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Instructions,
Terminology
and
Footwork
Name: ___________________ Scholars of Alcalá 3rd Revision
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Instructions, Terminology, and Footwork
3rd Revision
This supplement is to be used in conjunction with the level 1 workbooks. It explains basic terminology, footwork, and
includes a discussion on how the workbook exercises should be conducted.
Contents Sword Terminology......................................................................................................................................................................................... 3
Describing Hand Rotations ........................................................................................................................................................................... 3
Describing Hand Positions............................................................................................................................................................................. 4
Describing a Stance ......................................................................................................................................................................................... 4
Analyzing a Stance ........................................................................................................................................................................................... 5
Basic Footwork ................................................................................................................................................................................................ 6
Describing the Cuts ........................................................................................................................................................................................ 9
Practicing the Cuts with the Steps ............................................................................................................................................................ 10
Practicing the Parries .................................................................................................................................................................................... 10
Drawing Assignments ................................................................................................................................................................................... 11
Review Questions .......................................................................................................................................................................................... 11
Measure ............................................................................................................................................................................................................ 11
Tempo .............................................................................................................................................................................................................. 11
Intiatiave ........................................................................................................................................................................................................... 12
Devices, Plays, and Routines ....................................................................................................................................................................... 13
Interpreting Devices, Plays, and Routines ................................................................................................................................................ 14
Workbook Structure .................................................................................................................................................................................... 16
Bibliography ..................................................................................................................................................................................................... 16
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Sword Terminology
When working with German sources, the True Edge is called the Long Edge and the False Edge is called the Short Edge.
Describing Hand Rotations In order to make it easier to describe the rotation of the hand, these workbooks adopt the late Italian numbering
system of First thru Fourth. For the right-handed fencer, each position is one-quarter turn clockwise from the next.
First, True Edge Up
Second, Palm Down
Third, True Edge Down
Fourth, Palm Up
Fifth, True Edge Up
Fifth, which is one-quarter turn past
Fourth, is not part of the standard
Italian numbering. It is not used for
rapier, but is needed to describe
longsword the positions such as Left
Ochs.
~ 4 ~
For the five named rotations, the quillons are always vertical or horizontal. However, it is appropriate to use
expressions such as “two and a half” or “second-third” to describe intermediate angles.
Describing Hand Positions In historic texts the descriptions the lateral position (left or right) is often described in relation to the front knee. The
hand could be inside the knee, above the knee, or outside of the knee. The height would be described as near the knee,
at the waist (natural waist, not belt line), at the shoulder, or above the head.
Some prefer to use a numbering system where first is high, third is low, and left and right are fourth and second
respectively. This is combined with the hand rotation using the pattern “rotation in position”. For example, “second in
third” would mean “palm down with quillons horizontal, hand low”. This seems to be a modern shorthand used
primarily by rapier fencers.
Describing a Stance There are many ways to describe a stance and little or no agreement on a common set of definitions. In order to
facilitate communication, the following terms have been defined for use in the workbooks. Be aware that they are
somewhat arbitrary and others may be using different definitions.
Length
The length of a stance is the distance between the feet measured front to back.
Length Distance
Close Feet are effectively touching
Short Feet are a shoulder’s width apart
Middle Feet are one foot-length further apart than the Short stance
Long Feet are two foot-lengths further apart than the Short stance. A historic lunge.
Extraordinary A modern lunge.
Width
The width of a stance is the distance between the feet measured side to side. Imagine a line drawn in the direction you
are facing. If one foot is on either side of the line, that is a narrow stance.
Length Distance
Crossed The center line runs through both feet.
Narrow Feet are on either side of the center line.
Medium Feet are one foot-length further apart than the Narrow stance
Wide Feet are two foot-lengths further apart than the Narrow stance
Weight
There are several methods for evaluating balance. Some people prefer to think of weight distribution in terms of ratios.
Others look at the angle formed by the lower leg and a centerline drawn on the ground. Another indicator is the
location of the body or shoulder relative to the foot and knee.
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Weight Ratio Ankle Body/Shoulder Notes
Far Forward Past front foot Practically no weight on rear foot. Used for
lunges.
Forward 80:20 Front < 90˚ Above front foot Seen in attack
Slightly
Forward
60:40 Front is roughly
90˚
Above or near front
knee
Commonly seen as an offensive stance.
Centered 50:50 Both are > 90˚ Rare, weight is usually slightly forward or
backward.
Slightly
Backward
40:60 Rear is 90˚ Above or near front
knee
Commonly seen as a defensive stance.
Backward 20:80 Rear angles
outwards
Above rear foot Commonly used for dodging attacks (voids) and
bait the opponent (invitations).
Far Backward Past rear knee Practically no weight on front foot.
Analyzing a Stance When looking at a new guard, the first thing one should do is determine the balance points. By this we mean the relative
position of the feet, knees, and head. To illustrate this concept, here are two variants of Ochs. The image on the left is
from Ringeck, the right from Meyer.
To begin, draw vertical lines up from where the feet touch the ground. In most postures, the heels will not have any
weight on them, and may not even be touching the ground. So normally our lines are going to be from the balls of the
feet.
Next we draw the lines for the knees. The greater the distance between the knee and foot line, the wider the stance
should be.
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Finally, we draw the center line. This will show if the weight is shifted forward or backwards.
In our examples above we see that Ringeck and Meyer both use a balanced stance, with the weight neither forward nor
backward. However, Meyer prefers a wide stance while Ringeck uses a narrow, upright stance.
In the next example, we see the weight shifted back. This is generally thought of as a more defensive posture. The
counter-point to that is a forward balanced stance.
See how the knee line actually extends slightly past the foot line. This allows the front leg to carry the weight of the
body much like a spring.
Guard Lead Foot Width Length Weight Hand Location
Ringeck’s Right Ox Right Narrow Short Centered Slightly forward and above the head in first
Meyer’s Right Ox Left Wide Long Centered By the ear in first
Ringeck’s Plow Right Wide Middle Slightly Rear Low and outside rear knee in third
Meyer’s Plow Left Narrow Long Forward Low and inside front knee in fourth
Basic Footwork
Giovanni dall’Agocchie
One steps with reason and art, and goes in all the guards to find the adversary. This can be done by beginning
with either foot, on the diagonal or having one foot drive the other forward, according to the time and the need.
Nonetheless, stepping with a pace neither large nor small is of greater utility, because thereby you can both
advance forward and retire back without bodily discomfort, always accompanying the hand with the foot. But
you must be advised that the forward leg must be a bit bent at the knee, and its foot must point straight toward
the enemy; and the rear leg will be a bit curved and with its foot somewhat on the diagonal, in such a manner
that every movement will be full of grace.
There are many, many different ways to step. Some of present in all styles of fencing, while others are mentioned only
be a single school or even a specific master. Presenting them all at this time would be a disservice to the reader, so this
section focuses only on the common steps. The remainder will appear in the workbooks.
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In some of the diagrams you will see narrow lines without arrow heads. These are “stance lines”, the length of which is
used to illustrate how narrow or wide ones stance is.
Increase An increase is simply the act of moving the front foot
forward. This can be used to change ones stance or for
a quick attack.
Right
Left
1
Here we see an increase used as part of a lunge.
Advancing Step The advancing step begins with moving the front foot
forward. The length of the advance should be roughly
one to one-and-a-half foot-lengths. A larger step than
that risks unbalancing the fencer.
2 Right
Left
1
Gathering Step A gathering step is simply drawing back the front foot
to the rear foot, the opposite of an increase.
1
Right
Left
1
Right
Retreating Steps The retreating step can be performed in two ways.
The first option is to move the lead foot close to the
rear foot. Then slide the rear foot back. This is useful
for quickly moving the body out of harm’s way.
Right
Left1
2
Right
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The second option is to push the rear foot back first.
This is done by straightening the front knee. Its
advantage is that your feet are never close together,
which is less stable position.
Left 2
1
Right
Slope Step A slope step is simple an advancing step that moves at
an angle instead of directly forward. Unless otherwise
qualified, a slope step is done at roughly a 45 degree
angle.
2 ..
1
Left
Right
In the image below you can see a footwork diagram that
may have been used for practicing slope and triangle
steps.
Compass Step The compass step is simply a slope step that also
changes the direction you are facing.
. 2
1
Left
RightStart
Circles such as this from Marozzo would have been
used for practicing compass steps.
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Passing Step The passing step allows one to change lead foots. The
length of the step will depend on whether you wish to
widen or narrow your stance.
Left
Right
1
Passing steps can be forward for backwards. They can
also be done as a sloping or compass step.
Triangle Step The triangle step is used to move sideways. It involves
crossing and then uncrossing the legs. Notice how each
step forms a triangle. This type of step is often used to
escape a bind, where in the swords are crossed.
Left
Right1
2
Triangle steps do not always go perfectly sideways. Like
a compass step, they can be used to slightly change the
direction you are facing. This variant would be used for
circling your opponent.
Left
Right
Left1
2
Double Triangle Step The double triangle step begins with the forward foot
moving outward. Then just like the single triangle step,
the rear foot goes behind the front, which is
immediately followed by another step with the front.
Left
Right2
13
Describing the Cuts Nearly every tradition has its own set of terms for describing the basic cuts. In order to
simplify matters, we use Meyers lettering scheme to describe the basic cuts. A vertical,
downward cut is an A cut. A horizontal cut from the right side is a C cut, from the left side a
G cut.
Normally a cut is performed with the True/Long Edge. If it is to be done with the False/Short
edge, it will be called out explicitly.
In addition to the lettering scheme, the workbooks will also include the historic names of the
cuts as they apply to the tradition in question.
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Practicing the Cuts with the Steps
Sigmund Schining ein Ringeck
This is the longsword's first lesson; that you shall learn to cut properly from both sides, so that you can fight
strongly and correctly. When you want to cut from the right side, stand with your left foot forwards; and when
you want to cut from the left side, stand with your right foot forwards. If you cut with an Oberhau from the right
side, follow after the cut with your right foot. If you do not do this then the cut is poor and insincere, because
your right side lingers behind. Then the cut becomes too short and cannot follow the correct arc down towards
the other side, in front of the left foot.
Similarly the cut is incorrect if you strike from the left side and do not follow after the cut with the left foot. So
mark well, from which side you strike, that the foot follows after the cut. In this manner you can perform all of
your techniques correctly and with strength. And in the same way should all the other cuts be performed.
Mastery of a guard requires knowing what can be done from the guard. For most systems, these precepts apply:
Do not take a step without throwing a cut or thrust.
Do not throw a cut or thrust without taking a step.
When cutting from the right side, step with the right foot.
When cutting from the left side, step with the left foot.
To those Meyer adds this corollary.
When pretending to cut, pretend to step.
For this reason, the workbooks assume that all of your footwork practice will occur simultaneously with your cutting
practice. As you cut the eight lines the fling the two thrusts, experiment with the various types of steps.
Practicing the Parries A fencer cannot honestly say he has learned a guard until he can defend himself from all ten basic attacks that can be
used against that. This means simple cuts along the eight lines as well as rising and descending thrusts.
Johannes Liechtenauer
Do not strike at the sword, but always to the openings, to the head, the body if you wish to remain unharmed. If
you hit or miss, always search for the openings, in all teachings turn the point to the openings.
Joachim Meyer
Be first aware that the parries are twofold, the first is without any particular advantage and is resorted to only for
blocking parries from which you cannot do more with your weapon in that you oppose your opponent’s strike to
avoid being damaged, but then seek not to damage him, but only to withdraw as you wish without being injured
by him.
[…]
The second art of displacing is when you parry and injure your opponent with one strike, which the ancients
undertook with special praise, from which these spoken words grew: “A proper fencer parries not. As his
opponent strikes so he too strikes. As his opponent steps so he too steps. As his opponent stabs so he too stabs.”
It may be helpful to think of the parrying exercises as a game. In this game, points are awarded for the following:
No Points: Being struck, even if you hit your attacker in the process.
1 Point: Successfully parrying or dodging the attack.
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2 Points: Successfully parrying or dodging the attack, then immediately counter-attacking.
3 Points: Successfully parrying or dodging the attack while simultaneously counter-attacking.
The counter-attack may be in the form of a thrust, cut, or slice. While it is preferable to parry and counter-attack in a
single action, the most important thing for the novice to focus on is simply not being struck.
The first time a novice attempts these exercises he should be granted the following advantages:
The attacker must announce what line (A, B, etc.) he is about to attack along.
The attacker may only use a basic cut or thrust. A Molinello or Master Strike is not allowed.
The attacker may not redirect his attack or attempt to parry a counter-attack.
The attacker may not use a combination of strikes.
The attacker may not use a feint or other deception.
Experienced fencers may choose to discard one or more advantages.
Drawing Assignments The drawing assignment can be as simple or as elaborate as the scholar desires. At the very least it should include a stick
figure demonstrating how far to bend the knees and whether the weight is forward or back.
Review Questions The review questions are intentionally open-ended. There are no correct answers, they are just ideas to think about.
Measure Measure is the concept of range or distance as it applies to individual fencers. An opponent is said to be “in your
measure” if you can reach him with an attack. On the chart this would be wide, narrow, or close measure.
Measure Distance
Beyond Measure More than one step out of measure, tempo no longer applies
Outside Measure One step out of measure
Wide Measure Can hit with a step
Narrow Measure Can hit by leaning forward
Close Measure Can hit by extending arm
Inside Measure Weapon’s point is past the opponent, making it ineffectual
Grappling Can reach opponent with empty hand
If an opponent is “inside your measure” then he is so close that you cannot use your weapon effectively. An opponent
with a shorter reach will do this intentionally so that you are “in his measure”
Tempo A tempo (plural tempi) is a moment of action or inaction, a “turn” if you will. Raising a sword to prepare for a strike is
one tempo, the strike itself is another tempo. Each step you take also uses a tempo, but a cut performed at the same
time as a step is not two tempi.
It is possible to do nothing during a tempo, that is to say have a tempo of stillness. Pausing for a heartbeat with the hope
that your opponent falls for a bait or invitation is an example of a tempo of stillness. However, just standing around
waiting for the other person to do something is not a tempo.
~ 12 ~
When two fencers act at exactly the same time, it could said that they are sharing a tempo. However, this is quite rare.
Usually one fencer will interrupt another fencer’s tempo. If he does this using a shorter, faster action then he is
operating in contra- tempo or counter-time.
Recognizing Tempo There are several moments in time that create a new tempo.
Your opponent raises his front foot, either to step or to adjust his stance
Your opponent moves his sword in order to changes his guard
Your opponent raises his blade in preparation for a strike
Your opponent’s attack has just missed, but is still in motion
Your opponent’s attack has just been parried
Your opponent looks away at a distraction
Any action you perform that isn’t predicated on one of these events is said to be occurring “without tempo”. Actions
performed without tempo are exceptionally risk and should be done with the upmost caution.
Italian Terminology
Stesso Tempo – Single Time, Same Time.
Stesso Tempo refers to multiple actions happening simultaneously. This is most often used to describe counter-attacks
that occur as part of a parry. It can also be used in a general sense to describe an action that doesn’t require a
preparatory action.
Dui Tempi – Double Time
Dui Tempi refers to two actions that happen one immediately after another. This is commonly used to describe a parry
that is immediately followed by a counter-attack. It may also be used to describe a preparation for a cut followed by the
cut itself or a step with one foot followed by a step with the other foot.
Contra-tempo – Counter-Time
When you counter-attack during your opponent’s attack, interrupting his tempo with your own tempo. Some refer to
this as mezzo-tempo or middle time.
Intiatiave Closely related to the concept of tempo is the concept of initiative. While the Italians speak in terms of actions and
tempo, the Germans prefer to speak in terms of who is acting and who is responding.
German Terminology
Vor – Before
1. When you are acting and your opponent is forced to react.
2. When you are attacking and your opponent is forced to only defend.
Nach – After
1. When you are forced to react, be it by dodge, parry, or counter-attack.
2. When you are not attacking, but rather only responding to an attack.
~ 13 ~
Gleich – Simultaneously
When both are attacking simultaneously. Fencers are in the Gleich when they start their attacks at the same time or
when one beings a counter-attack during his opponent’s attack. Being in the Gleich is especially dangerous because
fencers often focus on their attacks while ignoring their opponent’s attacks.
Gleich is used primarily with the second definitions of Vor and Nach.
Nachreisen – Following After
When your opponent makes a preparatory action at the wrong time and you take advantage of it then you are said to
be using a Nachreisen. This is analogous to recognizing a tempo.
Indes – Instantly
This term refers to making instant decisions based on the situation. It also refers to those points in time where a
decision is needed. Making a correct decision at the moment of Indes allows one to gain the Vor. These decision points
can occur during a tempo where one may need to redirect or abort an attack.
Devices, Plays, and Routines The historic authors used various ways to describe fencing techniques. Most of them can be described as a Response,
Device, Play, or Routine. Please note that these are loose definitions and others may use the terms differently.
Response
There are two types of responses. The first is the response to an attack. This can take the form of a parry, a void,
and/or a counter-cut. The author may offer a single response to a given attack or he may choose to offer several
options.
The second type is a response to a given tempo. This occurs when the opponent moves his foot or sword in a way that
does not benefit him.
Both types of responses are tactical and a fencer should learn to use them without thinking or hesitation.
Device
A device is a complete set of actions that take the fencer safely into range, through the middle of the fight, and back out
of range. Devices are used strategically, when the fencer has a moment to think about what he wants to do next. The
viewpoint during a device remains with the same fencer throughout each attack, response, and counter-response.
A device may have multiple branches, but each branch ultimately leads to a successful outcome for the fencer employing
the device.
Meyer discusses the concept of devices in depth.
Play
A play is a series of responses and counter-responses. The viewpoint in a play typically alternates between the fencers
with each fencer given an opportunity to avoid the previous attack and then launch his own attack.
Mair uses plays to the near exclusion of everything else.
Routine
A routine is long sequence of actions strung together all told from a single fencer’s perspective. A routine may be for a
single fencer to practice solo or be with a partner. In the latter case, the partner’s responses are typically under
specified.
~ 14 ~
A routine is known as an assault or “assalto” in the Bolognese-Dardi tradition and is the favored teaching method of
Marozzo.
Interpreting Devices, Plays, and Routines When interpreting a device, play, or routine it is often useful to break it down into individual tempi. Generally speaking,
each tempo will consist of a single movement of the sword, a single step, and the guard that you will end the movement
in. In order to make this clearer, fencers will often start by highlighting the footwork, sword work, and/or guards
found in the passage.
Manciolino
And if the enemy throws to your head […] you can make a show of raising a montante, and in that tempo
step forward into large pace with your left foot, and go with your sword into guardia di testa, there
awaiting the enemy’s blow upon your sword. Which done, then you will immediately be able to step your right
foot toward his left side, giving to him in that tempo a mandritto upon his head, so that your left foot
follows behind your right, and going with your sword into guardia di testa for your shelter.
Next the fencer will break down the explicit actions into individual tempi. Since the opponent is throwing the first cut
he is marked as Agent and our fencer is Patient. Elsewhere in the text it says both fencers are in Guardia Alta, which is
usually right foot forward. Since this is an assumption, it will appear in [brackets].
Tempo Foot Sword Guard
Agent [Right foot forward] Guardia Alta
Patient [Right foot forward] Guardia Alta
1
2 Prepare for montante
3 Cut to the head
4 Parry Guardia di Testa
5
6 Right foot toward his left side Mandritto upon his head
7
8 Left foot follows behind your
right
Guardia di Testa
The first question is how our fencer knows to prepare for the montante. The Agent has to do something to indicate
that he intends to throw a cut to the head. One possibility is that the Agent isn’t starting in Alta but rather is moving
into it. Alta is generally a short guard, he probably entered it with a gathering step.
Tempo Foot Sword Guard
Agent [Right foot forward] [any]
Patient [Right foot forward] Guardia Alta
1 [Draw back right foot] [Prepare for cut] Guardia Alta
2 Prepare for montante
3 Cut to the head
4 Parry Guardia di Testa
5
6 Right foot toward his left side Mandritto upon his head
7
8 Left foot follows behind your
right
Guardia di Testa
~ 15 ~
3
Left
Right
Left
Right
1
3
4
6
8
Cuts, whether to wound or to parry, are usually done with a step. It is also said that cuts always end in a guard (though
that guard doesn’t necessarily have a name.) In this case Porta di Ferro Alta seems likely. So we’ll make a couple more
assumptions here.
Tempo Foot Sword Guard
Agent [Right foot forward] [any]
Patient [Right foot forward] Guardia Alta
1 [Draw back right foot] [Prepare for cut] Guardia Alta
2 Prepare for montante
3 [Large step with right foot,
follow with left]
Cut to the head [Porta di Ferro Alta]
4 [Small increase with right foot] Parry Guardia di Testa
5
6 Right foot toward his left side Mandritto upon his head
7
8 Left foot follows behind your
right
[Cover with riverso] Guardia di Testa
Tempi five and seven are empty. The opponent is probably going to be doing something during his turn. Perhaps he
raising his sword in preparation for another cut. That would free our fencer’s blade, allowing for a quick cut from
Guardia di Testa.
For seven he’ll want to parry. Since our fencer is taking a faster action the opponent’s parry will likely fail and head cuts
generally end the fight. But to be on the safe side, so our fencer is still protecting himself by returning to Guardia di
Testa.
Tempo Foot Sword Guard
Agent [Right foot forward] [any]
Patient [Right foot forward] Guardia Alta
1 [Draw back right foot] [Prepare for cut] Guardia Alta
2 Prepare for montante
3 [Large step with right foot,
follow with left]
Cut to the head [Porta di Ferro Alta]
4 [Small increase with right foot] Parry Guardia di Testa
5 [Prepare for another cut]
6 Right foot toward his left side Mandritto upon his head
7 [Parry]
8 Left foot follows behind your
right
[Cover with riverso] Guardia di Testa
Another aspect of the interpretation process is drawing the footwork diagrams. These help you
visualize what’s going to happen during the drill. An example is shown on the right.
Our interpretation is making a lot of assumptions, many of which may end up being wrong. This
will be revealed through experimentation.
~ 16 ~
Workbook Structure The workbooks are going to be structured into levels. The levels only apply to a given series. For example, level 3 in
Manciolino is not necessarily harder than level 2 in Mair. In theory you can skip around workbooks within a given level,
but shouldn’t proceed to the next level until all of them have been completed.
Bibliography Dell'Arte di Scrimia, 1572, by Giovanni dall'Agocchie. Translated by William Jherek Swanger.
Fundamental Description of the Noble and Knightly Art of Fencing, 1570, by Joachim Meyer. Translation by Mike
Rasmusson
Johannes Liechtenauer. Translated by David Lindholm, Jeffrey Hull, and Keith Farrell
MSS Dresden C 93 and C 94, 1542, by Paulus Hector Mair
Opera Nova, 1530, by Antonio Manciolino. Translation by W. Jherek Swanger
Thorough Description of the Noble and Knightly Fencing- or Weapon-Art, 1671, by Johannes Georgius Bruchius
True Art of Defense, 1570, by Giacomo di Grassi