use opportunities in a rhythm fighter's footwork to mess them up watch when they are out of position for a push,

pull, shove right or left use the hand to the head and pivot when out of position due to someone slipping outside pivot left and left jab the chest to keep right hands and left hooks away from a distance left shoulder protects chin lean away from over hand rights come back out lrft and touch the right to know i ts ovr you or around ypu use every error opponents make in their footwork if they dont shuffle cross legs or are on the backfoot when too close throwing a combo one should pivot to make the next shot harder to block (right h ook pivot left left hook or left hook pivot right right cross) moving backwards use the jab or cros when your foot lands on the rear because yo u need to get on the front foot and hook off the front opponents will have different feet to move first with one has to notice this as they fight opponents will mix up combinations have favorite moves, feints and setups and on e has to time and notice these a cross parry or cross elbow is a great bait something that looks fake can be more effective as a punch even if it lands ligh ter because it's unexpected: a straight right/left hook off wrong foot the pawing blinding jab, the wide hook, circling right, offtimed extended punch, the cocked hand, offbalance feet invite opponents to attack the lead on an opponent's feint, the lead on your own feint, the other arm on a setup work on surprise jab, jab, feint the jab then counter their counter; double jab (with 2nd ineffec tive) then jab hook, triple jab, 1-2, stiff double, body jab, block right invite a right hand, throw your right outside, left body hook outside, left hook outside, upper cut at the same time, left overhand hook invite a right hand, roll it then throw uppercut to body, right to body, hook pi voting to the outside, parry and hook show a weakness with a punch like a body jab a little too slow and be ready to s tep out and counter lead, invite something-block-counter or invite-counter immediately, then just le ad; you show weakness where there isn't and hide real weaknesses let someone throw something and land that is ineffective, so you can counter or lead against it play possum and let someone move into you-if you have figured them out; coming o ut strong allows you to play easy later, and looking soft calls them in the hand that misses can push an opponent's hand or pull at something like a gua rd head or neck and allow you to control them; use elbows against this have short and long blows in close which change when you fist up-it's possible t o hurt someone moving into and out of and inside a clinch if you turn over feint and bait same time, and vary the use of the feint or bait-if one does it r epeatedly, do it for different reasons use real weaknesses as feints and make opponent's strengths look like weaknesses you will exploit take the opponent's bait and then counter his counter while being ready for the counter angles and footwork and distance are the best baits setting up is part feint part bait; to make the move you want either making a fi ghter attack defend move or not react to something deception of showing strength where there is none is what rigondeaux and mayweat her do; it's essential they dont target your weakness or complexify bait with an offensive combo or defensive combo and expect them to counterattack your combo at its weak point or attack your predictable defense feint with an offensive combo (show 1-1 do 1-3) or defensive combo (as they pivo t and jab throw the right or duck the expected 3 into an uppercut) show a 1-1 do a 1-3 or 1-7 or 1-1b; show a 1-1-2 or 1-2-3 and do something else; their defense provides the setup using the feint

drop shift or move inside or outside the guard while punching, pivoting or stepp ing; straight right leaning left or right and same with hook