence based on their difficulty. There could be literally hundreds given all the jumps and possible combination, revolutions, sequences, etc.
- Put a bonus (similar to the program halfway 10% for jumps) on jumps performed at the end of a difficult jump (ie. 3Lz, 3A, 4T).
Similar bonus for doubles performed after triples, to discourage the importance of 3-2-2's.
- Like the ladies portion, of allowing three 2A's to be performed in the long; allow a total of five 3T's and 3Lo's to be performed, not counting towards the two repeated triples or quadruples.
So for a technically challenging program you could have the following jump layout (for example) without 'wasting' your triples,
What are your thoughts?
It's been said so many times that the CoP makes skating generic, ie. Elvis Stojko stating the current level 3 / level 4 footwork is the perfect time for a coffee break, because they are all the same or so similar. I missed the days where innovative footwork is an important part of telling a good story behind every program, such as Alexei Yagudin's energetic straight-line footwork and Philippe Candeloro's 1998 program when he portrayed D'Artagnan.