Discussion in 'Western Martial Arts' started by Louie, Jan 14, 2008.
I would love to hear the 911 call for that.
Again I need to agree with Ran on this. The lower vomtag is less powerful and causes a shortening of the measure. The power of the stroke isn't just about causing damage to the opponent. You use the power to cut through your opponents intented strike. Also if the attack is blocked and you go into a bind, the power ensures that your point stays on target. The low vomtag is fine for sports fencing of meyer to score points but I believe it shouldn't be used in the martial aspect of medieval swordsmanship.
As do I for the most part. The strength of the initial strike is not about doing damage, it's about generating a strike strong enough to protect you from a counter. For an example, some people like to do short, snappy cuts from Pflug. I feel this is less than optimal because a strike from Vom Tag over the shoulder done at the same time will "power through" the Pflug cut and hit him in the head. Also, it is likely that your strong will hit his weak, further ensuring that the short strike from Pflug will be ineffective.
However, with striking mechanics, I disagree with Ran. I believe the first thing to move should be the pommel by a hair. Leaving a pommel-based "snap" at the end leaves more of an opening for an opponent to counter, particularly with a Krump to the hands. It does however, generate a very powerful strike. But for that matter, so does using a "false time" i.e. moving the body first.
How I do it (and feel free to give me contrary opinions... I don't mind being wrong) is as follows:
If you're standing in Vom Tag over the shoulder, start the strike by pulling the pommel. This starts the tip moving towards the opponent by the most direct route. Imagine that there is a string tied from the tip of your sword to your rear foot, and that the tip drags the foot forward in the passing step. Once the sword is moving, push the lead hand forward to give direction and extra power. This doesn't give quite as much power as the pommel snap, but it's enough to get a good bind, or end the fight if it hits. It's also very fast.
FWIW, I was in a tournament in December, and for the most part I out-timed my opponents using this technique. And I was hitting hard enough that one opponent commented that he could feel the hits I gave him (using a padded weapon) for a full half hour after the bout.
It's a difficult topic this one and very technical. So if I misinterpret what you are saying please correct my assumptions.
The snap at the end shouldn't be separate from the cut. It should be just be the conclusion of one fluid action. I'm going to make a comment here and if I'm wrong please feel free to tell me I am talking nonsense. However I am willing to bet most WMA artists don't practice cuts enough. How many should you be doing? 1000 a day atleast. Do I do it, not yet (just got my first longsword, you might have missed my thread ) but I will once is stops raining long enough to allow my garden to return to solid.
There is a concept regularly banded around in EMA circles called whole body connection. This mean that a proper martial action is not from any one part of the body but from the correct movement of the entire body. This to me is the core of a good cut.
The sword moves first, if you find dipping the blade works better for you, I don't mind in the slightest as long as it doesn't become a tell-tale for you. The body follows and both the body movement and cut ends at the same time though. No feet dragging behind after the cut. Once your cut is complete you should be ready and grounded to make your next attack.
The artex on my ceiling has taken a bit of a sword beating this winter!
hah, yeah just running though my guards has ended a long life light blubs claims of longevity.
Indeed. I have the foot and blade impacting together. I find that if the foot is a hair late, it's not so bad as having the foot early. The sword must precede the body into the danger zone. Threat before target and all that. I don't have that much trouble with telegraphing (anymore): To quote a 10-year veteran Kendoka I once sparred: "I had no idea where the cuts were coming from!". But there's always room for improvement. I could always telegraph less than I do. If I can get from 0 to 100% in the blink of an eye with my opponent wondering what hit him, I'm on my way.
Cutting mechanics are tricksy. A technique that creates a powerful cut might not be one that works in combat.
Man. I need to convince the wife to go visit the family in Canada. It would be great to train together.
You might be grossly disappointed. I write much better than I fight.
But atleast you fight.
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