Elevadores - Lunge para levantar

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Quando você está misturando-se para o público e que você tem que criar: mudança, mudança, mudança, mudança, mudança, uma das coisas que eles experimentam como diferente é o seguidor estar em diferentes níveis: baixo no chão, de pé, até no ar.

Nome do Artista:
Gideon Kremer
Título da música:
Celos
Album Title:
Hommage a Piazzolla
Website de artista:
http://www.kremerata-baltica.com/

(A partir do site): Kremerata Baltica, uma orquestra de câmara, foi criada em 1997 pelo renomado violinista Gidon Kremer, que atua como diretor artístico da orquestra e violinista a solo. A alta qualidade artística do conjunto é o resultado da excepcional talento dos músicos individuais e abordagem inovadora da Kremer ao repertório.

00:05
So, on to our third lift.
00:07
And, I'd like to take an aside, to say, the previous chapter had this whole, sort of, world of possibilities, of lifts.
00:13
And we've given you... This will now be your third example. But, we'll have some additional chapters.
00:18
Breaking down examples, which use different concepts.
00:22
But, Malakai, Jessica.
00:43
Yes, exactly.
00:48
So, if we break that down, it starts side/trap. Just like any of the other traps we've taught.
00:54
So, his foot has to beat hers. So, sideways to the camera, we have:
00:59
Side, his foot gets in there. With his right arm, he lifts up along her back,
01:04
A little bit with his left arm, but more with his right. And that causes her leg to go up along his body.
01:09
He places her arm around his neck.
01:12
Gets a firm-firm hold.
01:15
And then, goes back into a lunge.
01:17
For the ladies, right here, she's pulling down, from her shoulder blades.
01:22
Her arms are into... Hands are interlaced, making them stronger. He's got the leg, so it doesn't slip.
01:27
Then, right there, to make it into a lift, all he has to do is, with his right thigh, push her leg up a little bit.
01:34
She points, he lunges a little further. And it's breathtakingly beautiful.
01:40
Just as I said in the previous chapter, the body mechanics make it really work. So, as I'm doing this,
01:57
Right here, if he lets go with both hands... And I can almost let go, because my legs are taking so much of the weight.
02:05
So, as we do that, I want the ladies to be aware, there's this instinct to grip with the arms.
02:11
But, you really don't have to grip with the arms. I mean, you use the arms for balance, not for... actual muscle, or for weight.
02:19
So, as we're here, if she lifts with the leg... Right here, let go of both arms.
02:25
And, this is all I need, which is not very much. Because so much is going through her legs.
02:32
You want to use more than you need with the arms, so it feels very secure.
02:36
But the weight, once again, is happening through the legs. And the arms are to make it feel very secure.
02:40
The... When you pull with your arm... And, do this at home.
02:45
If you pull with your arm up here. Pull down. You don't have much force.
02:49
If you pull with your arm down here, you have a lot of force. You know, she drives me to the floor.
02:55
Man, Jessica. So, when she does this, when she wraps around... If she wraps around like this... Actually, let's go...
03:03
If she wraps around my neck like this, with the elbow up, she doesn't have much force. It's hard for her to pull down.
03:08
If she grabs here, with the elbow down, she has a lot of power.
03:13
Likewise, on the other side. We're here,
03:15
If I come... As a leader, if... I'm doing this wrong, if I come up like this,
03:20
She can't pull down with her left shoulder. She doesn't have much power.
03:23
If I come here, and she can keep that shoulder down, she has a lot of strength. And she can help too.
03:28
So, while I'm saying it's not about the arms, I want you to have powerful body mechanics.
03:32
So, show one last time.
Série:
Elevadores
Etiquetas:
Elevadores, atuação, Estocada