Alternating Maces

[Kirk]

What principles is this technique designed to teach?

 

[Klondike93]

Here's how I was taught it when I first got into kenpo....

1. Slide your left foot to 6 to form a right neutral bow facing 12 with a right inward block to attackers left arm at or below the elbow.

2. As you shift to a right forward bow lay your right forearm across attackers arms checking them with a left vertical punch to the solar plexus.

3. Shifting back to a right neutral bow, crane hook the back of the left arm and as your pulling the attacker and pivoting to the neutral, hit with a right back knuckle to the temple.


How close am I?


:asian:

 

[Klondike93]

I can see where stepping to 7 would put you on their centerline, but it looks like your moving into the right arm of the attack. If you just step back to 6 you extend the attack causing them to be a little off balance. Eh, maybe? Just a rookie you know.



:asian:

 

[Klondike93]

Rainman named one, Borrowed force from the attacker "walking" into the left punch.

Cancelling the height zone from checking the arms with your right arm should be one.

Torque from you unwinding into the neutral bow with the back knuckle.

Help!!!


:asian:

 

[Rainman]

Originally posted by Klondike93

Here's how I was taught it when I first got into kenpo....

1. Slide your left foot to 6 to form a right neutral bow facing 12 with a right inward block to attackers left arm at or below the elbow.

2. As you shift to a right forward bow lay your right forearm across attackers arms checking them with a left vertical punch to the solar plexus.

3. Shifting back to a right neutral bow, crane hook the back of the left arm and as your pulling the attacker and pivoting to the neutral, hit with a right back knuckle to the temple.


How close am I?


:asian:

the 12 and 6 lines disects your body so as your right side will be on the 3 side and your left will be on the 9 side... if you step back to 6 you may be closer to a fighting horse. Not good cancels your own width. For the nuetral bow your step/slide might go to 7 or 7:30.

:asian:

 

[Rainman]

Originally posted by Les



I'm not trying to be picky here, but that would depend on how you're stepping back, and how you were standing in the first place.

This technique starts from a "natural" standing position, not an attention stance.

If you step back with your left foot to 6 o'clock, then pivot into your neutral bow won't find yourself in a horse stance.

I feel that if you step to 7/7.30 then youalter your angles and not be on your attackers centerline.

Les

Book 2 page 34 published in 1983 by Ed Parker. If you don't have Infinite Insights books I would suggest you purchase them they are full of the basic stuff and are the best reference material that I have seen.

 

[Rainman]

Originally posted by Les



Thanks for that, Rainman, the information contained on pages 33 to 36 of Infinite Insights Vol 2 is indeed very useful. (I do have the full set)

However, understanding the clock principle does not alter the fact that if you step towards 7.30 you have changed the;

Angle of Deflection
Angle of Entry
Angle of Incidence

In Alternating Maces, the technique is designed to dominate your opponents centerline. It's my feeling that if you step to 7.30 you are restricting your access to the opponents centerline.

Of course, it's only my opinion,

Les

Your centerline is the middle of the clock if you step to six you are stepping to where your spine was and you cross your own centerline. Too much time- the reverse punch has to stop momentum otherwise the opponent will be on you. You need to be open to the point where the reverse punch will stop a committed push. IN the first movements the right inward diagonal downward block will check width and the opponents body may slightly move to your left. If you put your left foot on the six the stop hit from the reverse punch to his centerline will not be in optimal alignment- You will not have proper body mechanics and you will not stop a committed action.

 

[Rainman]

Originally posted by Klondike93

I can see where stepping to 7 would put you on their centerline, but it looks like your moving into the right arm of the attack. If you just step back to 6 you extend the attack causing them to be a little off balance. Eh, maybe? Just a rookie you know.



:asian:

On this particular tek zone cancellation by contact penetration is kind of a primary idea. Striking the left arm diagonally down will turn him slightly cancelling width and keeping the right away. It will also bring him into you (borrowed force) at an accelerated pace. Your left will aid in opposing forces by being brought to solar plexus for "1/4" beat timing into the reverse punch. Ba-bang pop is the timing signature I use for intermediates and down. The strike to the "sternum" is multipurposeful.

:asian:

 

[Rainman]

I named more than that- width- path(diagonal down for block)-acceleration- I told yall about wasted motion (hand to solar plexus Vs. hip) If it is not wasted it is economical providing it hits the target with power etc. Contact Penetraition is the 3rd range.



:asian:

 

[Rainman]

Originally posted by Doc



2. ALTERNATING MACES: (front - two-handed attempted push)

1. Standing naturally, and as your opponent attempts to push you, step back with your left foot toward 6:00 into a right neutral bow stance (facing 12:00). Simultaneously execute a right inward block while your left hand SLAP-CHECKS at your right shoulder. (Interlocking circles)



Timing & Breathing Signature™: 1,2 P 3 C
GCM Signature™: G 1 G 2 G 3 G 4

I don't get how the slap ck is used... now I understand the notes for the gcm... pretty cool. I also dont get the numbers though for either. TH17 for the BK? I think it is around 7 for the ball of the foot 6:30 (my bad folks) by the time you finish pivoting into the left nuetral bow and where the heel ends up. If you could use planes, points or degrees I could understand path, rebound and return I think a little more clearly.

:asian:

 

[Rainman]

Originally posted by Doc



TH or TW-17 same thing. The rest is in a state of flux. You cannot apply strict Newtonian Physical principles all the time to a living and breathing multiple interactive dynamic that changes from microsecond to microsecond. All things are relative to self and to each other.

Slapchecks are inherent in Advanced Kenpo, however they must be strictly taught. Executed incorrectly they can have a diasterously detrimental effect to oneself in combat. Sorry you don't understand. Don't attempt to micromanage footwork. It is the ultimate variable.

I understand some things are just too complicated for this medium... However football is a game of inches, so is my idea of Kenpo which is becoming fractional in some areas. The more precise I get the better and easier it is to execute. Seemingly in my small world the variables are dwindling .That is just my interpretation at this point on the giant evolutional wheel of personal developement.

:asian:

 

[Rainman]

I agree. The medium just doesn't allow for a true understanding of what must be proven physically ever so subtlely. One day face to face one on one I'll make your eyes bigger.

Well you will have to give me some contact info- I hear you are hard to find:rofl:

:asian:

Remeber: sometimes a crescent wrench works better / sometimes a socket works better / and sometimes a standard wrench works better -

I prefer Snap On- Crescent adjustable wrenches are for hacks.

 

[Rainman]

.

Infinite Insights philosophically explains the conceptual commercial art he called Motion-Kenpo, obviously because it is motion based. But students of this art must remember there was no Motion-Kenpo before the early seventies, and many seniors like Dave Hebler or Chuck Sullivan learned Kenpo from a different perspective long before Motion-Kenpo existed. Therefore it should not be much of a stretch to suggest the previous versions of his art (that contained the Slap-Check) existed concurrently with his commercial version(s) until he died. especially since he never stopped Slap-Checking.

Yep and I didn't even know they were called that... Thanks for laying that out the way you did.

:asian:

 

[Goldendragon7]

 

[Goldendragon7]

 

[Goldendragon7]

If you notice he isn't posting anything here! He's rolling around trying to find the brakes......

:rofl:

 

[Goldendragon7]

he thought they were shoestrings.....
:rofl:

 

[Goldendragon7]

tsk tsk.....

shaking head......:rofl:

 

[cdhall]

Alternating Maces is a sentimental favorite of mine. One night when I was teaching I said that some techniques flat don't work in "slow motion" and what do you know, we came to Alternating Maces. So one of the students still didn't believe this worked and I said "OK, front, two-hand low push, I'll show you." So he came in and I didn't move. He was perplexed. I said "You must attack properly or this won't work in the Ideal Phase which is what you are asking about." So he comes at me again and I shuffle back. He is perplexed again. I said "I want to make sure you are coming for real. Do it just like that again. So he did and BAM! I nailed him on the reverse punch. I was using control but he Impaled himself. I stopped to see that he was OK and then finished the backfist and crossed out. He was a believer. I said "See." He was totally unhurt, but he felt and he believed. I turned around at that point to see that Mr. Duffy had been standing there for some time. This was shortly after he assigned me a class of my own, so I guess he was observing. He had a big smile on his face. I was very happy.

The variation I taught was the one posted by KenpoTess.

I don't understand the timing and breathing and signature notes that Dr. Chapel posted. Like Jason said "What are Timing & Breathing Signature? What's GCM Signature?"

I also have only been introduced to Slap Checks by Mr. Parker Jr. I can repeat the demo he did on me, but I am not confident that I totally understand what is going on. Where is this material elaborated on more fully? Is there a book or video? I'm only a Brown Belt of course, but I am curious. When I signed up back originally there was all that "Slap Art" stuff going around but it was never demystified for me. Mr. Kelly explained it once at camp but it was not the same explanation I have heard elsewhere if I understood him correctly.

Dr. Chapel, could you elaborate for us? Thank you.
:asian:

 

[cdhall]

Thank you Dr. Chapel,

I will look forward to seeing more of this somehow.

As Mr. Speakman said in The Perfect Weapon:

"It never hurts to ask."

:asian: