リフト - エレベーターへのランジ
あなたが観客のためにそれを混在させているときに、変更、変更、変更、変更、変更を行う必要があります。彼らが異なるものとして経験するものの1つは、異なるレベルのフォロワーです。空の上に。
- アーティスト名:
- Gideon Kremer
- 曲名:
- Celos
- アルバムタイトル:
- Hommage a Piazzolla
- アーティストウェブサイト:
- http://www.kremerata-baltica.com/
（ウェブサイトから）：室内楽オーケストラであるKremerata Balticaは、オーケストラの芸術監督とソロ・バイオリニストとして活躍する有名なヴァイオリニストGidon Kremerによって1997年に創設されました。アンサンブルの高い芸術的品質は、個々のミュージシャンの卓越した才能とレパートリーに対するクリマーの革新的なアプローチの結果です。
- 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.
