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3 Appendix to the Judging Manual

3.1 Explanation of Speed Flow​

In Freestyle Disc, Speed Flow refers to a quick exchange of the disc from throw to catch. In most cases, this means that a player throws the disc to his partner who does a trick catch directly off the throw. Usually, players will stand at least a few meters apart from each other, but this doesn’t have to be the case. Also small manipulations of the disc are allowed between the throw and the catch and it can still be called Speed Flow. The key criterion of a Speed Flow is that the disc continues or “flows” from throw to catch without significant delays or pauses.

Examples of speed flow:

  • Player A does a forehand throw, Player B does a UTL catch directly off that throw.
  • Player A does a backhand throw up in the air and to his right, Player B extends the flight of the disc by brushing it directly off the throw to Player C who does a scarecrow catch of this brush.
  • Player A does an overhand throw to Player B who deflects the disc with his hand and then does a lacer catch directly off this deflection.
  • Player A throws a bounce throw to Player B who does an UTL tip of this throw and catches the disc off this tip.

The difficulty of Speed Flow elements depends on:

  • The difficulty of the throws
  • The difficulty of the catches
  • The difficulty of the deflections, brushes, and/or tips done between the throw and the catch
  • The speed of exchanges: Quick throws are more risky than slow throws; short breaks between catch and throw are more risky than long breaks.

In general Speed Flow is more difficult than it appears, because it contains a high number of catches, and catches are usually the most risky part of each combo.

3.2 Explanation of Consecutivity​

Consecutivity is the ideal of transitioning directly from restricted move to restricted move. One trick becomes a direct set up for the next trick. Consecutivity refers to linking moves together rather than breaking up combinations with basic moves. Consecutivity adds to the difficulty and visual appeal of play. Going from a restricted move directly to another restricted move builds consecutivity. "Resetting" a combination with an unrestricted move breaks the consecutivity of the combination.

An unrestricted move is a basic skill like the nail delay held in front of the body. There is no contortion or physical challenge adding to the difficulty of the skill. We use the nickname THE delay for this move.

Examples of restriction:

  • Movement: Spinning the body. Going airborne.
  • Limb/Torso: Reaching around a body part to set, delay, pull or catch the disc. Behind the back pull. Set under the leg.
  • Body position: Use of unconventional arm positions (e.g., inverting the hand) or different body parts (e.g., elbow or toe delay) to perform a skill.
  • Sight: Performing tricks without sight of the disc (e.g., phlaud catch)
  • Technical: Performing manipulations of the disc that defy gyroscopic expectations. Against the spin moves. Turnovers. Spin changes. Angle changes. Some uses of third world or benign (no spin) tricks.
  • Distraction: Using multiple discs at the same time by juggling or using one disc to perform a skill with a second disc.
  • Cooperative: Using another player's body as a restriction. Set under a teammate's leg.

It is more consecutive to go from a restricted set to a restricted reception. Flowing from reception to set (or set to reception) improves consecutivity. A set does not need to be restricted to preserve consecutivity, as long as the flow of the combination continues. A pause in flow before an unrestricted set can break a streak of consecutivity.

Evaluating the consecutivity of body rolls and brushing: Consecutivity is an ideal founded on delay-based freestyle. Its ideals can be applied to body rolls (back rolls, rolls received or set under a leg) or air brushing (brushing under the leg, with a knee), but the standard for consecutivity is more around repetition and flow. For example, a completely consecutive air brushing sequence would consist of only restricted brushes, but brushing several times in a row still demonstrates some consecutivity because each move flows to the next without a reset.

Examples for different levels of consecutive combos:

  • No consecutivity - The transition from one restricted move to the next is interrupted by a THE delay: THE delay unrestricted set a single spin THE delay under the leg tip THE delay behind the back catch.
  • Some consecutivity - Some moves in the combination link together. Others are interrupted: THE delay grapevine set behind the back pull THE delay flamingo catch.
  • High consecutivity - Most or all moves in the combination link together: Under the leg reception off a throw grapevine set behind the head rim pull under the leg rim pull scarecrow catch

3.3 Music Choreography: Points to Consider​

Points to consider when judging Music Choreography:

  • Does the speed of play matches the speed of the music? Are changes in speed of the music reflected in changes in the speed of play? Pauses in play that match pauses in the music should be rewarded.
  • Does the team hit music hits or breaks? Closely missed attempts to hit music hits or breaks should also be rewarded, but less so.
  • Are recurring music elements interpreted, e.g., through a tipping sequence? Repetition of moves can be rewarded in such interpretive cases.
  • Expressive styles of play should be rewarded more than less expressive ones if the team’s artistic expression matches the music. This can also include purposefully not matching the music.
  • Do not give a score based on whether or not you like the music!