Freestyle Rules for 2024 NYYL Events

Routine Scoring Rules

Technical Execution

Judges will score tricks using two “clickers” – one hand for positive clicks and the other for negative clicks. Clickers are used to assess the technical execution aspect of a routine, which is the amount of tricks a player does.

A “clicker” is also known as a “hand tally counter” and is provided to judges at competitions. These tools are readily available if a player or judge would like to use them outside of competitions.

Clicker scoring procedures are as follows:

Positive clicks will be given for successfully completed elements.

One point is granted generally for elements that are assessed as being difficult, but low in risk:

 

• • 1A Division: Eli hop, laceration, iron whip

• • 2A Division: Looping, wrap, around the world

• • 3A Division: Rolls, kink mount, double trapeze

• • 4A Division: Whip, recapture, boing

• • 5A Division: 360, propeller, direction change

Multiple points are given for variants of trick elements that have a higher risk factor, in order to incentivize players to complete more challenging tricks in their routines.

 

• • EXAMPLE: In 1A, a player performs a multi-hook element (e.g. 2.5 hook) and receives more points than a standard hook would.

Negative clicks will be given for any missed attempted element or loss of control.

 

• • EXAMPLE – Player misses a trapeze in their routine. A negative point is assessed.

Fewer (or 0) clicks are given for elements that are “repeated” from earlier in the routine.

 

• • A “Repeated” element is any element of yoyo skill that has already been demonstrated in the routine.

     

    • • Eli hop provides a good example: if a player does 6 eli hops in a row, only the first eli hop will score positive points.
    • • However, negative points can still be given for missed repeated elements.
    • • NOTE: The purpose of penalizing for repeated elements is to reward those who perform a diverse array of different types of tricks in their routine.

• • EXAMPLE A: A player performs an eli-hop in their routine. Later in the routine, the player performs a second eli hop. The second eli hop will score 0 points.

• • EXAMPLE B: A player performs an eli-hop in their routine. Later in the routine, the player performs a horizontal eli-hop. The horizontal eli hop will score fewer points than if the player did not do a standard eli hop earlier in their routine.

     

    • • The reasoning for this is that the player demonstrated the eli hop element in their routine multiple times, but the horizontal eli hop will only score the points for its added difficulty
    • • NOTE: the above are just examples, and scoring repeated elements appropriately requires consideration of the actual “yoyo skills” being presented by the player. Some judges may interpret repeated elements differently, the most important aspect of this is consistency in judging practice.

No clicks are given for elements that do not demonstrate “yoyo skill”.

 

• • Each division has criteria of what are scorable tricks within the style – tricks outside of the realm of the criteria will not be scored.

• • EXAMPLE: Picture trick, string movements that do not involve the yoyo, tricks where the yoyo does not interact with the string, etc.

• • Video Example

Clicker scores are normalized on a 60-point scale.

 

• • The purpose of normalization is to compare the scores of each judge on a closer scale. 

• • The process is as follows – each judge’s list of scores for the set of players is adjusted to have the highest scored player earn 60 points, and all other players’ scores be based on their raw score compared to the highest player. Then, the adjusted scores are averaged amongst the whole judging panel.

• • EXAMPLE: Here is an example of how scores for Player A and Player B would be normalized across Judges A and B.

Assume the scores in the table are raw scores, which are the result of deducting the negative clicks from the positive clicks.

	Judge A	Judge B	Normalized Score
Player A	130	124	54.8
Player B	129	150	59.8

Judge A had Player A in 1st by a very small margin, and Judge B had Player B in 1st by a larger margin. Judge A’s normalized scores equal out to Player A receiving a 60 and Player B receiving a 59.5, and Judge B’s normalized scores equal out to Player A receiving a 49.6 and Player B receiving a 60. 

Player A = (60+49.6)/2 = 54.8

Player B = (59.5+60)/2 = 59.8

Routine Evaluation

Each evaluation category will be scored out of 10 points.

Trick Presentation (TP)

The intent of trick presentation is to reward players’ efforts to demonstrate mastery of their yoyo tricks and the particular style in which their tricks are presented.

 

• • TP evaluates the level of yoyo mastery presented by the player in their routine.

• • TP evaluates how the tricks are presented by the player.

• • TP evaluates how well-practiced the player’s tricks presented in the routine are. 

• • TP explicitly does not evaluate trick success rate or the number of misses in a routine.

• • TP explicitly does not evaluate trick selection or variety.

• • TP explicitly does not evaluate a player’s body movements.

Some questions judges should ask when scoring trick presentation:

 

• • Has the player mastered their tricks?

• • Does the yoyo land on the string cleanly?

• • Does the yoyo exit the string cleanly?

• • Are the player’s tricks well-refined and ready to be presented in a routine?

• • Is the player presenting their tricks in a compelling way?

• • Does the player present their tricks with a particular “style”?

• • Is the player’s trick style unique and well-refined?

Performance Quality (PQ)

The intent of performance quality is to reward players who demonstrate professionalism, intent and overall refinement in the presentation of their routine.

 

• • PQ explicitly does not evaluate aspects of a player’s tricks or trick selection.

• • PQ evaluates how effectively the player utilizes the space around them in their performance.

• • PQ evaluates the level of professionalism displayed by the player during their routine,

• • PQ evaluates how effectively the player interacts with the audience during their routine – is their level of interaction with the audience intentional?

• • PQ evaluates the overall entertainment value of the routine.

Some questions judges may ask when scoring performance quality:

 

• • Is the player effectively showing intent in their body movements to emphasize aspects of their routine?

     

    • • This could include effective footwork, movement around the stage and appropriate hand gestures.

• • Does the player present themselves professionally in their routine?

• • If the player didn’t have a yoyo in their hand during the routine, is there still a performance happening?

• • Does the player’s stage use enhance the cohesion of the routine, or does it detract from the routine?

• • Does the player engage with the audience in a way that coincides with their tricks and adds entertainment value?

Musicality (MU)

The intent of Musicality is to reward routines that effectively use music to create a more cohesive and impactful routine.

 

• • MU explicitly rewards players who focus on hitting music cues and pacing their tricks to match their music selection.

• • MU evaluates a player’s efforts to coordinate their routine with their music selections.

• • MU evaluates the number and impact of successful music cues used in a routine.

• • MU explicitly does not judge the potential impact of a routine’s music use – if a player intends to land tricks to every beat but fails to do so, their musicality score will not be as high.

Some questions judges should ask themselves when scoring musicality:

 

• • Does the player’s tricks match a beat or rhythm in their music selection?

• • Is the player’s musical timing precise?

• • Does the player’s tricks compliment the mood or theme of the music?

• • Did the player put effort into having their song selection add value to their routine?

• • How much effort is put into successfully hitting trick elements to the music?

• • Is there depth to the way the player lands elements to music?

     

    • • This includes basic music cues on beats, unique sounds happening within the music with trick elements that correlate to those sounds and other musical elements of the player’s music selection.

• • Is there depth and contrast within the pacing of the tricks landing to the music?

     

    • • For example, when the song is slow, does the player perform slow and focused tricks? When the song is faster, does the player perform faster or especially high-impact tricks?

Routine Construction (RC)

The intent of routine construction is to reward routines that are highly cohesive with respect to all aspects of the performance. It is focused on rewarding players who make intentional choices in their routine to create a cohesive and well-themed performance. Routines that score well in this category will engage the audience completely from beginning to end.

 

• • RC evaluates the overall cohesion of all aspects of the routine.

• • RC specifically evaluates a player’s trick selection and ordering of tricks.

• • RC evaluates how well a player’s trick selection impacts the overall perception of the routine.

• • RC evaluates how a player’s music selection integrates with their trick selections.

• • RC evaluates how a player’s performance presentation and trick presentation integrate.

• • RC rewards routines that display harmony and balance with respect to the tricks and performance presented by the player.

Some questions judges may ask themselves when scoring Routine Construction:

 

• • Is there intent behind how the routine is constructed, segmented, and executed?

• • Are the choices in how the player presents each aspect of their routine consistent and cohesive with one another?

• • Do the player’s choices of tricks, music and their performance presentation emphasize one another?

• • Is the player performing tricks at random, or are the tricks being performed meaningful to what’s happening in the routine as a whole?

• • Does the player’s trick selection and ordering of tricks draw additional attention to aspects of the music?

• • Does the player’s music selection enhance the perception of the tricks being performed?

• • Does the player’s trick presentation draw attention to aspects of the music?

• • Does the player’s performance presentation draw attention to their tricks and music selection?

• • Does the player show intent in creating a theme for their routine?

• • Throughout the routine, are there patterns in the music, tricks, and stage presentation that result in greater cohesion?

• • Does the order of the player’s tricks and presentation elements seem essential to the cohesion of the routine? Is the routine constructed in an intentional way?

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