- Joined
- Dec 12, 2016
With that interview do you mean the part where he talks about being in unison with the music? I think that's definitely the end goal but it's not completely there yet, which is what I meant by him still trying to match the music by catching up or slowing down. There's a bit of a mismatch at some points especially with his upper body but I like that this program (and Notte Stellata too) forces him to slow down and be more aware of his arm movements.
I've listened to the music so much that when I started hearing the background viola (?) part near the end that sounds like buzzing, I thought I was hearing things, haha.
Ahh. I see. For me, the main sense of mismatch is mostly in the beginning of the program. I'm not fully getting the opening choreo yet (the upper body looked like it was simply going through the motion a little bit. What you said about the discrepancy between the anxiety of competition and the gentle emotions HL meant to convey, I've thought that before - especially during the live streams. In addition to his own nerves (which he did a good job of concealing for the most part), it's also my nerves as a spectator/viewer watching his performance. I'm nervous and on edge watching him just because.


). Apparently it is acceptable and natural, just like pre-rotation is, as long as you didn't take off backward (or forward for other jumps). But some also think jumping a skidless axel (like jumping with very minimum or no pre-rotation) is considered a superior technique, while some others said it is preferences and that both are just as fine; seems like Brian is one of those who thinks so. I also heard some who said skidding slightly is a preferred/better technique, because it gave you more control (?) during takeoff. I personally have no idea which one is better lol.