A good list of drills from Josh. Feeling no need to ad to that comes the following diatribe of thoughts stirred by the thread and a root canal without novocaine for the less technically inclined.
The quoted statement is very true. The reason I believe that is true is because the steeper the terrain, the more we need to pressure the shovels at turn phase one. The conundrum with this is that the steeper the ski itself is pitched in the fall line, the more difficult fore/aft control of the ski becomes. The length of the balance point or, sweet spot on a ski shrinks as the ski slopes forward. To further the conundrum is the fear factor that goes up when we are asked to move our CoM forward as the slope steepens. More relevant in basic terms than moguls: “You can’t ski and the steeps prove it”.
The reason why many “good” carvers cannot pure carve on the steeps is because they start the turn from a centered stance which makes the ski go too fast to continue edge locking the ski. With the advent of the shaped ski, a technical epidemic occurred whereby many skiers learned to carve from center where we can do a lot by just tipping the ski and is why many have not really learned to truly “carve” the ski which means to run concentrated pressure from the tip to the tail through each and every turn as was a compelling requisite on carving straight skis. Tipping the ski from center really works well until either the slope gets too steep or too icy. “Rocking” the ski through the turn has two basic benefits: One is that the concentrated pressure on only a portion of the ski at a time provides more penetration into hard surfaces like ice and just the same way we use concentrated pressure on a running blade in order to carve a piece of wood. Try to push a blade directly down into the wood from center like a ski and the blade won’t penetrate the surface. That the pressure is “running” down the ski better allows the tail edge of the ski to more easily follows the cut precisely that the shovel initiates. Pressuring only the center of the ski causes a very tiny invisible amount of “brushing” of the edge where the tail is not in the exact same tiny cut on ice that the shovel started even though pencil thin tracks are left but only in the softer snow. Secondly, a purposeful fore to aft rocking of the ski allows a bent ski to carve an even slightly more rounded turn, more redirection, as a small form of speed control for edge locked turns that is very helpful on the steeps. Rocking fore aft ski pressure on edge locked turn will keep you pure carving longer as the slope steepens or hardens, thus producing better edge grip and a decreasing reliance on friction for speed control. A key/helpful focus on making this happen is attempting to always “bend the shovel before you bend the whole ski”.
Most or all high level coach’s and racer’s primary frame of reference are the two forces applied to the ski which are tipping and pressure. The term “pressure” is used all day long on the race hill. Announcers like B. Miller use the term very often. If it is ultimately the ski to snow interaction that we seek to produce and control, tipping and pressuring (left/right & fore/aft) the ski are going to be primary attributes to technique. Pressure is not just “feedback” it is both input and output of the highest order.
While it may not be everyone’s prefered frame of reference as with many other instructors that is OK. Though, I wouldn’t recommend discounting the term’s usefulness considering the coaching and ability hierarchy at play. It is also more important for an instructor to work with the student’s pre-existing frame of reference and understood terminology rather than to teach them yours in the small space of a lesson, private or otherwise. Unfortunately, there never seems to be enough time to teach a creative writing class while conducting a ski lesson. While it is interesting to read some of the instructors that commonly reference strict personal preferences on terminology and frames of reference, that seems to be more about personal instructor differentiation that is more based in ego than actual teaching. They often complain that a term is bad because of how or what it makes them think and then go on to assume that everyone thinks like them.
It doesn’t matter what the body is doing if the ski isn’t being pressured correctly. Pressuring the skis correctly is the answer to the question “why?” in regards to all or most of any instructors movement patterns that are recommended. Any time any of us are asked to do anything at all with our bodies by a coach or instructor that is responded to with the question “why?”, that answer always has to do with ski input. There are only two basic inputs to a ski: tipping and pressure (left/right, fore/aft). Skiing is body, equipment and slope. Because the equipment is between the body and slope, it should receive the primary directive to which everything else is secondary. Ski to snow interaction is very literally and figuratively where the rubber meets the road, hence the rational.
If a naked and empty ski, no bindings or skier, had to take its own course down the slope and had the magical power to make itself apply perfect turns to the ground with the most efficiency possible, it would tip and pressure itself to perfection. Imagine, conceive, explore and familiarize all that a ski would want to do without you and then get on it and start matching and providing the “ski’s” prefered motor patterns. Sometimes, all we have to think about is what we want the ski to do and allow our intuitive movements to act on their own. If you are already a good skier but you are having conceptual difficulties with - “flex this, tilt that, rotate hear and a little there, tip, shorten then lengthen, push this, incline early, angulate late, pull back that but only in turn phase two when on semi firm hardpack at moderate pitch as long as you are on a 12 - 17 radius front side ski” - them maybe you might try simply providing the ski the tipping and pressure it needs and wants.
“A magic sword that floats and moves perfectly at will, will only wear the hand that can match its movements.”
Chevalier de Saint-Georges 1745 - 1799 (champion fencer, virtuoso violinist, the French son of an African slave)