While this section is designed to instruct you on the techniques of riding in halfpipe competition, keep in mind it is not telling you what the judges want to see. By no means is this article meant to instruct riders on what tricks to perform. The Halfpipe is a "freestyle" competition and in no way should the judges violate any competitor's effort to ride freely in a creative manner. Rather, this section is meant to give you an idea of how to design your own halfpipe runs to be competitive.

Sometime ago, riders were trying to devise how to put together the ultimate halfpipe run, the ideal, the paragon of mixed tricks. After many years of progressive rationalization, it was generally agreed upon that the perfect run is based solely upon three major concepts and not on any particular maneuvers. The foundation is on DIFFICULTY, EXECUTION, and VARIETY.

Let's recap what we have learned from part one and imagine what the judges are doing as you progress down the halfpipe. Basically your strategy is going to be based on the system of judging. We have five judges, each one looking at a different criteria, and within each one of these criteria, each judge is looking for the same three "sub-criteria," (except the Amplitude Judge). The sub-criteria are once again: VARIETY, DIFFICULTY, and EXECUTION. Thus, each judge is looking to reward one third of his points to each sub-criteria; in other words, 3.3 points maximum for each. The three sub-criteria are an important concept to keep in mind. Now, lets describe how to impress a judge in each general category, and then how to put it all together into one ultimate winning run.

STANDARD MANEUVERS: These are all "straight airs," as they are sometimes called. In other words, all airs that are under 360 degrees. While this area may seem limited at first, it should be obvious to the expert snowboarder that this includes a high number of maneuvers. These maneuvers may be grouped together into several "sub-groups." The basic kinds of standard maneuvers all group into one of the following: straight airs, airs to fakie/fakie to forward, alley oop airs, and straight switchstance airs. In able to score a high variety, it is advisable to try and include a maneuver from each sub-group . For example, performing different backside airs with grabs shows a good variety, but including also a switchstance air, an alley oop air, and an air to fakie, shows a much greater range of variety, as well as increasing the difficulty. Plus if the tricks are performed well, it increases your score for execution. The grab should be solid and smooth, the legs and body maneuvered into the appropriate position, and then the grab released: all in one fluid motion.

ROTATIONAL MANEUVERS: These are all maneuvers that include a rotation of 360 degrees or more. Rotations can be separated into several areas including horizontal rotations, vertical rotations, and inverts. (Note: inverts are technically not necessarily 360 degrees and above, but are placed into the rotational category for point value balance). Some key points: Make sure to try and grab all your rotations. A grabbed 540 is certainly better than a 540 without a grab. Also, again, variety plays a major role. A low score in variety may mean doing 3 frontside 540's all with different grabs. While technically these are "different" tricks, it doesn't show a high variety. A higher score for variety means doing maneuvers that are more dissimilar. Such as, a 540, a 720, a McTwist, and a handplant. Also, your execution for rotations means smooth, precise, and under control rotating. Higher difficulty may be added by including stalling or off axis combinations.

AMPLITUDE: This is a very simple category. It is purely a measure of how high the rider gets above the lip of the halfpipe. It is very important to remember it is the AVERAGE of the height of ALL hits (except handplants and lip tricks). Thus, it would be wise to try and get as high as possible on EVERY hit. It is also important to remember that every hit counts. Thus, if you have enough speed at the end of your run for a little half-foot high air, it might be wise to make it a lip trick, or possibly not take it at all and finish your run strong, rather than fizzle out.

LANDINGS: The landings judge looks at all your activity on the snow, on the wall, on the transition, and in the flatbottom. This is not only where falls and sketches come into play, but also where execution, smoothness, and edge control are measured. Additionally, the landings judge is always looking for a variety of different and difficult landings. In other words, the type of maneuver you attempt can influence your landings score. If you ride down the pipe, do perfect plain one foot airs, and stick all of them, the landings judge will not award you a full ten points. Landings must be of different types; for example, straight or rotational, and also of high difficulty. Ideally, you want to ride across the halfpipe on your uphill edge, catch air, land, and ride out again on your uphill edge. This means no turning unnecessarily, no large direction changes, no use of hands for balance, and no accidental landing on the rollout deck. Also, remember, a full fall may carry a significant point decrease, but by no means will it destroy your score completely. Always keep riding hard and never give up.

TECHNICAL MERIT/OVERALL: The TM judge looks at the overall scheme of how the run progresses and flows. Basically, everything is taken into consideration. However, more importantly, the TM judge is looking at how you have designed your run to show a mastery of tricks that are executed well and are difficult. Most often if you are getting high scores from the other judges, you will do equally as well in this criteria. Nonetheless, here are some tips. First, the more obvious, don't fall. Falling in your run not only affects you when you crash, but also on your next few hits since you have lost momentum. However, the TM judge also considers your riding intensity, smoothness, and overall execution. Thus, high amplitude and higher risk taking will increase your scores. Try doing a difficult maneuver at the very beginning of your run. It is more risky and shows a better mastery. Also, your combinations are important. For example, back to back frontside and backside 720's may be more difficult than splitting them up in your run. The major theme is variety, difficulty and execution. Make sure you never do the same trick twice as it is a waste of time. Don't be lazy and always grab your tricks if possible.

The key is balance. The best winning runs are completely balanced. A good show of as many types of tricks as possible. For example, this does not mean a stalefish, a roast beef, an Indy, etc... These are all similar kinds of tricks. "Different types" means including all different sub-groups of tricks which we have discussed. This would be more like Method, Alley oop Indy, 360 mute, Switchstance Melanchollie, BFM, etc... Instead of just doing straight airs like the previous example, we have in this example included a straight air, an alley oop air, a horizontal rotation, a switchstance maneuver, an air to fakie, and an invert. This shows a better mastery of halfpipe riding.

Always remember each judge is monitoring one unique criteria and they want to see a balance of sub-grouped tricks within that criteria. In other words, you must impress each judge. If they are doing their job correctly, you will be rewarded for your efforts. Gaining an average high score from every judge will in the end always give you a higher total score than say outstanding scores in a few categories and low scores in others. Also, remember that your strategy may want to include half standard maneuvers and half rotational maneuvers since these are the two major trick categories. That way you will be maximizing your scores. Again, the key is balance.

Another point made often, is the one of necessity. One rider may think, "I cannot win unless I go upside down." Not true. If you look at the design scheme of the judging criteria, inverted aerials make up only a small integral part of the rotations criteria; just as switchstance does in standard maneuvers or falling does in landings. Therefore, it is possible to do well while not performing every sub-group of tricks. However, remember, the best runs may include the entire spectrum of maneuvers and in order to do well, without a full variety, you must make up for it in other areas. Putting it all together is crux. Truly it is a challenge to try and outperform everyone in each category and impress every judge. Design and practice your runs carefully, but take risks, be creative, and be original. What works best for one rider may not work the best for yourself. Good luck!

Part Three: Winning in a Nutshell