World and Olympic coach Robert Tebby continues his presentation on the lutz. In Part 1 and Part 2 he shared many thoughts and some exercises for single lutz development. In this video he talks about the development process he uses when learning the double lutz and triple lutz. Robert begins by noting that transitioning from the single to the double lutz is typically more challenging technically than going from a double to a triple “if the double is good.” Before even considering the double, Robert makes sure the skater can do a single lutz from the correct outside edge. Then to prepare for double he has the skater do a single lutz with an ‘h’ position at take-off and a twizzle on the landing. The purpose of having a strong h-position take-off is to create better timing and a steeper take-off angle and create a good power angle or backward lean at take-off that ensures the skater is properly vaulting and driving up with the hips. Robert describes this as having “better alignment going into the air.” The jump progression is single lutz, then single lutz with and ‘h’ and twizzle, then double lutz attempt. Then, “see what you get.”
Robert continues, “If I have skaters who are struggling with an outside edge… we need to really set clear objectives.” To correct edge change issues he goes back to the basic exercises and concepts discussed in Part 1 and Part 2, including exercises as simple as “a half lutz into the circle.” He continues, “If we’re able to do that (simple exercises with correct edge), that’s the most important part of the jump. You have to set your priority that that has to happen. Whatever happens after that is irrelevant. If that first part doesn’t happen, it’s not a lutz (and) it doesn’t matter.” This is creating a mindset of precision and correction and focusing on the most important aspect of the jump first, and that’s the correct take-off edge.
Next Robert shows another drill he uses to help skaters learn to “balance on the outside edge.” He says, “If we’re not balanced on our (outside) edge it’s quite difficult to expect a skater to jump off of that same edge.” The pattern of the exercise is simple, but the details of balance and body part placement automatically create the edge. The order of the movements is important. After describing the exercise in detail, Robert shows a clear demonstration.
Returning to the transition from single to double, Robert says, “The reason you get to try a double is because your single is good. So let’s try and maintain what we’re doing on the single.” He again describes the jump progression (single, single with twizzle, attempt double) and explains, “The goal of initiating the try on the double is not the rotation. It’s to do more than a single and keep the jump (mechanics) outside edge, balanced and straight.” This is about building confidence before adding more effort to create the necessary rotation.
In terms of transitioning from the double lutz to the triple lutz, Robert says, “I think the most important part is gaining confidence in trying the jump.” Here he reiterates what he said earlier for the single to double transition, “We’re not looking for the rotation (initially). We’re looking for more than a double, land on our feet nice and straight, maybe we fall afterward. But the goal is to maintain outside edge, turn more than a double, keep it straight.” Again it’s about building confidence in stages in a safe manner. Here he suggests working on single lutz with an h-tap [often referred to by others as an ankle tap] which is simply doing a big single jump with an h-position take-off and making ankle contact in the air (feet crossed) at the top of the jump before executing a standard smooth landing. He wants this exercise to be done with “an abundance of speed.” In terms of the details of the triple lutz he explains, “We are trying to get the toe pick to hit closer, we are trying to get a little (toe) flick off of the outside edge. Those are the types of skills that are part of a really good triple lutz.” Robert finishes with recommending that coaches use video to reinforce the positive throughout the process.
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