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GJ "Only the lonely...train during Spring Break"

Examples of rhythmZach and I worked out today for the inauguration of the Bugeishako v2.0. Its tough to gauge a workout when you don't sweat, we have a blizzard coming in so the ambient temperature even with the space heater was a trifle frigid. Following warm-up and some shadowboxing we alternated:
  • Jab-Cross-Hook-Cross
  • Jab-Cross-Double Lead Hook (e.g. Body-Head, Shovel Head, Double Shovel)
  • Jab-Lead Hook-Cross-Lead Hook
  • Jab-Overhand-Upper cut-Overhand
  • Jab-Rear Kick
  • Jab-Cross-Lead Kick
  • 4 Count #1
  • 4 Count #2
  • 4 Count #3
  • 4 Count #4
  • Deep knee, head knee
  • Curve knee, deep knee
It is important to note the "beat" of the combinations ("Tao of Jeet Kune Do" (Bruce Lee)) that is the frequency and regularity of techniques strung together. When we start techniques come with almost metronome-like precision as soon as our brains parses one action it initiates the next. There is little or no texture to the simple rhythm. As we progress we learn to switch-up, that is, accelerate or decelerate the frequency of our techniques. As we develop we learn to put in fakes using half and full beats, that is, punctuating the grammar of combat with either the suggestion of another move (half beat) or of the completion of our expression (full beat). Finally, broken rhythm is precisely that, the frequency of previous techniques is not predictive of the subsequent techniques or flurries. This is rare and extremely frustrating for the opponent facing it.
If we examine, the third and fourth kicking combinations we can see all these. Basic drilling is the simple rhythm. As we progress we may accelerate the cross/hook combinations to generate a half-beat switch-up. In sparring we can use the first two kicking combinations to generate fear of the final kick. This generated fear can be used in a fake to suggest one kick but actually throwing the opposite. A full beat fake up would be performing the first three moves of the combination and pausing, holding the action as complete and then delivering the final kick.
Zach and I worked on uchi komi of the double leg and ogoshi (hip toss). Notes to self, double leg requires:
  • Low start point -- tall people cannot shoot through their opponents line of sight
  • Lower initiation and deep penetration
  • Cup the calves
  • Perpendicular direction change with strong head pressure
The hip toss requires the Combat Chiropractor especially with the body grip hand. We must force our opponent to conform, they cannot be allow good posture during the throw. The body grip hand/arm must shoot violently through the direction of the throw to insure this destabilization. We finished with two short grappling rounds before the hardest exercise of the day, re-rolling the mat in the face of snow and ice on my car.

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