| |
-
The B or C dismount may be one
of the B or C elements already incorporated into the difficulty score.
-
Without a B or C dismount the
maximum difficulty score for a routine is 3.80.
-
A elements are only incorporated
into the difficulty score if the routine has an insufficient number of
B and C elements.
-
The level of difficulty of the
individual elements will be determined by the difficulty catalogue of the
1997 German Code of Points. The D elements listed in this Code of Points
will be valued as C elements.
-
For the total number of moves required in a straight-line routine,
see 5.4.1.1. in WB 97 (at least 8 moves + dismount).
Example of a complete routine:
|
(3 x C elements = 1.8
points) |
| + |
(5 x B elements [including
B dismount] = 2.0 points) |
| + |
an additional move (difficulty
irrelevant) in order to have the correct total number of moves |
| + |
(bonus for B or C dismount
= 0.2 points) |
| = |
total 4.0 points as maximum
difficulty |
1.2
Composition in straight-line
See WB 97 for composition
requirements. The requirements listed in paragraph 5.3.3 in WB 97 are valid
for routines both with and without music. These requirements have been
reproduced below:
-
1 move in both bindings
-
1 move in one binding
-
2 centralised moves without
bindings
-
1 complete free-fly with a pike
-
1 bridge without bindings (no
1/2 turn in inverted position)
-
1 decentralised move,
whereby the upper phase comes from one of the following groups: High rolls
(see RTS Ch. IV 2, page 26) or Upward, downward and forward/backward circles
(see RTS Ch. IV 2, page 27).
The deduction for a composition
error in straight-line is 0.2 points per missing move or element from the
above list of requirements. (In the case of routines to music 0.1 points
are deducted per missing move or element, see 4.4.2)
1.3
Difficulty in spiral (replaces point 5.2.2. in WB 97)
In spiral a maximum of 9
elements of difficulty are incorporated into the difficulty score.
In order to achieve maximum
difficulty (4.0) a routine in spiral must contain at least the following
elements of difficulty:
| Element |
Value |
Number |
Total
value |
| C |
0,60 |
3 |
1,80 |
| B |
0,40 |
5 |
2,00 |
| A |
0,20 |
1 |
0,20 |
|
|
|
4,00 |
-
For the level of difficulty
of the individual elements see chapter 2 in this IWB 2000.
-
For the total number of moves
required in a spiral routine, see 5.4.1.2. in WB 97 (at least 8 and maximum
12 moves + dismount).
1.4
Composition in spiral
The requirements listed in
paragraph 5.3.4 in WB 97 apply:
-
1 element combination with 1/2
turn
-
1 move in free-fly (2 rotations
of the wheel, also as element combination)
-
1 rotation of the wheel in a
bridge (no 1/2 turn)
-
1 move performed behind
-
1 move with a change of direction
(as a transition before the move or between the two rotations)
-
2 moves in small spiral
The deduction for a composition
error in spiral is 0.2 points per missing move or element from the above
list, with the exception of small spiral, where 0.5 points are deducted
per missing move in small spiral.
2
B AND C ELEMENTS IN SPIRAL (replaces volume 3 of WB 97)
2.1
B Elements
2.1.1
Centralised moves in the big spiral:
| B Elements |
Examples |
| - All element combinations
with at least one rotation in a straight position |
ROT1: Side rotation
ROT2: Front support forwards
|
- All moves performed behind
|
Side rotation behind
|
- All bridges
|
Spindle bridge, low bridge
|
- All element combinations
with at least one rotation free-fly
|
ROT1: Side free-fly
ROT2: Side rotation
|
- All elements without bindings
|
Side rotation without bindings
|
2.1.2
Moves in the small spiral:
| B Elements |
|
| - All moves in the
small spiral other than side front support |
|
2.2
C Elements
2.2.1
Centralised moves in the big spiral:
2.2.2
Decentralised moves in the big spiral:
| C Elements: |
Examples |
| - All decentralised moves |
Side angled hang |
2.2.3
Centralised moves in the small spiral:
| C Elements: |
| - Low side bridge behind
(with or without bindings) |
| - One-armed side front support
with leg out to the side or crossed over the other leg, without bindings |
| - One-armed side front support
with one leg in front on the lower outer handle, without bindings |
| - Low side splits |
3
EVALUATION OF THE VAULT
The evaluation of the vault
remains unchanged with respect to IWB 98. You will find the vault requirements
incorporated into WB 97 (the basis for IWB 2000), chapter 7 (reproduced
in English below).
3.1
The units of a vault
A vault is divided into 5 units:
Unit 1 consists of the phases
1. Setting
the wheel in motion
2. Pause, legs
together
3. Run-up
Unit 2 consists of the phases
4. Take-off
from the floor
5. Mounting
phase
Unit 3 consists of the phases
6. Placement
of the thighs, hips or feet on the wheel
7. Support,
standing, sitting or lying on the wheel
Unit 4 consists of the phases
8. Thrust
with the hands or feet from the wheel
9. Flight phase
Unit 5 consists of the phase
10. Landing
3.2
General deduction categories
3.2.1
Minor deductions (0.1 - 0.2):
Minor deductions of up to
0.2 can be made within each unit. The same categories of deduction apply
as for straight-line and spiral.
Contrary to straight-line
and spiral, however, there is no limit for the number of minor deductions
per unit.
3.2.2
Half-point deductions (fixed: 0.5):
The following errors in the
vault discipline result in a half-point deduction. Minor and major deductions
are made in addition (in contrast to straight-line and spiral). Several
half-point deductions may also occur in the same unit.
-
Take-off from one leg
-
No obvious take-off from the
floor
-
Major correction of holding,
sitting or standing position in order to avoid rolling back or rolling
forwards too fast
-
Rolling too far. Obvious interruption
of the movement of the wheel
-
Elbow angle less than 90( (in
the case of overswings)
-
Use of elbows to support the
body
-
Use of knees in order to introduce
the thrust phase in overswings
-
Starting a twist while still
on the wheel
-
Falling to sitting or lying
(on landing)
-
Comments from the audience
-
Too small a wheel
The vaulting wheel may be a
maximum of 10 cm smaller than the wheel used for straight-line. If a smaller
wheel is used, this must be reported to the head judge in advance. A deduction
of 0.5 per 5 cm too small is then made. If a too small wheel is not reported
to the head judge prior to the competition, the vault will receive a score
of 0.0 (see 3.2.4).
3.2.3
Major deductions (fixed: 0.8)
3.2.3.1
Fixed major deductions
The following errors in the
vault discipline result in a major deduction. Minor and half-point deductions
are made in addition (in contrast to straight-line and spiral). Several
major deductions may also occur in the same unit.
-
Setting of elbows on the wheel
(during take-off or mounting phase) 0.8
-
Support by the coach
0.8 (Special case: If the
vault is only possible if the coach pulls the wheel up, then a fixed major
deduction will be made in both units 2 and 3.)
-
Shoulders on or below the level
of the top of the wheel 0.8
-
Feet below the level of the
top of the wheel (in the case of a tuck vault) 0.8
3.2.3.2
Variable major deduction
-
Too little height or length
in the flight phase up to 0.8
3.2.4
Non-recognition of vaults
3.2.5
Recognition of voluntary vaults
Before the voluntary competition,
the competitors submit their vaults to the head judge. The head judge works
out the maximum score and communicates this to the judges before the competitor
vaults.
If the actual execution of
the vault deviates from the submitted vault, the following process applies:
-
The head judge lets the judges
know which vault was actually performed and what the maximum score is.
The judges then make their deductions based on the vault actually performed.
-
If the vault performed cannot
be identified in the catalogue of vaults, the gymnast will receive a score
of 0.00.
3.3
Examples of minor deductions
Unit 1:
Phase
1: Feet brought one after
another into tuck on position
2: No pause, not standing
with legs together, incorrect arm positioning
3: No acceleration in run-up,
obvious deceleration before the vault
Unit 2:
Phase
4: Too great a distance
between gymnast and wheel, hands not holding at same level on wheel, incorrect
holding zone
5: Legs not parallel and/or
not in one plane, incorrect knee positioning, incorrect foot positioning,
incorrect hip positioning, too late in achieving a 90o angle in overswings
Unit 3:
Phase
6: Too great a distance
between holding position and standing/sitting position
7: Small adjustments to holding, sitting or standing position, incorrect knee
positioning, incorrect
foot positioning, incorrect hip positioning, arms not elevated (in the
case of a somersault)
Unit 4:
Phase
8: Twist initiated during
standing or support phase
9: Initiation of flight
phase in overswings by bending the elbows to less than 90°, legs not
parallel, together or on the same level, uneven body positioning, incorrect
arm positioning, incorrect foot positioning, incorrect hip positioning,
lack of body extension before landing
Unit 5
Phase
10: Stepping (or jumping
with both legs), hands brushing the floor, lack of finishing position with
legs together and straight
3.4
Catalogue of Vaults (maximum score)
The maximum possible scores
of the vaults listed below include the evaluation of both difficulty and
execution.
Straddle and tuck vaults:
-
Straddle sitting
5.5
-
Straddle sitting backwards 6.5
-
Tuck through 7.0
-
Handstand, straddle down 9.5
-
Straddle vault 9.0
-
Tuck vault 9.2
Jumps (from standing on the wheel):
-
Straight jump
7.5
-
Angled straddle jump
8.0
-
Somersault
9.0
-
Pike somersault
9.3
-
Backward somersault
9.0
-
Backward pike somersault
9.3
-
"Auerbach" somersault
9.7
-
Pike "Auerbach" somersault
10.0
Overswings:
-
Overswing
9.2
-
Angled straddle support, overswing
9.2
-
Straddle sitting, overswing
8.0
-
Lying on the wheel, overswing
7.5
-
Lying on the wheel, overswing,
somersault 10.0
-
Lying on the wheel, overswing,
1/2 twist, backward somersault 10.0
Additional points for
twists in the flight phase:
|
somersault/overswing |
otherwise |
| 1/2 twist |
0.4 |
0.2 |
| full twist |
1.0 |
0.6 |
4
ADDITIONAL RULES FOR ROUTINES PERFORMED TO MUSIC
4.1
General:
Voluntary routines will be
performed to music at the World Championships in Wheel Gymnastics under
the following conditions:
4.1.1
Only the senior men and women will perform their voluntary straight-line
routines to music of their own choice.
4.1.2
Routines to music will be performed in both the semi-finals and finals.
4.1.3
The 'Additional rules for routines performed to music' apply in conjunction
with the 1997 German Code of Points (WB 97) and the previously mentioned
exceptions with regard to difficulty (see point 1).
4.2
Composition of the judging panel
The panel of judges consists
of one head judge, one difficulty judge, four judges for execution and
composition and two judges for musical interpretation.
4.3
Scoring system
4.3.1
Criteria and weighting of the scoring system:
The maximum score for routines
performed to music is 10. The score comprises the following parts:
| Difficulty |
4.00 points |
| Execution/Composition* |
4.00 points |
| Musical interpretation |
2.00 points |
| maximum score |
10,00 Punkte |
* The composition of a routine
is no longer considered a bonus. For faults in the composition (for instance
not performing moves of all element groups, lack of variation in the routine,
repetition of moves) a maximum of 0.5 P can be deducted.
4.3.2
Calculation of the final score:
-
The difficulty judge states
the difficulty of a routine immediately after its completion.
-
The judges for execution and
composition make deductions according to the 1997 Code of Points (with
the exceptions mentioned in point 4.4) to reach their score. The arithmetic
mean of the two middle scores is used to calculate the final score.
-
The judges for musical interpretation
make deductions according to the 'Additional rules for routines performed
to music' to reach their score. The arithmetic mean of these two scores
is used to calculate the final score. If the arithmetic mean of these two
scores is 1.5 or higher, the difference between the two scores may not
be greater than 0.3. If the mean is below 1.5, the difference between the
two scores may be 0.5. If there is too big a difference the head judge
must call a meeting for the music judges. If no agreement can be reached,
the head judge will settle the score (according to the arithmetic mean).
-
After adding together the three
individual scores, the head judge will give the final score for the routine.
4.3.3
Start and end of the judging process:
-
For the musical interpretation
judges the judging process begins when the music starts, after the head
judge has given the signal to start and the gymnast has taken up his/her
chosen starting position.
-
For the difficulty judge and
the judges for execution and composition the judging process begins as
soon as the wheel begins to move.
-
The judging process ends for
the difficulty judge and the judges for execution and composition after
the dismount or after the final move.
-
For the musical interpretation
judges the judging process ends with the final pose of the gymnast or with
the end of the music.
4.4
The evaluation of routines to music
The regulations of the 1997
German Code of Points apply (with exceptions - see points 4.4.2 and 4.4.3)
in conjunction with the difficulty catalogue of the 1997 German Code of Points.
4.4.1
Length of a voluntary routine to music:
-
Each voluntary routine has a
time limit of 31/2 minutes. (For deductions see 4.4.3)
-
No deduction for too many lengths.
-
Deductions will still be made
for too few moves.
4.4.2
Evaluation of composition:
The judges for execution
and composition can deduct up to 0.5 points for faults in the composition.
The 1997 Code of Points applies, with the alteration that 0.1 (instead
of 0.2) points per unfulfilled composition requirement may be deducted
from the total allocation of 4.0 points.
4.4.3
Evaluation of execution:
The judges for execution
and composition can award up to 4.0 points for execution. The 1997 Code
of Points applies, with the following deviations:
4.4.3.1
Minor deductions in routines performed to music
The rules for execution are
described in detail in the Technical Language of Wheel Gymnastics (RTS).
When performing to music, deviations from these rules for execution are
permitted. The decisive criteria for such deviations are:
1.
The execution of routines performed to music must clearly express/interpret
the music.
2.
There are very few rules for the execution of moves performed in an upright
position.
3.
The technical characteristics of moves and elements of difficulty must
be fulfilled, i.e. the recognition of a move or element cannot be placed
in doubt as a result of a deviation from the standard execution. The following
paragraphs will go into further detail regarding the individual deduction
categories.
On the left hand side you
will find the errors which still warrant minor deductions from the judges,
while on the right hand side you will find specifically permitted deviations.
| Errors |
Tolerance |
| Head positioning |
|
-
Head not an extension of the
backbone (e.g. in bridges and spindle position)
|
-
Accentuated or isolated head
movements which obviously represent musical interpretation
|
Hand positioning
-
Hands do not grip the wheel
simultaneously when swinging through in the lower phase
-
Hands hold unevenly on the rims
(e.g. in a giant rim bridge) without it being a specified part of a variation
-
Incorrect holding zone (with
regard to the recognition of an element, e.g. giant rim bridge)
-
Hands brush the floor (e.g.
in a free-fly)
-
Supporting hands on the floor
(on dismount) (fixed: 0.2)
-
The hand positioning of a free
hand(s) is up to the gymnast and may be altered during the rotation
|
|
Arm positioning |
|
-
Arms, elbows or shoulders not
parallel (e.g. in a push through, tuck support, upward, downward, forward/backward
circles)
|
-
Arm positioning is up to the
gymnast and may be altered during the rotation
|
|
Foot positioning |
|
-
Lack of foot turn, late turning
of the feet (e.g. body first, then feet, in moves in one binding)
-
Legs not together (e.g. wobbling,
heels apart, one foot slipping when standing with legs together without bindings)
-
Dragging feet on the floor
-
Feet not together and parallel
in rolls (e.g. crossed legs)
-
Brushing against rungs, rims,
boards or handles during the rotational movement in rolls
-
Incorrect standing zone (with
regard to the recognition of an element)
-
"Wedging" the foot/feet under
board/rung/handle (e.g. after rolls)
-
Step(s) on landing from the
dismount
-
Ending the twist in standing
position (after twisting dismounts)
|
-
The positioning of the free
foot/feet is up to the gymnast and may be altered during the rotation.
This only applies, however, as long as the deviations from the execution
rules in the RTS can be justified by the music.
-
Accentuated or isolated foot
movements which obviously represent musical interpretation
-
Turning the foot too late and
getting stuck in the binding when trying to release the foot from the binding
|
|
Leg positioning |
|
-
Unnecessarily bent knees (e.g.
when releasing the foot from the binding, stride movement into high splits,
giant bridge without bindings)
-
Insufficient reach in a stride
movement (with regard to the recognition of an element; e.g. splits)
-
Legs not together and parallel
(e.g. in roll movements, tucked and angled position changes, upward circle,
sitting or lying in the lower phase)
|
-
The positioning of the free
leg/legs is up to the gymnast and may be altered during the rotation. This
only applies, however, as long as the deviations from the execution rules
in the RTS can be justified by the music.
-
Accentuated or isolated foot
movements which obviously represent musical interpretation
|
|
4.4.3.2
Further deductions for routines to music
-
A major deduction is fixed at
0.6 (instead of 0.8), as errors earning major deductions from the execution
judges are also likely to attract deductions from the music judges.
-
Interruptions in the movement
of the wheel are permitted during the course of the routine. These may
take the form of 'extra swings' or a 'stationary wheel'.
- An 'extra swing' can be
interpreted as a double (in the middle of a length) or triple (at the end
of a length) change of direction. An extra swing can occur with or without
bindings, in centralised or decentralised moves. No deductions for extra swings.
- A 'stationary wheel' can
be understood as the deliberate stopping of the wheel in order to interpret
the music with poses or gestures. A 'stationary wheel' is also permitted
in order to fasten the binding(s) if the routine began without bindings
or in only one binding.
-
The routine may be started outside
or inside the wheel, not necessarily in contact with the wheel. After having
entered the wheel (no body part touching the floor any more), however,
only one pose with floor contact is permitted, whereby contact between
the gymnast and the wheel must be maintained and a maximum of 4 actual
floor contacts are permitted (e.g. a step to the side or lying on the floor).
Exceptions: moves from the difficulty catalogue where floor contact is
a prescribed part of the move, or when the routine is started as if for
a vault (see below).
-
At the beginning of a routine
the wheel may be set in motion as if for a vault (with the restriction
that the gymnast must retain foot contact with the floor while setting
the wheel in motion). No deductions will be made for a fall.
-
The gymnast may also be assisted
by a coach into a starting position in or on the wheel. After the coach
has left the wheel, the gymnast must be able to hold the pose until the
music starts. The music has to start within 7 seconds. If the music has
not started within 7 seconds and the gymnast can no longer hold his/her
starting position, the head judge may permit the gymnast to begin his/her
routine again.
The deductions below
are applicable for the following deviations from the 1997 Code of Points:
-
For a major deduction
0.6
-
For exceeding the time limit
of 31/2 minutes 0.5
-
For more than one pose with
floor contact (per routine) 0.5
-
For lack of dismount
0.5
-
For a slight backwards and forwards
movement of the wheel in the case of a deliberately stationary wheel
up to 0.2
Exception: A slight
backwards and forwards movement of the wheel is permitted when fastening
bindings.
4.4.4
Evaluation of musical-technical details:
The gymnast must respect
the following musical-technical details:
-
The music must be recorded on
a cassette (at the beginning of a side) or a CD and must be correctly marked
(name, country, competition category).
-
Only instrumental music may
be used, i.e. no singing or talking.
-
The music must be cut to length
and recorded on the sound recording medium that is specified for the competition.
This means that the music may not be faded out by hand.
-
The music must be recorded in
good quality, whereby cuts are barely noticeable.
The musical interpretation
judges make the following deductions from their maximum of 2.0 available points:
-
Use of music with singing or
talking 0.5
-
The music is faded out
1.0
-
Obvious cuts
max. 0.2
-
Very bad recording quality (e.g.
disturbing background noise) max. 0.5
4.4.5
Evaluation of musical interpretation:
The musical interpretation
judges evaluate the harmonious co-ordination of music, gymnast and apparatus,
the expression of the gymnast, as well as the originality of the routine.
-
Under harmonious co-ordination,
an evaluation will be made of whether the gymnast has interpreted the accents
and high points of the music, whether the dynamics of the wheel and fast
and slow moves reflect the tempo of the music and whether the gymnast moves
in time to the music.
-
The expression of the gymnast
should emphasise the character of the music. Relevant gestures and movements
are encouraged.
-
By using new elements the gymnast
should achieve originality in the routine. This can also be achieved through
new combinations of familiar elements.
-
As part of his/her musical interpretation,
the gymnast may move outside or inside the wheel before the start of the routine.
-
As part of his/her musical interpretation,
the gymnast may move outside the wheel for up to 5 seconds after the dismount,
until the final pose is reached. (NB: The time limit of 31/2 minutes must
not be exceeded.)
-
The final pose must coincide
with the end of the music.
For bad or lacking musical
interpretation the musical interpretation judges make the following deductions
from their maximum allocation of 2.00 points:
-
The music is used purely as
background music, i.e. no attention is paid to the character and tempo
of the music, neither through appropriate moves or movements, nor through
the expression of the gymnast 2.0
-
No attention paid to the tempo
changes in the music (fast-slow, slow-fast) in the form of corresponding
dynamics of the wheel and moves each case
0.2
-
More than 5 seconds outside
the wheel between the dismount and the final pose 0.2
-
Small discrepancy between final
pose and end of music 0.2
-
Big discrepancy (more
than 5 sec) between final pose and end of music 0.5
-
No final pose
0.2
-
The movements of the gymnast
do not fit with the music each case 0.1
-
Attention not paid to high points
and accents in the music each case 0.2
-
No (or inappropriate) expression
of the music on the part of the gymnast Max.
per routine 0.5
-
Lacking originality (see above)
Max. per routine 0.5
4.5
Gymnastics clothing
The gymnastics clothing must
conform to usual competition attire (see enclosed excerpt from the IRV
International Competition Regulations).
-
Clothing must be tight so that
the gymnast is not inhibited or endangered. Decorations in the form of
sequins, buttons etc. are only permitted in a very limited quantity.
-
Hairstyle and make-up must be
simple and discreet. Feathers, flowers etc. are not permitted.
-
The use of props of any kind
is not permitted.
-
If the gymnast does not comply
to the above, the head judge will ask him/her to change competition clothing.
If the gymnast refuses to do so, the head judge may disqualify the gymnast
from the competition.
The original draft for the
'Additional rules for routines performed to music' was prepared by:
Monika
Vathbrückner and Wolfgang Bientzle.
Re-worked and approved by
the Technical Commission of the International Rhönrad Association
in October 1996.
Re-worked and approved by
the Technical Commission of the International Rhönrad Association
in August 1998.
Re-worked and approved by
the Technical Commission of the International Rhönrad Association
in August 2000.
German Version
(IRV / Sigrun Leisner)
update: 28-Feb-00)
|
|
