See the respective circular step sequences: Takahashi Chan I guess what I'm talking about is using the rhythm of what the feet/blades are doing to reflect the music in ways that resonate through the whole body, as opposed to primarily the upper body. As for versatility, that's hard to score with current trend of using one piece of music per program. You can't ask judges to remember what the skater did yesterday or last year when scoring what they did today. Especially since there's no guarantee that any given judge would have seen the other performances. By the time you get to the Worlds freeskate it's highly unlikely the judges wouldn't be familiar with the medal contenders' oeuvre. But the system has to work for skaters the judges have never seen before either, be it 13-year-olds at their first JGP, skaters from small countries in the qualifying round at Worlds, etc. Do we want the unity that can come from single musical sources, or do we want skaters to use 3, 4, 5 different pieces of music as was common 30 years ago so we can measure their versatility? Versatility is a good way to attract fans, though. And it's a lot easier to show a wider range over the course of a longer career . . . although not all skaters make the effort. Even someone as artistically respected as Michelle Kwan pretty much found her comfort zone and stayed there.