Maloney to Pak salto is one of the most popular connections on bars. It’s so popular that for the 2024 season, it was actually devalued by one-tenth to encourage athletes to have a little more variety in their routines.
However, a Maloney to Pak is appealing to both athletes and coaches because once the connection is mastered, it can be done consistently with few to no visible deductions. Most gymnastics fans will point out that almost everyone separates their legs at some point during the skills, but nine times out of 10, the judges can’t see it from their side angle.
However, just because the judges don’t have many deductions they can take on the connection doesn’t mean it’s always performed with the same level of quality. In this article, I’ll break down the deductions the judges can consider, as well as some tricks for spotting the best Maloney to Pak combinations.
Here are the most common deductions judges could apply:
- Amplitude: up to 0.2
- Swing forward or back under horizontal: up to 0.1
- Poor rhythm in connections: up to 0.1
- Exactness of stretched position (arch/pike) up to 0.2
- Leg separation: up to 0.2
The Ideal: The Maloney should rise on release with the body fully opening and the hips reaching the height of the high bar. Of note, there is no height requirement for a Maloney—or other similar releases. The bar should be caught with straight arms, with the hips at or above the level of the high bar on the back swing. The gymnast should maintain good leg form throughout.
The Pak salto should float up and rotate slowly, with good control between the high and low bars. The hips should peak at the level of the high bar or above, and the gymnast should maintain a tight arch with good leg form. Upon catching the low bar with straight arms, the gymnast shows a controlled “clear support” position (again, no clear height requirement), with good rhythm and control flowing out of the skill.
Good Example
Overall, the gymnast has a good Maloney, but she rushes the Pak and overrotates. As a result, she loses her form and the rhythm of the connection.
Amplitude of the Maloney:
Great height off the low bar, ideal body position
Backswing:
Body extended, hips well above the high bar
Amplitude of the Pak salto:
Her swing into the Pak seemed a bit rushed, causing her to overrotate and really reach for the low bar. She also has a minor form break.
Finishing position:
This is an overrotated Pak salto. When she catches the bar in the required “clear support,” her line from shoulders to hips is just slightly above horizontal with a large arch. Her shoulders are well behind the bar, and her arms are bent. An easy way to gauge the precision of the rotation of the Pak is to look at the speed and control with which they are able to do their next skill, usually a kip.
Great Example
Although the gymnast has some leg form issues, the mechanics and rhythm here are what judges are looking for in this connection.
Amplitude of the Maloney:
Good height and body extension
Backswing:
Slightly above the high bar with good body position
Amplitude of the Pak salto:
Her hips are above the high bar and her toes stay behind her and over the low bar, stalling her rotation for a controlled catch.
Finishing position:
Other than the obvious leg separation, this is a well-controlled and high catch for a Pak salto.
Excellent Example
The gymnast has excellent amplitude and rhythm with only a couple minor leg form issues. Her ability to connect the Pak into another circling skill speaks to the precision and control she has on this combination.
Amplitude of the Maloney:
Excellent body extension and hip rise
Backswing:
Body well above the high bar
Amplitude of the Pak salto:
Great height and control throughout the rotation
Finishing position:
Above and beyond the height requirements for the catch, with some minor leg form deductions
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Article by Rhiannon Franck
Rhiannon Franck is a former national-rated NAWGJ women’s gymnastics judge with over 15 years of USAG judging experience and nine seasons judging NCAA gymnastics.
