Rachael Flatt's New SP
- Thread starter Violet Bliss
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all this you came up with one Michelle Kwan exhibition?She is inspiring for sure, you must change profession career and go to story telling.
Has EoE TV series have similar theme like Wizard of Oz?
I don't remember much about the TV series, but I was thinking something like this.
Dorothy (especially in the Judy Garland
movie) wishes that she could go "over the rainbow" to a place "where troubles melt like lemon drops." But the first thing she discovers is that the land over the rainbow has wicked witches as well as cities of emerald.Michelle says, "I have dreamed of Eden all my life," "I have stumbled through the night alone...then found a canyon full of silent stars." Eventually she realizes that this is the Garden of Eden -- serpent and all -- and "everywhere I go across the land...I am home."
-- so I might as well do a flying split jump and a catch-foot scratch spin and call it a day!
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LOL, sorry, visions of "The Red Violin" must have been wandering into my head as I typed that. In fact, I don't think this is the first time I've type the name of that program incorrectly.
So...should I go through and do a writeup of how that Miraculous Mandarin program could be altered to work for CoP? It would be a totally fruitless endeavor in this case, except for our own enjoyment of course.
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Sure, Blades! I'd be interested. Every time I see one of those layouts, I learn something, because my tendency is to look from a completely different angle. (Mostly for musical expression and line.) I'd love to develop a facility for seeing those aspects of a program. Math in action!
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Go for it! Your write-ups are usually very detailed with explanations and such and I think it'd be fun!
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you know this is one of the proofs of what we once said here, that all things in universe connect to the Kwan
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Thanks for the link to the Bartok. The choreography was a work in progress and would have gotten better by Worlds. In that GPF, Irina came on and did a standard ho hum Carmen and won. It was the Soviet's way to dominate all the disciplines.
Olympia, the music of Wagner and Prokofiev are much too involved for teenagers. Let them stay with the easy music for interpretation.
And Bolero has to be the most monotonous piece of music ever written, I can see it work for Synchonized Skating.
Oh, I wasn't thinking of the Wagner or Prokofiev pieces for a teenage girl. They'd probably have to be performed by a couple in any case, but certainly by someone (or some two) older. I continue to dream of the possibility!
I like your idea of Bolero for a synchronized team!
I like your idea of Bolero for a synchronized team!
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First, thanks for joining us. Welcome to the forum. If all of your posts are as interesting as the first four I look forward to reading them.
I don't think Rachael needs to out-pep Murakami to do jazzy, if that's where she wants to go. On the orther hand, I think that the adagio meat locker is fraught will peril for Rachael. Just look how Michelle sets the mood with her opening pose and first few little movements on the ice. A tough act to follow indeed.
I agree with Layfan that a better choice would be to attempt something serious and mature. Get some music that is not just pretty but has structure and substance and see what she can do with it. Show them why she is Stanford material and not just another pretty face.
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Okay then, due to requests, here I go at transforming Michelle Kwan's "The Miraculous Mandarin" into a CoP program that fits the rules circa 2005. The original program as a reference:
http://www.youtube.com/watch?v=wWarys9kuzM
* She will open with a 2Axel-2Axel sequence rather than a 3Toe-3Toe combination (remember that in 2005, 3-3 combinations and 3Loops were not part of Michelle's skillset). This sequence will come a second before where the current 3Toe-3Toe is, so that after landing the second 2Axel and holding the landing edge for a moment to show stability she can do some quick transitional footwork which will go along with the sharp musical accents we hear at 0:43.
* Next up is a 3Flip-2Toe-2Loop combination. The 3Flip will be planned at 0:59 because this will allow the doubles that come afterward to be an excellent interpretation of the pulsing horn section of the music which has briefly come into the melody for 3 notes at 1:00. Her program will then continue along as it does in the current program, with a 3Lutz-2Toe being the next technical element.
* After the 3Lutz-2Toe she will move across the ice for a flying spin just as she does in the current program, except in the CoP-circa-2005 version she will change it to a Flying Upright Spin (a spin in just one basic position was required at the time and the different basic positions were also worth the same amount of points). Since doing a Layback counts as an Upright, she will actually go into standard Layback position after establishing security on the flying landing and do a brief, stylish upward arm movement while in this position. After several rotations of the standard Layback position she will do her hands-behind-the-back Layback position. This spin will look good and should earn a Level 2 (Level 3 was the maximum at the time).
* She will follow this spin up with the "come hither" choreography and back spiral position with her hand on the ice. If she can transition directly into a Camel spin from that back spiral it would be great, but if not she can take a few steps and do a back Camel, changing onto the inside edge after several revolutions, then going down into a sit, change foot into another sit position, and then finishing with a simple upright (perhaps with a small hint of a scratch spin). This is a Level 2 change-of-foot combination spin.
* After that spin she will move across the ice into the Triple Flip just like in the current program and then move into a Triple Salchow, similar to the current program but with a couple additional steps before going into the entry to maximize the effect of those high-pitched notes that we hear.
* The series of running steps after the Salchow are perfect but rather than go into an entire footwork sequence, she will skate towards the far end of the rink and perform a split jump. Following that she will build up speed and go into her Spiral Sequence. She'll do her classic change-of-edge spiral, with the edge changing at 2:58 to reflect that discordant beat of the music. She will transition from this spiral with a stag jump into a backward Y spiral, possibly doing a flourish with the free arm. This spiral sequence will gain a Level 3 (the highest possible at the time).
* Following the spiral sequence she will gain speed and setup for her second Triple Lutz. It will come at 3:23 with the sudden shock of the music. From this point on until the end of the program Michelle will be skating like she is on some serious stimulants, with wild energy abounding. A straightline footwork sequence (Level 2, the maximum at the time again being 3) will come directly after the Triple Lutz. It will demolish the audience and leave them gasping.
* After the footwork sequence she will fly down the ice and perform a Triple Toeloop at 3:56. Doing a jump right here is so perfect with that frantic swirling of the music. Immediately following the jump will be a flying sit spin. She will pull the spin up into an intermediate position between a sit and an upright at 4:01 when the music sharply decrescendos for a moment. Her head will be looking down, her body will be slightly twisted, and her arms will be partway extend at her sides with her hands open and facing downward. After briefly holding this position she will pull up into a full upright and go into a cross-foot position for a few rotations, during which time one arm will be clasping her chest and the other will be pumping into the air a couple times. Her hand will fling open on the upward pumps and clench into a fist on the downward. This movement will keep the crazed energy of the music sustained within the choreography. Meanwhile, CoP deems that Michelle has performed a Level 2 (flying) Combination Spin.
* After the spin she will quickly hop towards the center of the ice and go into her final technical element, which will be the exact same spin as she is currently performing in the program. Camel, change into Sit, change into a Y spin, change foot into a Sit, then change into a Y spin. Level 2 change-of-foot Combination Spin.
* She will finish off the program as she currently does and the audience will erupt into a thunderous, uncontrollable applause as a result of being entirely throttled and domineered by this dark sorceress.
If only we had gotten that instead of Bolero.
Here is the CoP written form as well:
2Axel+2Axel, SEQ
3Flip+2Toe+2Loop
3Lutz+2Toe
FUSp2
CCoSp2
3Flip x
3Sal x
SpSq3
3Lutz x
SlSt2
3Toe x
FCoSp2
CCoSp2
Base Value - 60.28 (this is higher than both Slutskaya and Cohen at Worlds that year)
Effect on our hearts, minds, and souls - Infinite
http://www.youtube.com/watch?v=wWarys9kuzM
* She will open with a 2Axel-2Axel sequence rather than a 3Toe-3Toe combination (remember that in 2005, 3-3 combinations and 3Loops were not part of Michelle's skillset). This sequence will come a second before where the current 3Toe-3Toe is, so that after landing the second 2Axel and holding the landing edge for a moment to show stability she can do some quick transitional footwork which will go along with the sharp musical accents we hear at 0:43.
* Next up is a 3Flip-2Toe-2Loop combination. The 3Flip will be planned at 0:59 because this will allow the doubles that come afterward to be an excellent interpretation of the pulsing horn section of the music which has briefly come into the melody for 3 notes at 1:00. Her program will then continue along as it does in the current program, with a 3Lutz-2Toe being the next technical element.
* After the 3Lutz-2Toe she will move across the ice for a flying spin just as she does in the current program, except in the CoP-circa-2005 version she will change it to a Flying Upright Spin (a spin in just one basic position was required at the time and the different basic positions were also worth the same amount of points). Since doing a Layback counts as an Upright, she will actually go into standard Layback position after establishing security on the flying landing and do a brief, stylish upward arm movement while in this position. After several rotations of the standard Layback position she will do her hands-behind-the-back Layback position. This spin will look good and should earn a Level 2 (Level 3 was the maximum at the time).
* She will follow this spin up with the "come hither" choreography and back spiral position with her hand on the ice. If she can transition directly into a Camel spin from that back spiral it would be great, but if not she can take a few steps and do a back Camel, changing onto the inside edge after several revolutions, then going down into a sit, change foot into another sit position, and then finishing with a simple upright (perhaps with a small hint of a scratch spin). This is a Level 2 change-of-foot combination spin.
* After that spin she will move across the ice into the Triple Flip just like in the current program and then move into a Triple Salchow, similar to the current program but with a couple additional steps before going into the entry to maximize the effect of those high-pitched notes that we hear.
* The series of running steps after the Salchow are perfect but rather than go into an entire footwork sequence, she will skate towards the far end of the rink and perform a split jump. Following that she will build up speed and go into her Spiral Sequence. She'll do her classic change-of-edge spiral, with the edge changing at 2:58 to reflect that discordant beat of the music. She will transition from this spiral with a stag jump into a backward Y spiral, possibly doing a flourish with the free arm. This spiral sequence will gain a Level 3 (the highest possible at the time).
* Following the spiral sequence she will gain speed and setup for her second Triple Lutz. It will come at 3:23 with the sudden shock of the music. From this point on until the end of the program Michelle will be skating like she is on some serious stimulants, with wild energy abounding. A straightline footwork sequence (Level 2, the maximum at the time again being 3) will come directly after the Triple Lutz. It will demolish the audience and leave them gasping.
* After the footwork sequence she will fly down the ice and perform a Triple Toeloop at 3:56. Doing a jump right here is so perfect with that frantic swirling of the music. Immediately following the jump will be a flying sit spin. She will pull the spin up into an intermediate position between a sit and an upright at 4:01 when the music sharply decrescendos for a moment. Her head will be looking down, her body will be slightly twisted, and her arms will be partway extend at her sides with her hands open and facing downward. After briefly holding this position she will pull up into a full upright and go into a cross-foot position for a few rotations, during which time one arm will be clasping her chest and the other will be pumping into the air a couple times. Her hand will fling open on the upward pumps and clench into a fist on the downward. This movement will keep the crazed energy of the music sustained within the choreography. Meanwhile, CoP deems that Michelle has performed a Level 2 (flying) Combination Spin.
* After the spin she will quickly hop towards the center of the ice and go into her final technical element, which will be the exact same spin as she is currently performing in the program. Camel, change into Sit, change into a Y spin, change foot into a Sit, then change into a Y spin. Level 2 change-of-foot Combination Spin.
* She will finish off the program as she currently does and the audience will erupt into a thunderous, uncontrollable applause as a result of being entirely throttled and domineered by this dark sorceress.
If only we had gotten that instead of Bolero.
Here is the CoP written form as well:
2Axel+2Axel, SEQ
3Flip+2Toe+2Loop
3Lutz+2Toe
FUSp2
CCoSp2
3Flip x
3Sal x
SpSq3
3Lutz x
SlSt2
3Toe x
FCoSp2
CCoSp2
Base Value - 60.28 (this is higher than both Slutskaya and Cohen at Worlds that year)
Effect on our hearts, minds, and souls - Infinite
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- Joined
- Jan 23, 2004
^Thanks that was great!
Thanks so much, Blades! It's fun to imagine the program being done that way. I can't say I've ever seen a double axel-double axel combination (except for Kurt Browning, who used to reel 'em off in clusters), and it would be really effective. I also love that you gave Michelle a three-jump combination. They were just coming into use around that time, weren't they? I remember Irina doing them.
This isn't a kid's music. This is an artistically mature program, and Michelle would have been the ideal interpreter. Dark sorceress, indeed! The audience and judges would have been transfixed.
This isn't a kid's music. This is an artistically mature program, and Michelle would have been the ideal interpreter. Dark sorceress, indeed! The audience and judges would have been transfixed.
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Really? They've become quite common in the past several years under CoP.
Michelle in fact successfully performed a 3Flip+2Toe+2Loop in her 2005 Worlds Long Program. Thankfully that move fits perfectly for this music.
It really would be stunning. There's one other person who could pull off this program...Yu-Na Kim.
And you know what I just realized? Peter Oppegard was the original choreographer for this program. Peter Oppegard now coaches Yu-Na Kim.
I am going to do everything I possibly can to convince Yu-Na Kim to stay in competition for another year and use this program (the first four jumping passes would just change to 3Lutz+3Toe, 2Axel+2Toe+2Loop, 3Flip, 2Axel+2Loop, along with some other detail-oriented modifications so the program would fit into the current rules). The World deserves to see this. It would simply OWN everyone and everything in its path.
Now you understand why I'm so happy to see people spell things out when it comes to jumps. They're never what I remember about a program. On the other hand, I can tell you that the tiny bridge section in Kwan's 1998 Lyra Angelica program came from one of Erik Satie's Gymnopedie piano pieces, and that part of the Rachmaninoff short program from the same year came from his cello sonata. And I seem to recall that a smidgeon of the Salome music came not from Richard Strauss but from one of Ippolitov-Ivanov's Caucasian Sketches. (I don't know in what universe such details would be useful information, but there it is.)
Interesting idea about YuNa skating to this Bartok. It echoes a feeling I have about the truly great skaters: that I always love to see them remain in the sport (either in competition or as a pro) to the point where they can afford to take chances and really explore the possibilities of skating as an art form.
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- Jun 21, 2003
Are you sure they are common? Are more than two or three skaters done a 2A-2A sequence this year?
Michelle had a little mini routine once for the closing act of COI where she did four 2A's in a row, but with too many steps in between for a CoP sequence.
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The 2A/2A sequence is very commonly used in pairs, especially if the pair can only do one of the triple jumps; less so in singles.
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But if she really wanted to take us to heaven, she would do the version by Louis Armstrong and the Hot Sevens. (Or any Hot Fives or Hot Sevens, for that matter.
)
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But if she really wanted to take us to heaven, she would do the version by Louis Armstrong and the Hot Sevens. (Or any Hot Fives or Hot Sevens, for that matter.
You mean you don't like that version that Russian skaters tend to use so much? (Butyrskaya used it in 1999)
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