The highest-valued women’s floor element in the 2025–2028 FIG Code is the Biles II, rated J or 1.0. The Moors follows at I, while several very different skills share H value. A useful comparison therefore needs more than a numbered ranking: it should show the flips, twists and body shapes behind those letters.
This guide compares five high-value floor entries under the current women’s international rules. It is a spectator’s explanation, not a training progression. Difficulty ratings describe recognized elements within a scoring system; they do not measure how hard every gymnast personally finds a movement.
The Five Skills at a Glance
| Element | Movement | FIG value | Code entry |
|---|---|---|---|
| Biles II | Double backward tuck with three twists | J — 1.0 | 5.1002 |
| Moors | Double backward layout with two twists | I — 0.9 | 5.903 |
| Chusovitina / Tuzhikova | Double backward layout with one twist | H — 0.8 | 5.803 |
| Silivas | Double backward tuck with two twists | H — 0.8 | 5.802 |
| Dos Santos II | Arabian double salto in a stretched position | H — 0.8 | 4.805 |
The values and element numbers come from the floor tables in the 2025–2028 women’s Code of Points, pages 167–169. The three H entries are tied in value. Their order here does not establish a further official ranking.
1. Biles II: Three Twists Within Two Somersaults
The Biles II is often called a triple-double. “Triple” refers to three twists around the body’s lengthwise axis; “double” refers to two backward somersaults. It is not three flips followed by two twists, and those rotations do not occur as separate stages one after the other.
The tucked shape distinguishes it from a stretched double salto. A viewer trying to identify the skill should first follow the two somersaults, then look for the twisting within that flight. Trying to count every movement of the arms can be misleading because the arms also change position during the skill.
The name needs the event for context. Biles also has a double-twisting double-tuck beam dismount, but that contains two twists rather than the floor skill’s three. The floor Biles II should also be distinguished from the original Biles on floor, a double layout with a half twist.
2. Moors: The Double-Double in a Layout
The Moors has two backward somersaults and two full twists in a stretched body position. Comparing it with the Silivas is especially useful: the overall flip and twist counts are the same, but the intended body shape changes. That difference is part of the element’s identity.
Do not decide that a skill is a layout just because the gymnast straightens before landing. Watch the shape throughout the relevant flight. Opening a tuck for landing does not turn it into a layout, and a bent or unclear attempted layout raises questions about both recognition and execution.
A December 2013 report from Commonwealth Sport Canada describes Victoria Moors performing the skill at that year’s World Championships and subsequently having it named after her. That contemporary account is more useful historical support than attaching an unsupported later “upgrade year” to the current rating.
3. Chusovitina / Tuzhikova: One Twist in a Double Layout
This H-valued entry combines a double backward layout with one full twist. The Code associates both names with the entry. Commentary may use a particular name when distinguishing how the twist is distributed, so the complete movement description helps viewers understand what is being discussed.
Compare it with the Moors: both are stretched double backward saltos, but the Moors contains an additional full twist. Compare it with the Silivas: the Silivas has more twisting, yet uses a tuck. Both receive H value. Simply counting twists therefore cannot explain every difference in difficulty rating.
For a new spectator, recognizing the double layout is a useful first achievement. Pinpointing the exact timing of a twist can require a clearer angle and slower replay. It is reasonable to identify the broad family before attempting the finer distinctions.
4. Silivas: Two Twists in a Double Tuck
The Silivas is the tucked double-double: two backward somersaults with two full twists. It remains a high-value element even when a viewer sees it in several elite routines. Frequency on a championship broadcast is not evidence that a skill is easy or suitable for developing gymnasts.
It provides a clear comparison with the Biles II, which adds one full twist while retaining the double-tuck family. It also provides the shape comparison with the Moors. Keeping those two comparisons separate—more twist versus a different shape—makes the names easier to remember.
A short clip may begin after the run and preparatory skills. That is enough to admire the salto but less useful for understanding the complete tumbling line. Watch the full pass when possible, including the takeoff preparation and the landing.
5. Dos Santos II: The Direction Change Matters
The Dos Santos II is an Arabian double salto performed stretched. An Arabian uses a backward takeoff with a half turn into forward somersaulting. It should not be described as an ordinary double backward layout with a half twist added at the end.
Its distinction from the original Dos Santos is also the shape: the original is piked, while this version is stretched. If “double Arabian” is the only description given, ask which shape is meant before attaching a value. Similar shorthand can refer to different Code entries.
The change into forward rotation makes this a useful contrast with the other four examples. The takeoff direction alone does not tell the whole story. Follow what happens immediately after takeoff before classifying the salto.
What These Ratings Do—and Do Not—Tell You
An element’s 0.8 or 1.0 value is not the complete routine’s difficulty score. The remaining counting skills, requirements and eligible bonuses also matter. Nor is the D-score the final score: execution and any neutral deductions still affect the result. The women’s floor scoring guide explains those components.
A hypothetical increase of one tenth in element value can be outweighed by changes elsewhere in the performance. That is why selecting the highest-rated skill is not automatically the best competitive choice. Comparing athletes requires the complete exercise, not only the letter attached to the opening pass.
For clearer recognition, review how flips and twists differ and the tuck, pike and layout comparison. Then return to a full routine and follow its dance, musical interpretation and tumbling together. The biggest salto is one remarkable part of the event, not the whole performance.