Dedication

For my wonderful wife Judy and son Jacques, and my family, whose support
over many years has enabled me to live my dream. Also many thanks to all the
Academy members and instructors, past and present, for their support and for
he|pinç me lc (efne my kncw|ecçe.
fçhlinç
Bob Breen
A path to understanding
snowbooks
7
The advice and techniques in this book should only be undertaken by martial arts
students |n o dojo env|ronment who ore superv|sed bv o quo||0ed teocher ond who
hold specialist martial artist insurance. Whilst every effort has been made to ensure
that the content of this book is technically accurate and as sound as possible, neither
the author nor the publishers can accept responsibility for any damage, injury or loss
sustained as a result of the use of this material.
© Bob Breen 2006
Photography by Pete Drinkell
Edited by Emma Barnes
Designed by Emma Barnes and Stephanie de Howes
First edition
Proudly published in 2006 by
Snowbooks Ltd
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London
N1 9JN
0207 837 6482
www.snowbooks.com
Feedback? Ideas? Let us know at info@snowbooks.com
1-905005-07-5
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All rights reserved. No part of this book may be reproduced, stored in a retrieval
system or transmitted in any form or by any means, electronic, electrostatic,
magnetic tape, mechanical, photocopying, recording or otherwise without prior
permission in writing from the publisher.
Ihe r|ghts o| 8ob 8reen to be |dent|0ed os the outhor o| th|s work hove been osserted
by him in accordance with the Copyright, Design and Patents Acts 1998.
5
Contents
Introduction 6
Introduction 8
Part 1: Preparation 14
01: Stance 16
02: Range and Measure 20
03: Footwork 24
04: Guards 28
Part Two: Attack 32
05: Punches 34
06: Kicks and knees 46
07: Simple Combinations 54
08: Head control / plumm 60
09: Arm breaks & Wrenches 66
Part 3: Defence 72
10: Punch defences 74
11: Kick defences 88
12: Throws 108
Part 4: Putting it all together 118
13: Advanced combinations 120
14: Rhythm 132
15: Timing 136
16: Scenarios 140
Conclusion 142
Drills and work-outs 144
Acknowledgements 152
Index 154
Introduction
7
8
Introduction
Principles
I hove hod o |||e-|ong |nterest |n understond|ng 0ght|ng ond mort|o| orts ond |rom on eor|v oge hod wonted to
learn the principles that underlie combat, both physical and mental. In my forty years of martial arts training
|t hos been Jeet Kune Do, the 0ght|ng svstem deve|oped bv the |ote 8ruce Iee, wh|ch hos stood out omongst
all the martial arts that I’ve studied. Jeet Kune Do is a principles-based system that has enabled me to see all
my other, more traditional, training in context and to have a deeper and clearer comprehension of it. It has
shortened the time I’ve needed to become functional in whichever type of combat I’ve chosen. The cross-
tro|n|ng opprooch o| JKD, ond |ts emphos|s on 0ow ond odoptob|||tv, meons thot |n o street se||-de|ence s|tuot|on
it’s easy to come up with instant responses to immediate dangers. In this book I’ve used a principles-based
opprooch us|ng concepts |om|||or to o|| mort|o| orts, becouse |rom one pr|nc|p|e o thousond techn|ques 0ow.
8
The aim of this book
I have written this book to give beginners and
intermediate students a guide to learning and
training martial arts that isn’t limited to the
techniques being taught; it also gives an idea of how
the whole thing works. When I sat down to write it, I
set out to help students along the way by providing
an understanding of how principles and other tenets
could inform and improve the learning and training
process. I wanted to show not only what techniques
to use but, more importantly, why, when and how
to use them. This was the book that I needed when
l wc: |ec(ninç hcw lc fçhl. / :eccncc(y cim wc: lc
write a book that the advanced student could dip
into occasionally.
At the early stage of my martial arts study I bought
books by Oyama and Nakayama on Karate. These
we(e ç(ecl Lcck: Lul cicn´l cuile fl lhe :ly|e cf
fçhlinç l wc: ccinç c( cn:we( lhe :c(l: cf cue:licn:
that I had. However, the completeness of these
books has never left me and I have sought to
emulate that here, as well as to provide a source-
book to satisfy students’ questions.
It would have been easy to write a book that
impressed my peers or that showed lots of fancy
lechnicue: lhcl cicn´l fl lcçelhe( in c |cçicc| c(ce(.
Teaching on a nightly basis and doing seminars
around the world has shown me people’s training
needs, and thus where the focus of this book should
Le. Ihi: Lcck i: :imp|y cLcul |ec(ninç hcw lc fçhl
in a modern and functional fashion. It hasn’t been
my intention to cover the techniques developed by
Bruce Lee and his friend and training partner Dan
Inosanto during the Sixties and Seventies. A book
showing this could, to an extent, be tethered to the
past and that wasn’t what I wanted. Like Lee, I have
used a conceptual approach and I have taken
many of Lee’s thoughts on the nature of combat to
:e(ve. in hi: cwn wc(c:. c: c fnçe(-pcinlinç. Ihe(e i:
very little esoteric terminology in the book. The aim
is to make it clear and simple and help you on your
way to being an effective martial artist. Lee’s focus
was on the functionality of the technique or training
method and that is my focus within this book. It is a
:lucy cf fçhlinç: cn|y fçhlinç. ll u:e: :cme cf Lee´:
techniques as a base and adds what is functional
and desirable from modern methods and my own
experience to show a way that is relevant to modern
martial artists.
Scope of the book
I
n this book I cover primarily empty hands (as
cppc:ec lc wecpcn-Lc:ec) fçhlinç. cnc :lcnc-
up rather than ç(cpp|inç fçhlinç. Spc((inç.
9
c|c:e-cuc(le( fçhlinç. knife cefence. :lick fçhlinç
and grappling are outside the scope of this book
but crucial nevertheless to developing a rounded
fçhlinç :ki||:el. Simi|c(|y. l cc ncl ccve( c(ec: |ike
training kit, or warming up and down, stretches or
conditioning training, but the importance of these
cannot be overstated. My aim is to walk the line
between function and technique, execution and
strategy.
My background
M
y own interest in strategy and principles
began before I had heard of Bruce Lee
c( Dcn lnc:cnlc. l |c:l my f(:l fçhl cl lhe
cçe cf fve cnc (ememLe( lhinkinç 'whcl´: lhi: c||
cLcul°´ l wc: :ccn lc |ec(nl l hcc |cl: cf fçhl: c: l
grew up, something that I thought was normal, yet
for lots of modern youngsters is alien. Over time I got
much Lelle( cl fçhlinç. yel c numLe( cf :pecifc
fçhl: mcce me wcnl lc unce(:lcnc lhe lhec(y
cnc p(cclice cf fçhlinç even mc(e. ln cne l fcuçhl
a boxer and lost not on heart, as I had plenty, but
on lack of technique. I had no method to apply.
/nclhe( :chcc| fçhl invc|vec c whc|e l(cn:ilicn f(cm
group threat to single unarmed combat, then knife
against my empty hands, and then a bottle attack,
all the time surrounded by a group. Maybe that’s
why I have had a life-long interest in weaponry and
how to defend against it. Another found me at a
(uçLy mclch. fçhlinç c|| cf lhe cppc:inç lecm cf
ffleen wilh cn|y c f(ienc fc( c::i:lcnce. Ihe:e we(e
great inspirations to learn more. I was no great
hero, as I wanted a quiet life like everyone else, but
circumstances dictated that I fought fairly frequently
cnc hcc c|c:e f(ienc: whc we(e invc|vec in fçhlinç
a lot of the time. Just being in this down-to-earth
environment meant I got to see and experience a
|cl cf :cenc(ic: f(:l-hcnc.
Ihe Fele( C´Dcnne|| Lcck: cLcul hi: fclicnc| he(c
Modesty Blaise were around and popular before I
heard of Bruce Lee. O’Donnell’s characters showed
great use of strategy and techniques and their
fçhlinç wc:. in c :en:e. |ike JKD Lefc(e JKD hcc
been invented. To a young man practising Karate
they were yet another source of inspiration to gain
more knowledge and understand the game more
thoroughly. In my Karate practice I had been
fortunate to come under the tutelage of Tatsuo
Suzuki 7th Dan. This took me off the street corner.
Now I was a Karate practitioner, a stoic monk-like
chc(ccle( in my cwn minc. My whc|e |ife f||ec up
with Kc(cle cnc l Leccme cne cf lhe UK´: f(:l L|cck
belts as, back then, the Karate scene here was very
small. Kc(cle wc: fc( me |ife-fu|f||inç: l hcc fcunc
what I wanted to do yet had no interest in teaching:
training was my life. However, a reluctant one-time
job, taking the place of a Japanese instructor who
wc: i||. |ec me lc fnc lhe lhinç l wc: ce:linec lc cc
for the rest of my life.
Teaching others and training were my new
existence. Karate was great but at that time
the world was changing. In the late 1960s doors
previously closed were opening everywhere. I
trained with top Judo players and boxers and loved
to grapple even though my Karate friends thought
it unseemly. Meetings and exchanges with Kung
Fu practitioners also happened around this time
whilst I was working as a stuntman and I gained
mc(e fçhl kncw|ecçe f(cm wc(kinç lhe ccc(:.
During this time we were all adapting, when into
this matrix came Bruce Lee. Much of what we read
about Bruce in the magazines we already knew. My
training partners and I used a boxing stance and
did hand immobilizations and many of the other
things that were talked about in these articles on
Bruce. However, my visits to Chinatown’s Chinese
movie theatres to see him in action made me
aware that he was on another level entirely. I was
9
a convert overnight and devoured anything about
him or anything he wrote. Much of it resonated
with my own experiences. I loved his use of training
equipment and was intrigued by the wooden
dummy. We took what we could and fought full
contact and gained a rough and ready experience.
I was also studying Okinawan weaponry from my
friend John Sullivan who I’d been in Japan with. It all
wenl inlc lhe mix cnc (efnec my kncw|ecçe.
My own development has been helped incredibly
Ly l(cininç wilh inc(eciL|e pecp|e. When l f(:l :cw
Tatsuo Suzuki in action I knew that I wanted to do
what he was doing. Through him I learnt to be stoical
and to adapt my game to my body. He had a bad
back injury so found it hard to kick high with ease,
yel wc: :li|| c ve(y pclenl fçhle(. F(cm Hi:ccmi Fuji.
All Japan Karate Champion, I learnt not only about
timing and counter-punching but also about being
a gentleman and having empathy with those who
trained with me and under me. I owe him a great
debt. My continuing enthusiasm was fed by Tadayuki
Maeda, another All Japan champion, and, on
f|m. Ly cnclhe( chcmpicn. licc. whc unfc(luncle|y
I never met in person. Further, multi-faceted
inspiration came from meeting Don Draeger in
Japan. I saw in him how to behave as a true martial
artist, constantly enquiring but self-controlled and
humble.
Boxing has also been instrumental in my
development. I was forbidden to box at school
when I was young because of an ear operation
which meant I couldn’t pass the medical. As a result
of this ban I have boxed or fought continually ever
since. Additionally, my love affair with good boxing
had been fostered as a youth when I worked at
the London Hilton for my father. He organised the
catering for all the top boxing matches. Through this
I met and talked to boxing greats like Jack Dempsey
cnc Jce Lcui:. l mel lhem c||. mcny ç(ecl fçhle(:
and some great men. They all left an impression.
Foremost among all I have trained with is Dan
Inosanto, Bruce Lee’s training partner. My initial
meeting with him in 1979 was amazing and blew me,
and my friends, away. It showed me that there was
much more to learn and that I had better get going.
I have been privileged to train with Dan for nearly
thirty years and I am one of his longest-serving
students, though probably not his best. We have
moved from a master-student relationship to one
where he is friend, mentor, and master but above
all a constant inspiration. Dan has encouraged
my study of various martial ways and I have had
great success in many of these. Meeting Dan has
changed my life, as he has changed the lives of
countless others.
The training partners I have had along the way have
been an invaluable aid to my development and
my understanding of martial arts. Foremost amongst
these during the Seventies and Eighties must be
Ralph Jones and Geoff Britton. We were the band of
brothers who travelled and fought together. Ralph
became my soul brother when we moved into JKD.
He was the ying to my yang and we spent days
talking about concepts and strategies. Like me he
shared a love of Modesty Blaise books. In recent
years my training has been enlivened by an amazing
group of training partners and friends. I owe a
great debt to all of them: Terry Barnett, who started
training with me over thirty years ago, Neil McLeod,
David Onuma, Wayne Rowlands, Owen Ogbourne,
Dave Birkett, Steve Wright, another long time student
and friend Alex Turnbull and my inspirational old
friends Alex Livingstone and Ian Oliver. Finally I should
mention my close friend and student Lou Manzi
who I get to work out all my theories on and who
serves as my training dummy. In recent times, arthritis
limited my game until I had two hip replacements,
from which I recovered with the help of some great
training with James Evans Nichol in Submission
Wrestling and in Silat with Steve Benitez and his team.
Lec(ninç lc fçhl: lhe p(cce::
The progression for anyone learning any art tends to
follow the same pattern. This is how we describe it in
my instructor training program and for our phased
training program:
Build a base
Seek the method
Become the method
Abandon the method
Return to simplicity
>
>
>
>
>
To go through all these stages in every aspect of the
arts is a lifetime’s study. Many of us are at different
stages of development in various areas of the art.
Only once you truly understand can you feel free to
abandon the method and go with what the situation
dictates. Any art that allows you at an early stage
lc exp(e:: ycu( cwn icec: cnc ycu( 'wcy.´ which
encourages improvisation around a theme or simple
concept, whilst also emphasizing quality basics will, I
believe, allow you to achieve some mastery of your
art. Of course, mastery is always a relative term;
as you get better the level of expectancy just gets
higher.
Build a base
In all arts the highest levels of achievement are
built upon mastery of the fundamentals. Sound
knowledge of the basics is essential both in self-
defence and for sparring. At this level it’s about
repetition and building body knowledge. It’s my
belief that good boxing and kickboxing skills will give
ycu lhe cc(e cf ycu( fçhl çcme cnc pul ycu in c
position to use more advanced trapping (reacting
to your opponent’s energy to manipulate and pin,
c( 'l(cp.´ lhe |imL:) c( ç(cpp|inç :ki||: lc fni:h if ycu
:c chcc:e. Ycu ccn fçhl ju:l u:inç l(cppinç cnc
grappling, but they work better when supplanted by
a boxing or kickboxing base. Good boxing skills also
Lui|c ccnfcence cnc ccu(cçe cnc mcke ycu mc(e
at ease in a chaotic situation. This is a core part of
developing your game.
Seek the method
Once you have an understanding of a basic game,
you can start to learn more about the method and
the techniques involved, plus you start to pick up on
the subtleties of the art and build basic technique
in depth. You start to gain the understanding and
positional knowledge to be able to use the more
esoteric techniques within the art. Along with
technique this is a time to place great emphasis on
learning timing and distance – something you should
work hard to develop. This is a time of research and
study.
11
Become the method
At this level you are in the art. You know the
techniques and now are in a practising mode,
(efninç ycu( :ki||: cnc |ec(ninç whe(e lhinç: hcppen.
In :pc((inç cl lhi: |eve| c( even ec(|ie( ycu wi|| fnc
the many reference points, as Lee called them; the
ccmmcn pc:ilicn: whe(e ycu cflen fnc ycu(:e|f.
From these reference points you have numerous
techniques available, and you have a base or
common entry point for improvising or relating to
your opponent’s energy. By using reference points
your improvisation skills are based around common
themes and start points, and chaos doesn’t seem
so chaotic. You don’t choose beforehand what you
c(e çcinç lc cc: (clhe(. ycu çc wilh lhe fcw. (e|clinç
to your opponent and what they choose to do,
responding with the appropriate technique.
Abandon the method
When ycu ccn ccn:i:lenl|y fcw. ycu c(e :lc(linç
to abandon the method – you are on the road to
mc:le(inç c( l(cn:cencinç ycu( c(l. ll´: f(:l cLcul
gaining a deep knowledge of the fundamentals,
then adapting them to your body and to your
experience. You create your way, based on the past
Lul ncl |imilec Ly il. ll´: ju:l fçhlinç. When ycu c(e cl
this level you have no expectation of how things will
be; you just go with what is, taking it as it comes.
Return to simplicity
This book is mainly concerned with giving you a
toolkit of techniques and an understanding of where
lhey fl lime-wi:e cnc ci:lcnce-wi:e: c Lc:ic why.
whcl cnc when cf fçhlinç. Cnce ycu hcve (ec||y
mastered and internalised the techniques you can
start to interrogate them, selecting and developing
those which work best for you, throwing away
lhc:e lhcl ccn´l cnc unccn:cicu:|y fçhlinç. Ycu
eventually come full circle, back to where, as Bruce
Lee :cic. 'c punch i: ju:l c punch. c kick ju:l c kick.´
Looking at this process from the beginning you
ccn :ee lhcl ycu wi|| f(:l hcve lc |ec(n whcl lhe
attack or defence looks like. This is when you are
building a base. Next, you start to use your growing
recognition of shape and movement, often without
cny kncw|ecçe cf hcw lhinç: fl lcçelhe(. ll´: c '|el´:
try this’ type of approach if you’re attacking, and a
reactive approach if you’re defending. This is where
you build your experience. There is no short cut
here. To research your experience you have to have
some, so this means sparring, drilling and learning
as you go. Eventually you get to the point, when
you’ve done lots of repetition in drilling and sparring,
where you can see the shape of the coming attack.
Alternatively, you construct a situation where
the person is likely to do the thing you want. The
highest point of the art is where you can force your
opponent to do what you want whether he is aware
of it or not. Of course the ultimate aim of martial
arts is to forestall any belligerence on a potential
opponent’s part, before it even gets started, by your
spiritual and physical presence.
8eccu:e cf my ec(|y fçhl expe(ience:. lh(cuçhcul
all of my training and teaching it has been the
dichotomy between being functional whilst also
Leinç 'wilhin lhe c(l´ lhcl hc: inl(içuec me. 8einç
'wilhin lhe c(l´ ccn c|:c mecn Leinç chcclic - Lul
in a knowing way. I had tried a naïve, yet chaotic,
approach in my youth and found that I just got more
bruises that way. To paraphrase the poet Oliver
Wendell Holmes, I don’t want the simplicity on this
side of complexity, I want the simplicity on the other
:ice cf ccmp|exily. Ihe cim i: lc 'Le´ in lhe mcmenl:
c: 8(uce Lee wcu|c :cy. '(e:pcncinç |ike cn echc.´
This can only be done with a good knowledge of
the fundamentals; that doesn’t mean only knowing
what the fundamentals look like and being able to
perform them parrot-fashion. This is the trap that a
minority of Karate practitioners fell into (though to
my mind that isn’t the real Kc(cle). 'lf il |cck: çccc
it must be good,’ is the ethos of this type of training.
This is OK at a base level and we all have to go
through this. Then it’s on to really understanding your
lcc|: cnc Leinç cL|e lc ciclcle lc c( fcw wilh ycu(
cppcnenl. u:inç Lc:ic lcc|: wilh vc(iely cnc fne::e.
12
This process, I think, can be accelerated if you know
what you are doing and where you are going. Bruce
wc: lhe f(:l in lhe mcce(n e(c lc |cck cl ccmLcl lhi:
way and we should respect his genius in this. He was
an innovator and has changed the face of modern
martial arts worldwide.
How to use this book
T
hi: Lcck ccve(: Lc:ic lechnicue f(:l. lhen
moves on to more advanced technique and
fnc||y ccn:ice(: :cme cf lhe mc(e :l(cleçic
e|emenl: cf fçhlinç. lf ycu c(e c ncvice lhen
ycu f(:l neec lc çel c çccc ç(cuncinç in lhe
fundamentals. I have given training routines which
will help your progress. If you are more experienced
or seek to understand the timing aspects mentioned
lh(cuçhcul lhe lexl lhen lcke c |cck cl lhe fçhlinç
time line in chapter 15 and keep that in mind
whilst reading the rest of the book. Think about
hcw ycu ccn u:e lhe ccncepl: cf 'Lefc(e. cu(inç
and after’ to good effect. Look at ways you can
advance your techniques up the time line so they
are more pro-active rather than reactive. Realise
too that sometimes appearing to be slow and
behind the beat is often just as effective as being
ahead of the beat as long as you are not being
hit. An understanding of opening and closing lines
is essential if you are to make the most of your
opportunities. Research your own experience,
look at where on the line you do most of your
work and adapt it so you have more depth and
understanding.
I’m also going to assume a left lead – apologies to
the southpaws out there. If you’re just starting out
I normally recommend that you put your left side
forwards if you are right-handed. However, both
sides work and both have advantages. As you
advance, you should be training all techniques
on both sides. If you’ve got the time it’s immaterial
which side you start out on. However, I’ve seen a
|cl cf ç(ecl fçhle(: whc ccn´l hcve lhi: ceplh cnc
cn|y fçhl f(cm cne :ice. Ihe(efc(e lhe(e c(e lwc
cpp(ccche: lc l(cininç mc(lic| c(l:: cne i: c fçhlinç-
only approach where generally simple works best,
lhe clhe( i: c ccmLinec fçhlinç cnc Lcci|y hec|lh
approach. Choose whichever approach best suits
you.
Notes
Throughout the book, for convenience I use the
mc|e p(cncun in:lecc cf lhe wc(cie( 'hi: c( he(´
each time. Apologies to anyone who thinks I’m
being sexist – if you knew some of the female black
belts at my Academy you’ll know I’m under no
i||u:icn cLcul lhe effcccy cnc ccmpelence cf
mcny femc|e fçhle(:.
You should also use this book in conjunction with
professionally-instructed classes. There is no substitute
for a good teacher and you should go out of your
way to seek one out.
Finally, make sure at all times that you respect and
take care of your training partners. Ensure you
approach your training with focus and passion, but
be thoughtful and considerate too.
13
Part 1: Preparation
15
16
23 Roundkicks: technique
01: Stance
'F|ccl |ike c Lulle(fy. :linç |ike c Lee.´ Drew Bundini Brown
In this chapter we will cover basic stonces: how to use them, ond how to move oround, 0ow|ng between them,
wh||st keep|ng we||-bo|onced. Ihe tr|ck to 0ght|ng |s to h|t hord w|thout gett|ng h|t ot the some t|me. Ihere|ore,
you need to be well balanced, rooted at the point of impact so that you can deliver blows with force, whilst at
the some t|me be|ng mob||e so thot vou oren't o 0xed torget.
Stances are not techniques themselves; they help
you to execute a particular technique and so they
:hcu|cn´l çel in lhe wcy cf il. Neilhe( c(e lhey fxec
poses; rather, a stance is like a still from a movie,
a snapshot of part of a movement that isn’t stiff or
fxec. Slcnce: c(e :hcpe: lhcl ycu mcve lh(cuçh
whi|:l fçhlinç cnc c(e Lc:e: fc( ycu lc |cunch
attacks from.
When ycu f(:l :lc(l lc |ec(n hcw lc fçhl. ycu u:e
stances as a handy reference point and you have
to learn them well. As you progress, you learn
to improvise around them and they become
transitional. Ultimately, you forget them. It’s about
learning where your balance is, and learning how to
move between stances or to move using the same
stance. Using stances at this early stage helps you to
develop good fcclwc(k cnc lc fnc cul hcw lc hil
effectively whilst remaining mobile.
Simple stance changes can have a profound
impact on your opponent’s ability to strike
effectively. The most suitable thing to do is often
dictated by your opponent, so you must remain
fexiL|e cnc cL|e lc mcve wilh çccc balance in all
directions with ease. With all stances and footwork,
keep your striking and kicking tools directed towards
your opponent.
Front stance
Front stance
The front stance is the basic stance used in boxing.
The weight is forward on the lead foot and the rear
heel is raised. The body is slightly turned so that
you offer a smaller target, and the hands are held
high and tight to cover against blows. Note also
that they are in an offensive position directed at
the opponent, not pointed upwards, which would
show your opponent that you are defensive and no
danger to them. This is really important: it’s essential
that you are the hunter and not the hunted. Your
body inclination and direction should show this in
no uncertain terms: offence is the best defence.
The raised rear heel is crucial as this will allow
you to move backwards easily. This can be done
lempc(c(i|y wilh 'snapback’ (see page 78) where
you move and then come back to your attack, or it
can be a more permanent type of footwork move.
17
Pros and cons
It’s an easy stance to learn and use. It provides
a great platform for delivering hand blows in
particular, and leg strikes at longer distances. In the
front stance, lead kicks are normally done with a
step or slide. Even though this might telegraph your
intentions, if the step and slide are disguised with a
hand strike or a feint they work well. The extended
front leg is vulnerable to attack either from round
kick: c( lcck|e:. Ihe(efc(e. when u:inç il. fcw in cnc
out of it using a shorter Thai stance (see below) as
your neutral stance. Be aware of tackle attempts
and keep light and mobile so that you can respond
easily. This front stance is the best one from which to
use hand strikes, rather than kicks.
Thai stance
the heel of your lead foot lines up with the toes of
your back foot. You can make this stance slightly
longer at times, but it is normally kept quite short.
Make sure that the hips are raised and both heels
c(e up. Ycu( Lccy i: fci(|y :cuc(e c: ycu( f(:l |ine
of defence is your legs; protecting your centre line
isn’t so important. If your opponent attacks, you
can keep him at bay using kicks and long knees,
then integrate hands into this mix. Hands can often
be out in a long guard; these extended hands
serve a multitude of purposes. They can keep your
opponent at a kicking or kneeing range; they can
be used very effectively to parry your opponent’s
blows at their origin; they can be used to grab your
opponent and bring him into a clinch position, thus
killing his boxing range; and you can use your hands
to mask your opponent’s face so that he can’t see
whilst you attack.
Pros and cons
The Thai stance is great for kicking. You are
compact, with good balance, so that you can
use the legs easily for low-line defence, either by
crushing, or by striking. The squarer position means
that you can kick easily to wide angles, though it is
not so good at long range. The hands can still be
effective but because of the raised heel stance,
punches tend to be weaker unless you drive from
the ankles, which are kept hard and strong. The long
guard can be vulnerable to your opponent coming
underneath it with hand attacks, though this isn’t a
problem if your knee techniques are good.
This is a shorter, more neutral stance used commonly
in Thai boxing. Place your feet so that the back of
Thai stance
18
Lateral stance / Yee kim ma
The lateral stance is used at close range. It differs
from the boxing and Thai approach in that the head
is further back. Though this isn’t the best stance for
delivering very powerful blows, it is highly effective
in a self-defence mode or when you don’t want to
escalate what may just be a tussle into an all-out
fçhl. ll çive: ycu c :cc|ecL|e cefence. Icuçhl mc(e
formally in Wing Chun styles, this stance, in a looser
format, is also used by Filipino Kali and Indonesian
Silat systems. Open your legs as shown by rotating
lhe lce: culwc(c: f(:l. lhen pivclinç lhe hee|:
out further. This will give you the standard stance.
However, it can be looser than this, just as long as
you understand the principle. One leg has seventy
percent of the weight and the other thirty. When
attacked on one angle you adjust your weight and
move to the other angle; it means you have an
attacking angle on your opponent.
Lateral stance
Pros and cons
Elusive and very functional, the lateral stance
can be used to stay out of the way, passively, of
opponents’ blows, or can be made much more
aggressive with the use of blows like the straight blast
or chain punching which is hard to counter at close
(cnçe. Ic Le mc:l effeclive. lhe cLi|ily lc fcw f(cm
this to boxing or clinching and standing grappling
is essential. It requires good hand skills to be most
effective and only works well at close range.
These are some of the basic stances which we
will work with in this book. They are just the basic
building blocks and should be well practised. Add
these to the footwork drills in chapter 3 and develop
an awareness of your own body’s balance and
movement.
19
20
23 Roundkicks: technique
02: Range and Measure
Range and measure, alongside t|m|ng, ore o| the utmost |mportonce |n 0ght|ng. You hove to know when vou ore
out of the range of his kicks and punches, or at what range you can most effectively use your various kicks and
punches – your body tools. Phrases like ‘I’ve got the measure of him’ have their origins in the combative notions
of measure and range in sword 0ght|ng. Ih|s |s not on|v o weopon concept: |t |s just os opp||cob|e to emptv
hands.
Understanding ranges
There are four basic ranges: long range, medium
(cnçe. c|c:e (cnçe cnc ç(cunc fçhlinç. Ihey
inform the stances that you move through and the
techniques you select. Sometimes techniques work
in all three standing ranges. Don’t see ranges as
fxec mec:u(e: - lhey L|u( cnc cve(|cp - Lul civicinç
the space around you into ranges is a useful way to
lay the foundation of your understanding and make
it easier for you to learn techniques and concepts.
When ycu hcve (ec| cLi|ily. ycu fcw f(cm (cnçe lc
range without thought as you respond and react.
Long range
When you and your opponent are just out of each
other’s reach, you would need to step in to use any
of your attacks effectively. You either want to draw
him in or use methods to bridge the gap. You use
your longest spear-like tools – including lead side
kicks, front kicks and jabs – to both measure your
distance and to get closer to him where you can use
your more effective, destructive tools.
Find your measure with a jab
21
Medium range
Medium range is where much martial arts
training takes place and as a result it’s where the
inexpe(iencec fçhle( miçhl wcnl lc Le - ncl lcc
close, not too far away. However, at this range your
opponent can deliver all of his tools most effectively
and may be feeling his most comfortable. It’s a
dangerous range and has to be well trained. Here
ycu neec çccc :ki||: lc :lcy cnc fçhl. p|u: lhe cLi|ily
to go closer and restrict your opponent’s chance to
unload by tying him up, locking him, or alternatively
taking him down. The other alternative is to be able
to move easily into the long range with the minimum
of effort, then be ready to come in again when the
opportunity presents itself.
Close range
At close range there is a lot of potential for things to
happen. Both you and your opponent have most
of your tools available and you can manipulate,
grapple and tie your opponent up, in addition
to striking. This range thus has many games and
approaches which include boxing; clinch, knee and
elbow; trapping; standing grappling and throwing;
and locking.
G(cunc fçhlinç
Although outside the scope of this book, the ground
fçhlinç (cnçe i: c c(ucic| c(ec lc mc:le( :ince mcny
fçhl: enc up cn lhe fcc(. Dcn´l neç|ecl il: l(cininç.
Finding your measure
Your measure is the furthest distance at which your
tools work well against your opponent. First you have
to learn your measure. Once that’s done, it’s easier
for you to know your opponent’s, so that with a
minimum of movement you can be just out of range.
First, you have to know your measure with the jab
and the lead leg side kick, your longest tools. Then
you can go on to understand how to increase your
workable distance by adding different types of step
or lunge. It’s very easy to understand both your own
and your opponent’s range and measure once
ycu´ve çcl cne fxec ci:lcnce cf measure, much like
using a ruler.
In the picture (left) you can see my hand measure
with a jcL {if il´: c fnçe( jab I just add four inches). I
make sure that I stretch even to the point of being
nearly off balance so that I know the furthest extent
of my reach. If my opponent is at a longer range I do
the same jab but with an initial step, and over time
I get to know the length of my step. I then mentally
know that I will be able to hit my opponent if he’s
within my measure or my measure plus a step. If he’s
fu(lhe(. l kncw he´: in kickinç (cnçe. f(:l|y cf lhe (ec(
leg and then the lead leg. I get to know the furthest
range from which my tools still hit and then just add
the different steps, depending on how much ground
I have to cover.
It seems complicated, but the place to start is by
learning the range of your tools without stepping,
or with lead leg kicks, stepping within the length of
ycu( :lcnce. Cnce ycu kncw lhi:. ycu´ve çcl c fxec
measure to which you can then add steps if you
aren’t close enough.
Similarly, once you know your measure you’ll be
better able to gauge your opponent’s distance and
use range defensively. You can snapback so that
he misses by fractions of an inch. This makes it much
easier for you to counter-attack. An alternative
to making his strikes miss is drawing him in deeper.
Because he’s missing every time, he over-extends,
then you can slip in and be so close that either he
22
can’t generate enough power or the angle is wrong
for his blow to work effectively. Then you can clinch
or manipulate his balance. In these ways you destroy
hi: ccnfcence. Cflen he hil: ci( c( ccn´l un|ccc cnc
you are in the right place to knock him down or out.
I spar with many students who have no knowledge
of their own distance, so they take unnecessary
steps to get close enough. This uses too much time,
and announces their intention. Don’t let that be you.
Core principle: Centre line
The centre line is a crucial aspect of your understanding of the combative relationship between
you and your opponent. Many of the prime targets like the groin, solar plexus, throat and chin
nro Iocnfod nIong fhIs IIno. ÐIfforIng sfvIos of fghfIng nppronch fho dofonco of fhoso nrons
differently. Some styles like to defend the centre line by having the arms there, so you have to
gof pnsf fhom. Howovor, mosf prncfIcnI fghfors Ionvo fho centre line open – it’s the area where
your eyes are the best defensive tools to use. Your arms are better deployed to guard against
looping, hooking blows to the head, where your eyes don’t work at their best. Also, in this way,
you draw your opponent to attack you down the centre line – you lure him in. Bruce Lee called
this ‘attack by drawing.’ You seem open but in reality you’re ready to respond. From a defensive
standpoint you’ve got to realise that you can’t defend everywhere. If you cover the centre you’re
open at the edges; if you cover the edges you are open in the centre, either for chain punching or
attacks up and down your centre line. Similarly, you can’t effectively defend both high and low
lines. What you should do is close no door too tightly; if you close one door you’ve only opened
another on the other side. Rather, use a combination of body or head movements with a minimal
blocking or parrying method to defend against any blows. Leave your centre line open but close
up fho nonror fho fghf gofs fo vou. ThInk of vour gunrd movomonfs ns n nIghf wnfchmnn who
goes round and checks all the Iocks porIodIcnIIv. If monns vou`ro nof fxod In n corfnIn posIfIon.
AII fxod posIfIons ovonfunIIv gof ovorrun or fho oppononf goos round fhom. You cnn nffnck vour
opponent’s centre line without being directly in front of him, therefore he’s not able to attack
your centre as effectively as you are his.
23
24
03: Footwork
Footwork training features an essential contradiction. Combatively, you need to move with the minimum of
effort and only just enough for your opponent to miss and waste his energy. However, to be really competent
at footwork you have to do more than is necessary in the training stage so that you get to the point where your
body loves to move. Most people in class would like to stand where they are, thus it’s essential that you overdo
the mob|||tv th|ng |n the beg|nn|ng. Ih|s w||| o|so, o| course, keep vou verv 0t ond |s greot exerc|se.
Therefore make sure that you exaggerate your use of footwork in training. Get to the point where you love to
move ond thot th|s |s vour stondord response when work|ng the pods or shodow-box|ng. Ihen, when 0ght|ng,
you should make sure that you don’t do too much, as sometimes closing one door just opens another. See this
os 0rst |eorn|ng the sk|||, then re0n|ng the sk|||. On|v use whot vou need.
Slide and step
The slide and step can be used to maintain your
range in relation to your opponent when the gap
is slightly larger or you have to make up distance.
Alternatively it’s great when accompanied by strikes
which hide the footwork. Slide your back foot up
towards your front foot then take a step with your
leading foot. When going backwards, slide the front
foot back, and then take a step backwards with
your rear foot. Don’t bob up and down: keep your
head at a constant level. A variation on this theme
is to raise the closest leg like a crush or jamming
technique. When going forwards it can be used to
jam your opponent’s attack attempt, and when
going back it can be used to crush your opponent’s
attack or counter-attack.
Boxing series footwork
Step and slide
Ihe f(:l lype cf footwork to learn is the step and
slide. This is the standard way of adjusting your
position in relation to an opponent so that you can
stay at a consistent distance. This is normally the
point at which you are at the end of his range and
the beginning of yours and where both of you can
hit with your hands if you take a step forward. You
move the leg nearest to the direction you are going
f(:l. cnc :|ice lhe clhe( cne cfle( il. :c lhcl ycu c(e
back in your standard stance. This can be done
forwards and back and left and right. Moving right is
lhe mc:l ciffcu|l cnc ycu hcve lc lcke :mc||e( :lep:
– there are a number of other options for moving
right that are more functional (see L step, p.26).
Step and slide Slide and step
26
Curve left and right
Curving left and right takes you out of harm’s way
against an opponent trying to trap you in a corner
or against side attacks like the round kick. It can
also keep you out of the centre line focus that your
opponent wants because that’s where he can
charge or lunge in most effectively. Being just off his
centre line all the time means that you are stealing
time from him yet keeping your own attacking
options open. Practise curving either in shadow-
boxing or when doing pad work (the feeder can
give you slow round kicks or wide hooks to get you to
move off-line at the end of your combinations). You
don’t need to move too far, just far enough that you
are off the centre. Watch good Cuban boxers and
you’ll see this used to great effect. Don’t be there,
waiting to get hit.
L-step (Switch)
Withdraw your lead leg and step to the right with
your rear leg. It has a sort of skipping feel to it. Once
you’ve switched you can either replace your lead
foot on a parallel line to the initial one or you can
walk in an arc and reinstate your stance anywhere
on the arc. This footwork gets you out of the range
of his big right hand punch and is an easier way to
move to the right than the step and slide or curve.
L-step
Stance changes
Around the pad drill
Ihi: i: lhe f(:l lype cf footwork drill we teach at my
Academy. It’s easy, and connects foot and brain
quickly and instinctively. You can see this as a stance
change done at distance so that you change
from an orthodox to a southpaw lead, either when
attacked or when you decide that it is a good thing
to do. Once again it makes you light and elusive.
Step through
This is a different stance change but this time it is
performed at medium to close range. Often used in
Filipino boxing, it immediately puts pressure on your
opponent’s balance. Often we do this either with a
crushing or trapping technique as shown, or when
your hit falls short and you just follow it in, because
if you try to pull it out you will get what Bruce Lee
cc||ec 'hang time’ where you’re lingering at the end
of a blow.
Therefore you can see that it is possible to change
stance at long range, as in going round the pad, or
at close range where you are making the most of a
bad position and crashing inwards. Both work well
and can mess up your opponent.
27
Going around the pad
Step through
Summary
It’s important to note that you can either move
ycu( feel c( mcve ycu( Lccy lc evcce: il´: ciffcu|l
to do both at the same time. So when working
evasion, use footwork as one method, and body
evc:icn f(cm c fxec :lcnce c: lhe :eccnc melhcc.
Evenluc||y ycu wi|| fcw Lelween lhem :c :ecm|e::|y
that most people won’t see that it’s two different
approaches. We’ll look at body evasion later on in
Part 3.
28
04: Guards
Ihe guord |s the pos|t|on thot vour honds w||| be he|d |n wh||st vou move ond 0ght. You wont to cover os much
of your body as possible, and to do this it’s helpful to visualise the body divided into quadrants as shown below.
There are four types of guards that you need to know which we’ll look at in this chapter.
Quadrants
Standard guard
This is where your forearms are held vertical, like two
pillars. Point your hands towards your opponent,
elbows in, body turned to offer less of a target. The
rear hand covers the rear quadrant, the lead hand
covers the lead upper quadrant and the elbows
cover the side rear and lead quadrants.
Standard guard
Half guard
Use the half guard when you are at medium or
close range. It is often easier to bob and weave with
the lead arm dropped. Here, the lead arm is in a
Cross guard
The cross guard is versatile and can be used in a
variety of ways. Firstly, use it to crush your opponent’s
blows (p. 75). Secondly, it’s a great way to cover
whilst actively bobbing and weaving. Make sure
position to lead hook and can also be used as a bar
across your opponent’s body used to push him off
balance or jam him so he can’t use his hands, which
is particularly effective if he is using the standard
guard. Use the shoulder roll (p. 82) and bob and
weave (p.78-79) to cover against right hand blows.
29
Half guard Cross guard
Long guard
The long guard is used in Thai boxing and Filipino
Kali. Either, or both, hands can be extended. This
exposes the ribs but the added risk can be worth
it as it’s much easier to manipulate your opponent
at the origin of his blows and kicks. You can body-
Long guard
both hands are fully cocked to enable a left or
right hook; you can easily trap his limbs as your
hcnc ç(cL: c(e lhe(e fc( ec:y u:e. ll i: ec:y lc fcw
into the cross guard from the half guard; often the
lwc çuc(c: fcw f(cm cne lc lhe clhe( in u:e. Ihe
cn|y (u|e i: 'ccn´l çel hil.´ FememLe( lhcl lhe cross
guard and the half guard don’t work particularly
well at long distances and can leave you open to
simple trapping. Body movement and closing your
opponent down are essential parts of both these
guards.
check him to reduce his kicking power and use
the extended lead to head grab and eliminate his
boxing range. You can also manipulate his head to
offset his balance or use your thumb to gouge his
eye.
30
Checking the doors
Guc(c: c(en´l fxec. even lhcuçh lhey miçhl |cck
like that in the photos. Take the standard guard as
an example. The lead hand should pulse towards
your opponent so that when you do jcL. lhe f(:l
part of it is hidden from him, disguised in a sea of
constant motion. Similarly, move the rear hand as
if you’re cleaning a window. Touch your forehead
occasionally to make sure that your hands are up
(it’s so easy to drop them, so make this a habit)
cnc :cmelime:. L(iefy. wilhc(cw il lc c hc|f-çuc(c
position. This means your opponent has to watch for
your jab; he can get the cross in only occasionally
because you’re monitoring your cover with a head
touch and he can’t reliably predict that your hand
will be there to be trapped. Add level change to
this, using your knees whilst keeping your head up,
and head movement as well as evasion. This means
your head is moving up and down in addition
to evading left and right, instantly reducing your
hitability. Keep the elbows tight, though they can
sometimes go forwards to cut his angles off for any
potential body strikes. The rear hand can make little
circles and occasionally go forwards in a vague
trapping attempt when not threatening his line with
a cross or other blow.
Above all, threaten your opponent: don’t think
defensively but always threaten to take the game to
him so that he is more hesitant and is stopped before
he builds up momentum.
Also, change guards and game occasionally as he
will be planning his response to your standard game
whi|e ycu´(e fçhlinç. Dcinç c Liç chcnçe ccn keep
your opponent mentally unbalanced and not in
ccnl(c| cf lhe fçhl. Simi|c(|y. :cmelime: wilhc(cw
f(cm lhe ccnficl lclc||y. Dcn´l ençcçe: lhen cl c
time of your choice go back in with intent. Vary the
(hylhm cf lhe fçhl Ly chcnçinç çuc(c. chcnçinç
footwork, changing distance and changing power
– light and evasive then hunting down with power
blows. It makes it very hard for your opponent
to deal with and puts you in charge of what’s
happening.
Remember all of this is built on simple basics. Learn
lhc:e f(:l: lhen (clcle lhem in ycu( l(cininç: lhen
integrate them into your game. Be the hunter.
31
In Part One I’ve covered stances, footwork and guards and introduced the concepts of range,
distance and the centre line. In Part Two we’ll look at strikes and kicks to use from the mobile base
we’ve created.
Part Two: Attack
33
23 Roundkicks: technique
34
05: Punches
Principles of striking
I see many students at my Academy who are very muscular yet can’t hit hard. It shows that good striking ability
isn’t based solely on muscular strength but rather on good body mechanics: hitting using all of your body, using
as many levers acting together as possible. It’s even more important that you hit using your skeleton, not just
your muscles. Make contact with your opponent with the bones of your body lined up behind the strike, so that
there are a minimum number of joints having to be held in place by gross muscular force. As one of my old
friends used to say, ‘where there’s a joint, there’s a weakness.’ Throughout Part Two I will show you how to line
your body up for maximum effectiveness. It means you will punch above your weight and it will put you in the
‘big hitters’ league.
Punches
The jab
The jab was accurately described by Bruce Lee and
mcny fçhle(: Lefc(e him c: lhe mc(k cf lhe expe(l.
The jab is inherently simple, yet its use can be very
varied and very destructive. To think of the jab as just
an opening or ranging shot is to only understand one
aspect of it.
The basic jab
Stand in the basic front stance with both hands up.
The rear hand is near the corner of the jaw and
the lead hand is on or near the centre line with the
elbow tucked in. Push with the back leg, in particular
from the raised-heel rear foot. Turn the hand so it
is palm downward en route to making contact.
FememLe( lc hil wilh lhe f(:l lwc knuckles of the
hcnc cnc hc|c lhe f:l liçhl wilh lhe lhumL. Cn
contact your body should form a straight line going
f(cm lhe f:l. cc(c:: ycu( Lcck. cnc ccwn lc lhe (ec(
foot. Move your head slightly forwards and off-line
to the right so that even though you deliver the jab
quickly you are still hitting with all of your body’s
weight. As you’re stacking your body up in a straight
|ine Lehinc ycu( punch. ycu wi|| fnc lhcl ycu c(e |e::
likely to crumble if you hit a heavy opponent.
Starting position
Whilst your lead hand should generally start from a
:lcncc(c çuc(c pc:ilicn. (ememLe( lhi: i:n´l fxec.
Circle the hand both clockwise and anti-clockwise
and pulse it towards your opponent – it means your
jab has various starting points and makes the timing
of the attack harder for your opponent to forecast.
Ways to practise the jab
First practise the jab on the spot, without moving
your feet, as we saw in Chapter 2: by leaning your
body in you can learn how far away you can be
whilst still able to hit. Add a lead step, if you need
the extra depth to hit the target. The hand should
mcve f(:l c( cl lhe :cme lime c: lhe fccl.
Double jab
/çcin. f(:l p(ccli:e lhe double jcL f(cm c fxec
position so you use the correct body mechanics.
Let the power for the second punch come from
a bounce in the legs. Once you can do this well,
practise with a step. The double jab is for penetrating
deep into your opponent’s defence, for putting him
on the back foot and possibly to set up the cross.
Take a step forward on the second jab, making
sure that you move the hand before the foot. Once
again, don’t get the power for the second jab from
35
Jab
the arm; rather, almost spring from the legs so that
the arm needs to do the minimum of work. Work on
making the second jab as hard, if not harder, than
lhe f(:l Lul wilh |ill|e effc(l - lhe power should come
from the legs and correct body alignment. Bring the
hand back quickly to its starting position after the
second strike. Don’t drop your hand or let it curve
inwards as your opponent will then have an open
line along which to strike. Keep your rear hand open
and near the corner of your jaw; keep your elbows in
and your head down.
Other jabs
It’s a good idea to work a number of variations
to the jab. First let’s look at the stiff jab, best done
when you are retreating. Line the body up and, as
you punch, allow less snap in the muscles and joints
than with the regular jab. Instead, lock your arm for
c f(cclicn cf c :eccnc: lhink cf il |ike c fxec :ccffc|c
pole. You should feel the shock of the punch go
down into your rear foot. The stiffness of this blow
prevents your opponent from coming forwards.
Next there is the ficke( jab. This is the opposite of the
stiff jcL: he(e ycu wcnl lc ju:l fick lhe jab out. Make
sure your body is lined up properly if you can, but
this jab can still be thrown when you’re unprepared.
Use the ficke( jab to gain intelligence about your
opponent’s intention – it gives you instant feedback
about his thinking. Also use it as a fake to draw his
guard high so that you can come in underneath.
The surprise nature of this jab makes your opponent
overreact.
The :lcncinç f:l jab is used when your opponent
has a very tight guard. Keep the elbow in and the
f:l :l(cnç. wilh lhe pc|m lc lhe :ice. D(ive f(cm lhe
legs. This is a great way to interrogate the centre line
and often sets up the left hook really well as your
opponent tends to close the centre tightly.
The best method is to mix all the jabs together. Flick
for distance and presence then change the power
so that suddenly it’s a really heavy strike. Mix in
doubles and the stiff jab as your opponent starts to
respond. Change tempo and power characteristics
too, and you have a potent strategy.
36
The cross and straight right
Rear-hand punches are amongst the most powerful
tools you have. As shorthand when teaching, we
often refer to both the cross and the straight right
punche: c: lhe 'cross.’ However, the cross is a
punch which loops around the opponent’s guard,
whereas the straight right goes directly through a
hole in the centre of the guard. Here we are going
to deal with them as separate punches, but they
share similar body mechanics.
Straight right
To deliver this punch, turn your body as if the left
hand side of your body is a hinge. Rotate on the
toes of the rear foot and turn the shoulders. Move
your head off-line, forward and to the left. Make
the hand travel in a straight line; don’t let the elbow
come out too much or it’s easy for your opponent to
:ee lhe punch ccminç. cnc lhen lc L|cck c( :life il.
It’s important to hit with the whole body so be sure
ycu fc(m c |ine çcinç f(cm ycu( f:l lc ycu( (ec( fccl.
Have the rear knee pointing in the direction that you
are hitting and don’t let it twist too much to the left.
Make sure all your levers are lined up and throwing
the punch forwards.
Cross
Cross
Whereas the straight right is intended to spear
straight through the opponent’s guard, the cross is
meant to go across and around his guard, as the
name implies. The cross, like the right hook, can be
very hard to deal with as it penetrates your guard
at an unusual angle. However, if defending against
it, a change of distance can often make it miss and
go across the front of you. Let the rear knee follow
the direction of the punch but remember to have all
your levers lined up so that they add power to the
blow.
As with the jab, there are different types of cross
and straight right. Your degree of commitment
to the punch can change depending on the
circumstances. Concentrate, so that there is no
telegraphing of the punch: no wind-up or clenching
cf lhe f:l lc :hcw ycu( cppcnenl lhcl il´: ccminç.
Some boxers, like Mohammed Ali, use this almost
like a jab; others, like Mike Tyson, use their straight
right and cross like missiles. Use both methods
to understand the tool: practise with minimal
commitment where the cross is fast and snappy
and then with greater commitment by throwing
your body weight behind the punch. Also, practise
punching with the arm leading and the body
following and supporting the blow, then do the
cppc:ile: mcve lhe Lccy f(:l cnc lhen ci:pclch
the arm. You’ll make the timing of your blow much
harder to read.
It is worth remembering that the rear hand punch
can be thrown at a variety of angles. It can help
to think of this as hitting at various numbers on a
clock face. If seen from your perspective, punch
straight and hit towards the six o’clock. Then hit at
fve c´c|cck. fcu( c´c|cck. lh(ee c´c|cck cnc :c cn.
It makes you practise putting your hand into the
holes in your opponent’s guard. This method can be
extended until you are hitting directly overhead in a
looping hit that descends, bang on twelve o’clock,
onto your opponent’s head.
37
Jab and cross
When moving from the jab to the cross in a
combination, you will need to move the lead foot
out to the left side. If you move the foot to the side
as you make the jab, then you are set up for the
cross and you haven’t telegraphed your intention to
your opponent.
The hook
The hook is one of the best punches in boxing
because it comes from outside of your opponent’s
eye line and allows him little time to prepare himself.
/: lhey :cy. 'll´: lhe punch ycu ccn´l :ee lhcl
knocks you out.’
The standard lead hook is often thrown in a
retreating manner, drawing your opponent deeper
into your defensive ring. Bruce Lee used the term
'attack by drawing’ to describe this form of attack.
He mcce il cne cf hi: 'fve wcy: cf cllcck.´ cn
innovative set of principles to help students to
unce(:lcnc lhe ccncepl: cnc :l(uclu(e cf fçhlinç.
The secret to the hcck i: lc f(:l lu(n ycu( Lccy. Ic
execute the left hook, for example, minimise your
exposure by doing a shoulder roll, allowing the right
shoulder to drop back: this makes you much less
likely to get hit. Use the momentum of the turn to
rotate the left hook into the target; turn your hips
lh(cuçh º0´ cnc |el lhe c(m fc||cw. Ihe(e c(e c
number of ways of holding the hand and each has
il: Lenefl:. Ihe cne l p(efe( i: lc mcke :u(e lhe f:l i:
vertical with the palm towards you; it makes it easier
lc hil wilh ycu( f(:l lwc knuckles. If you hit with the
palm down there’s a greater chance you will break
your hand if it isn’t taped up, which it won’t be in
the street. Some people advocate the palm down
method as it has more bite. Try both and see which
suits you. Most important is to rotate the lead foot so
that by the end of the punch it has moved through
º0´. Ycu( weiçhl. when ce|ive(inç lhe :lcncc(c hook,
should move to the back. Try to move the feet,
rotate the body and do the punch at the same time.
As your training advances, you can let the punch
come with a bit of a delay which will give the hook
extra whip as it tries to catch up with the rest of the
body.
Hook and forward hook
Forward hook
The second type of hook is the forward hook, so-
called because your body weight is forward. You
still rotate your body, but because the weight is on
the lead foot you can’t rotate it as much. However,
because it’s a smaller movement than the retreating
hook, at close-quarter it works very well. On this hook
l fnc lhe :lcncinç f:l wilh lhe pc|m lcwc(c: ycu
works best. Don’t rotate towards the rear; instead,
bring the weight forwards, as it adds more bite to
the punch. Feel it through your two main knuckles.
Remember, the idea is to drop your opponent in one
punch, so your punches have to have weight, power
and bite. Make sure the elbow is in a line behind the
hand on contact with your opponent. Be careful
to let everything line up at the moment you make
contact, without telegraphing your intention by
raising the elbow too early.
A good way to practise the mechanics of the hook
is by training it in conjunction with the cross. Make
sure that you penetrate deeply on the cross and
then rotate your lead foot, close your body as you
retreat with a shoulder roll, and complete the hook.
38
What is important in this drill is to make the difference
between the end position of the cross and that of
the hook as great as possible. Do this drill hundreds
of times in a constant motion without pausing at
each end until you get the hook to really work well.
Let the body mechanics of the cross build up the
body tension to pay for the hook. It will mean that
you get two for the price of one. Once you have
it, you can just adapt that feel to whatever type of
hook you are using.
Uppercut
Used at close range, the uppercut can be hard to
stop. Slip in either direction and line your body up
as shown. For the ultimate in power it’s important
to stack your body parts one on top of the other so
lhcl lhe fccl-knee-hip-e|Lcw-f:l |ine i: c: :l(ciçhl
as possible. Alternatively, lean back (whilst keeping
balanced), bring your hips forward and swing
upwards. Use the uppercut as part of a combination
where you search for the opponent’s head from a
variety of angles and, as he attempts to slip, you hit
him.
Shovel hook
Made famous by boxers like Jack Dempsey, the
shovel hook can be used to the body or to the face.
It is strong and effective and it’s easy to sneak it
inside the guard. This isn’t the same punch as the
uppercut, though they do look similar. You can
almost look at the shovel hook as an inverted cross,
though at shorter range: the punch comes from the
body’s core with the arm doing minimal work. Slip
right or left and align the body, with your elbow near
your hip. Twist the body; the punch goes inwards
cnc :|içhl|y upwc(c: cl cLcul c 30´ cnç|e.
Shovel hook
Backhand blows
Here I’ve grouped Lcckf:l cnc hcmme(f:l :l(ike:
together as they have a similar motion. At closer
range there is little difference between the blows
except for the hand shape, or hand tool, involved.
Uppercut
Whatever hand tool is ultimately used, begin all of
lhe:e punche: wilh c c|enchec f:l. chcnçinç lhe
shape of the hand only as the arm extends. I’ve
:hcwn :pecifc u:cçe: lhcl in my expe(ience wc(k
best.
40
Knifehand
The strength of the knifehand is that it will go into
holes in your opponent’s guard, to areas like the
throat, that other blows can’t reach. Also, its power-
to-effort ratio is high, as the power is focused upon
a small area. It’s great as a half-beat strike which
f||: lhcl lime Lelween mcjc( L|cw:. /|cnç wilh
the spearhand, which is also usually applied to
Pak sau, half-beat throat chop
Outs|de porrv: c|osest too| ho||-beot throot chop
the throat, this is one of my favourite strikes but it
requires really good timing and lots of repetition
to make your own. There are a number of general
methods for training this and the other blows, but I
hcve chc:en lc :hcw cn|y lhc:e cne: lhcl l fnc wc(k
for me every day. This should help you to focus on
what’s functionally useful for your training.
41
Jou $ou: Ihroot chop
Iop sou: Ihroot chop: Arm bor
Pictured below are four knifehand sequences.
42
Spearhand
The spearhand is your longest hand tool so it makes
sense to use it to good effect from a distance. Here
we show it used to open up the high line which
would make it easier to deliver a following kick.
Split entry against cross Open up h|gh ||ne w|th spear hand
8eccu:e cf il: :mc|| p(cf|e. il´: c|:c çccc cl close-
cuc(le( c: il fl: inlc vu|ne(cL|e c(ec: wilh ec:e. Ihe
spearhand can be used both inside and outside of
your opponent’s attack. The techniques can also be
done with a punch.
Split entry against jab Spearhand over cross
Split entry
Let’s look at using the spearhand inside your
opponent’s attack, a technique often called
the split entry. If your opponent attacks with jab
and cross, scoop his jab away and then insert the
spearhand to the throat. This works a treat and is
hc((iL|e lc hcve ccne lc ycu. Ihe fc(ef:l ccn Le
used instead of the spearhand, though my own
preference is for the spearhand as it stops your
opponent dead.
43
Outs|de speorhond
Below (right, previous page), we show the
spearhand executed in a cutting motion over the
top of both the cross and the jcL. ll cefecl: ycu(
opponent’s blow and you can slide your spearhand
into the eye area. Spearhand strikes don’t need to
have a stiff hand; rather, the hand can be kept loose
:c il ccn fcw inlc vu|ne(cL|e c(ec:. Scmelime: ycu
ccn jcm lhe fnçe(:. :c c fexiL|e hcnc i: neecec.
Elbows
The elbow is one of your most destructive weapons
at close-quarter, and it can be used in a variety
of ways. Firstly, use it defensively, to crush your
opponent’s attack (p. 75). Secondly, it can be
used to attack. This is normally achieved by making
a cutting motion with the tip of the elbow. Whilst
it can be used as a club, it’s not so effective
and is relatively easy to block which leaves you
open to counters and grappling. Use the elbow
where appropriate in place of the punch in the
combinations throughout this book. This way you
develop a close-range capability whilst still working
the body mechanics for a medium and long-range
game.
Counter to head control
Horizontal elbow
Downwards vertical elbow on pad
In addition, the elbow can be used with other strikes
when in close range. For instance, when your hook
misses you can let the elbow follow through and do
the damage.
44
Training
There are numerous ways to practise the basic
strikes. Start by doing everything on the spot. Make it
part of your daily or weekly training routine and put
the technique in your bones. Then mix the strikes up
in simple combinations, as described in Chapter 7.
Do repetitions, moving with the basic footwork drills
between the repetitions. Do it over and over again.
Hit the bag, concentrating on just a few strikes and
loop them together in singles and doubles. Make
sure that there is no telegraphing of your intention.
Don’t be tense but let the limbs feel empty: let the
strikes whip. Above all, when hitting pads or the
bag, listen to the sound and make the sound the
same or as similar as possible for all power strikes. The
:cunc cn ycu( f(:l :l(ike: :hcu|c Le lhe :cme fc( c||
subsequent strikes. Let your ear lead the way.
Mix the strikes up as part of preset training drills.
Shadow box using them or with a theme based
c(cunc lhem. Menlc||y (ehec(:e :pecifc lechnicue::
imagination is an incredible tool. Spar with a mental
focus on using one tool at a time. This singularity of
purpose makes you much harder to beat.
Before getting to grips with combinations it’s
important to understand the importance of single
attacks. Getting simple single attacks to work against
cn cppcnenl :hcu|c Le lhe f(:l :lep in ycu( fçhlinç
training. The idea is to land a single telling blow.
It’s harder than it looks and so it’s a good place to
start. This approach focuses on distance and timing,
lhe lwc mc:l impc(lcnl c:pecl: cf fçhlinç. :c il´:
impc(lcnl lc çel lc c (ec:cncL|e |eve| in lhi: f(:l.
The downside of this singular approach is that you
ccn Le fxec in ycu( pc:ilicn. cnc p(eciclcL|e. cnc
you get locked into the idea of your one best shot. If
your punches miss or fall short, or your opponent has
an easy answer to your best shot, then your game
starts to fall apart. Having a good knowledge of
combinations, which we’ll start to cover in Chapter
7, takes the pressure off this single game and puts
pressure on your opponent.
45
23 Roundkicks: technique
46
Kicks are not only your longest tools but some of your most powerful. Like artillery, they allow you to do damage
at a distance, yet some can also be used at very close range. The weakness in using kicks is that your balance
is compromised and you can be open to being thrown. The approach that I use here is to show kicking methods
which are harder for your opponent to catch, so there is a reduced threat from throws. Depending on your
stance, kicks may need preparation to get your hips in the correct position under your body. This movement
should be covered by fakes and high line strikes. Working from a shorter stance avoids the need for much of this
preparation at middle range. At long range, you will still need to do some sort of step. Although there are stylistic
differences between differing arts, when it comes to function it’s best to see all of it as just kicking. Don’t have a
stylistic bias but focus on what’s effective and what you can make work. Both snap kicks and swing kicks have a
p|oce: odd|t|ono||v, vour own bodv's moke-up w||| p|ov o mojor port |n de0n|ng vour k|ck|ng orseno|.
Front kick
The front kick is one of the most simple yet most
effeclive kick: fc( fçhlinç. Ccmpc(ec lc lhe round
kick, the f(cnl kick i: hc(c lc ç(cL cnc i: c|:c ciffcu|l
to defend against. Here I’ll show the progression
that I teach in my Academy, starting with the easiest
melhcc: cnc lhen p(cç(e::inç lc mc(e ciffcu|l Lul
very effective methods.
Rear leg front kick
Raise the knee and extend the leg whilst at the
same time rolling the hips forward so that you
make contact with all the body’s weight behind
the kick. Connect with the ball of the foot. Rotate
the rear supporting foot slightly so that the hips are
free to move. If you want, you can come up onto
the ball of the supporting foot as this can give you
more pcwe(: :c ycu´(e 'kickinç wilh Lclh |eç:.´ ll´:
important to remember to snap the kick back and
not to let it drop at the end of the attack. If you
don’t snap it back, it makes you open to a counter-
cllcck Leccu:e lhe(e i: 'hang time’ where you are
hanging about at the end of your attack. Also, the
extended leg is an excellent lever for your opponent
to move you with if he is able to grab or scoop your
kick. Get it back so that you can kick again. Don’t
fall in when doing the kick as this leaves you open to
Rear leg front kick
06: Kicks and knees
Lead leg front kick
There are a variety of ways of doing the lead front
kick.
Pendulum step kick
Ihe f(:l melhcc l lecch i: wilh c pencu|um-:ly|e cne-
step kick. From a front stance, and while keeping
your head in the same place throughout, slide your
rear foot up towards the lead foot, twisting it slightly
simple counters and your forward momentum adds
to your opponent’s power.
47
so that the heels are close together. Raise the lead
leg and execute the front kick. Then replace the
kicking leg back where it started and move the rear
leg backwards. The movement has a pendulum-style
feel to it, hence the name. If you wish to gain further
distance the method I teach is to move the lead
foot forwards and then to execute the pendulum
step.
However, if your stance is short, as shown here, you
have to step past your lead leg to kick. If your stance
is longer, you can step within the length of your
stance as described above, which is preferable.
Replace step
Sometimes you aren’t in a position to get any power
from the front kick without taking a step, yet you
don’t have the forward option open to you since
your opponent is too close. Right: I’ve shown the
replace step, where you take a short bouncing step
backwards with your lead leg but without changing
$tep post |eod |eg: k|ck
Static kick
In this method, derived from Thai boxing, you kick
with little or no preparation. It’s great at short to
middle distances and can be augmented by a hop
lc exlenc il: (cnçe. Mcny :lucenl: fnc lhi: much
harder to do. The kick needs good balance and
lots of practise to make it a stopper. Many people
use this as a way of keeping the opponent away.
However the best thing to do is to kick him in a sharp
enough way to drop them, not push him away so
that he gets another chance. Start from a short
stance and make sure that your hips are up, so that
the kick is half-way there. Raise the knee and push
the kick forward. Let the hips roll under so that it
adds power and you are more stable. After contact,
withdraw the foot and the hips as fast as possible
so that you can deliver further kicks with either leg.
Snapping the kick in and out gives a more traumatic
result.
Static kick
Replace step
48
Round kicks
When I started Karate, I remember smirking slightly
when the Japanese instructors called this the
'(cunchcu:e´ c( '(cunc lhe hcu:e´ kick. c: lhcl wc:
their way of describing it. Once I’d been kicked
in the head by one of the instructors a number of
times I became much more respectful. As with the
front kick, there are a number of ways of doing the
round kick to make it functional. There isn’t one
single method that works well at all heights; different
targets require differing approaches. Also, wearing
shoes or kicking with bare feet can make a big
difference to your choice of kick.
Low rear round kick to leg: Thai-style
The Thai-style low round kick is done to the outside
of the leg, delivered from the rear leg. The target
is about six inches above the knee. Kick, making
contact with your shin, so that if your opponent
moves closer you can knee him instead – and if he
moves away you still hit with the instep. First, rotate
out the supporting foot as far as is possible so your
toes point in the opposite direction to where you’re
facing. This rotation is vitally important. Bend the
knee of the supporting leg so that you are kicking in
a slightly downwards direction. (This kick can also be
done horizontally and at a slightly upward angle.)
Rotate the hips sharply to follow the foot and be
careful not to move inwards and choke your kick up.
Keep the leg straight if kicking a bag or kick shield
but allow it to bend on contact if you are training
with a partner, unless you want to do him some
damage. Importantly, let the weight go into the kick
so it has more bite. When practising, don’t mistake
speed for power and bite; emphasise heaviness and
bite as you drop the kick in. You need to spend time
on this.
Low rear round kick
the direction that your body is facing. This builds a
tension between leg and body, added to the power
from the ground, to give you an effective and
powerful kick. Like all kicks that have a preparation,
it is easier to see and thus move away from.
However, used in the right place it’s very effective.
Rear round kick to body
There are two ways of kicking to the body: one in a
Thai style (similar to the kick to the leg, above) and
the other with a snap approach and with the ball
of the foot. Both are moderately effective, although
if your opponent is in a left lead, both kicks will hurt,
Lul (c(e|y c(cp. him. l lecch lhe Ihci :ly|e f(:l cnc
then the other as a variation. Find out which works
best for you.
Twist the foot
Rear round kick to body: Thai-style
Just as with the low-line kick, rotate the supporting
49
foot and allow the hips to follow; bring the hands
across the body to cover and keep one hand tight
to the face when the leg whips back. As before,
keep the leg straight and hit horizontally or upwards.
Concentrate on the basic kick and as you become
mc(e p(cfcienl ycu wi|| wc(k cul lhe clhe( vc(iclicn:.
like turning the hip over just as you hit so it has more
bite. Initially, concentrate on making it a heavy kick,
with all your body behind it. This is a strange kick in
that the more you interfere the less powerful the kick
is. Emphasise the foot turn and the hip twist and let
the leg swing free like a baseball bat. If you can feel
the power in the leg then it’s still in the leg. Heavy
kicking feels effortless in the leg, though the body
can tire.
Rear snap round kick to body: using ball of the foot
With shoes on this can be fairly effective as it goes
into your opponent’s body behind or under the
elbow. Turn the hips over and raise the rear leg knee
so that it blocks the direct line in towards you. This
stops your opponent from coming directly forwards
and prevents him from hitting you at the start of your
kick. Extend the leg, hitting with the ball of the foot.
Different levels of hip rotation will affect the reach
of your kick – the more the rotation, the greater the
extension – though too much twist makes it hard for
you to recover and follow-up with hand blows.
Lead round kick to the middle
Lead round kick to the middle
The Thai-style kick can be used to the middle but I
fnc lhe snap kick more effective and harder for your
opponent to grab. This is because the tool lands on
his solar plexus, not the ribs which are under his arm
where it’s easy to grab and you can be thrown even
if you get your kick in.
Use a pendulum or one-step covered by a hand
strike or fake, or as part of a combination. Raise the
|eç cl c 45´ cnç|e lc L|cck lhe centre line and snap
the leg to full extension, hitting the solar plexus. Keep
this kick short and it can easily be used with hands to
make part of a constant barrage. Work on getting
the ball of the foot to go into the holes in your
opponent’s guard.
Head kick from fake
Head kicking
Head kicking can be done using both snap and
swing kicks. Swing kicks are very destructive and if
done with good timing very hard to block – your
opponent has to evade instead. However, it’s best if
you have a varied game. Snap kicks work best from
the front leg whilst swing kicks work well from either
leg. Snap kicks also work really well when done as
part of a combo or after a low-line fake, like the one
pictured here, where the attacker touches the leg
with a fake round kick to the groin, then rotates the
hips and snaps the kick to the head.
50
The swing kick to the head is easier from the rear
leg, but train it by doing it both right and left with
either a stomp beginning or replace step (where you
skip, switching leads, and use the bounce to power
the kick) for the most ease. In actual combat, any
method can be used.
Important: With snap kicks, point your knee
at the target that you want to hit or a little bit
further beyond so that you hit through the target.
Remember to add your hips in as well. All kicks
can change target half way through, though this is
easiest with swing kicks.
Practise kicking high and then letting the kick drop
like a swallow to hit the leg. Alternatively, start low
and then raise yourself on your supporting leg to
hit a higher target. The method for doing this is to
f(:l çel lhe Lc:ic kick lc c|| heiçhl: Ly ccinç |cl: cf
repetition. Then you know the shape of that entry.
You can start with one type of shape, then vary the
height of the kick as late in the motion as possible.
Get your training partner to tell you if the fake looks
authentic.
Side kick
It’s interesting that different types of kick come in
and out of fashion depending on what type of
fçhlinç i: çellinç lhe mc:l mecic ccve(cçe. /l lhe
To practise from the rear, it’s important to load the
kick properly. Bring the foot up in either of the two
ways shown below. Twist the foot so that you hit with
the edge. This isn’t so important if you’re wearing
shoes but it still focuses the power more.
Foot position
moment, the side kick has gone slightly out of fashion
but it’s an essential part of your game. Favoured by
Bruce Lee and others like Joe Lewis, it’s also good
in a self-defence mode. A friend of mine defended
himself against four knife attackers in Morocco using
a variety of kicks but most notably the side kick. His
companion had his liver showing by the end of the
fçhl whe(ec: my f(ienc wc:n´l hc(mec.
The side kick can be done from both the rear
and lead leg, the latter probably being the most
funclicnc| in cne-cn-cne fçhlinç. He(e il i: {Lcllcm)
from the lead leg with a faked high-line strike and a
pendulum step.
Faked high line, one step lead leg side kick
51
Back kick
The back kick is one of those strong kicks which can
be used when your opponent is very close or when
you are spun off-line. It’s hard to counter, whichever
method you use. One method is to rotate and do a
kick directly behind you without looking; it’s sort of
a reverse front kick. You ensure your accuracy by
making sure the turn is right. Either step across and
rotate or make your stance narrow like a side stance
so that you can rotate and kick without preparation.
The other method is where you rotate and look as
you kick. This ensures that you are less surprised if
he counters. It’s sometimes called the spinning side
kick as it shares a similar shape. I know from personal
experience that this is hard to counter as it often
curves inwards and can catch you on the liver
even if you move quickly inwards to throw or hand
counter. Try both ways as they both work: it’s about
having intent and belief.
Back kick
Training methods
It’s necessary to build up the strength in the hips
and make the muscles that support your balance
stronger to make you a more formidable kicker.
There are a number of training methods for this.
Slow kicking
You can just concentrate on slowing your kicks down
when l(cininç wilh c pc(lne(. lhen cc lhe fnc| :el
fast. If doing snap kicks, don’t extend to your full
reach at speed as you are likely to injure your knee.
Instead, take it to ninety percent and don’t lock
out. The essence of the kick is the knee raise and hip
move and the snapback.
Obstacle practice
Kick, throwing your leg over a chair or other
obstacle, or get a third person to kneel on all fours
on the ground, whilst you and a partner kick slowly
cve( lhem. 8e :u(e lc mcke il ciffcu|l fc( ycu(:e|f Ly
keeping close. When done slowly the hips have to
be in the right place for you to hold your position.
Obstoc|e proct|ce
52
Hold outs
Firstly, extend your kick and hold it out as long as
possible. Secondly, with snap kicks, you can hold
your leg cocked and extend it at slow speed and
bring it back, or hop down the dojo doing repeat
kicks from the same leg without dropping it from the
cocked position.
Swinging your round kick
Thai-style round kicks can be done in the air. Go
with the swing and turn your body normally, coming
round and crushing with the opposite leg. Either
repeat on one leg until you feel slightly dizzy, or
alternate. Both types of kicks can be done over
chairs or obstacles to build strength and the ability to
put them where you want them to go.
Tree exercise
Modelled after the Ycçc 'l(ee´ exe(ci:e:. lhi: wc(k:
your balance and builds strength and core stability.
Do this daily after a brief warm up and some simple
single kicks. Do front, back and side kicks slowly but
without putting the foot down. Once you can do this
then add snap (cunc kick lc mcke il mc(e ciffcu|l.
For advanced students, try going from outside crush
to front kick and then inside crush to kick.
Hold out
53
Knees
The knees are some of the best leg tools available
to you. In a self-defence situation, no matter how
closed down you are on the high level with little
room to strike, there is always room to attack at low
levels.
Long knee
This is a great technique to use against boxers. You
keep your head at a less dangerous distance and
attack your opponent’s ribs as he attacks. Raise the
knee and drive forwards in as horizontal direction as
possible: think of driving a spear forwards. Failing to
knee horizontally, instead lifting the knee upwards,
makes you vulnerable to being spiked by your
opponent’s elbows and it’s easier for him to block.
At close range, you may have to tuck your body
and raise and then roll your pelvis so that the knee
still goes in a forward direction.
Short knee
This is the opposite of the long knee. Often used to
counter tackles, the knee is raised quickly to hit the
opponent in the head if he’s dropped his guard.
Grab and knee
In conjunction with the head control, you can use
a variety of knees. Use a simple direct knee driven
forwards into the opponent’s body – you can also
go for the legs.
Long knee to the body
Training methods
Put your hands on your opponent’s shoulders and
trade long knees. Don’t grab; just use the hand
position to let you keep the same distance.
Lightly hand-wrestle at long guard then put in the
long knee. Counter with a check to the chest or hip
(right).
Check|ng pos|t|ons: chest, |ns|de h|p, outs|de h|p
Just as with footwork, if you want to be a good kicker
you have to love to kick and make it a central part
of your game. Work your close range boxing or
clinch work as much as your kicks so that you don’t
hove on oreo where vou ore weok. Your opponent
w||| 0nd out ond ottock vour weok oreos no motter
how good your other tools are.
23 Roundkicks: technique
54
07: Simple Combinations
In this chapter we’ll deal with learning and training simple combinations. Later, in Part 4, we’ll move on to show
more advanced combinations.
Combinations can be used both for proactive attack and reactively as a follow-up after a defensive move.
Combinations also let you have an overlap in your distance. For instance, your front kick may fall short but the
punch that follows it may go eighteen inches deeper toward your opponent. The following kick may then go a
further metre. This overlap is important and keeps your opponent under constant pressure if he retreats.
Often when I am teaching I use the analogy of
boxes. If your opponent was in the closest box to
you (the punching box for instance) but now he’s
no longer there you know he’s probably in the next
Lcx {lhe kickinç Lcx). Ihi: i:n´l fxec lc punchinç c(
kicking but it should give you a better, more visual
idea of distances. Sometimes your opponent’s body
may have moved into another box but his legs are
left in place to be tackled or kicked, or the feet to
be trapped.
There are three main ways to practise: on focus
pads, solo training in the form of shadow-boxing,
and training with your partner.
Focus pads
Good pad holding is essential. The holder can’t
be passive, but must direct the training, and
should have a good knowledge of positioning and
footwork himself. He can have themes which he
works through when training you. There are simple
ones, like checking your guard, and making you
work your footwork. Then you can move on to
defending against his mock attack and then doing
your combination. Training can become even more
interesting when he tries games, like trying to keep
you in the corner, or moving you back and forwards
or side to side to cut you off so you are trapped.
Another way, as we will see, is when he attempts to
tackle you and tries to take you to the ground.
How to hold the pads
The standard V position is good for most alternate
blows. Notice that the angle isn’t too sharp so that
the puncher doesn’t injure his wrist. For the jab and
to check the guard whilst he does the jab, you can
hold the pads in the L shape.
L position
V position
55
Holding the pads for a shovel hook
Holding the pads for light kicks
Holding the pads single for high kick
Holding the pads, single for low inside leg
Holding the pads for uppercut
Holding the pads for right and left hooks
56
When holding the pads, remember that you need to
give the striker some resistance. Push the pad slightly
towards him on contact. It reduces the chances of
receiving damage to your arm and shoulder from
a heavy-hitter. Take the strain through the whole
of your body so that you don’t end up with injured
shoulder and elbow joints like many professional
instructors. Keep an eye on the angle of your pads
and most importantly observe your opponent.
This is a great time to watch his attack at close-
quarter without being hit. Notice everything: how
he prepares, how he moves afterwards and before,
and log it into your computer. Work on strategies
that will take advantage of his mistakes. Pretty soon
lhi: Leccme: hcLil cnc ycu wi|| fnc ycu(:e|f ccinç il
with all your training partners, not only on focus pads
but in your sparring as well.
Initially, do the combinations on the spot, just
learning the moves. Then do them while moving
your position between combos. This can be either as
directed by your pad-holder or from one of the lists
given in this book. This is where most students need
to spend time: learning the mechanics and getting
the combinations down with good form and power,
then working on moving the feet between each
combination.
After a while you can work in a more random way
as directed by your pad holder. Interact with them;
work on your measure, your power and on always
having your feet in the right position so that you are
waiting for your opponent, not the other way round.
Core essentials
These are the bedrock of your boxing technique.
First, do these on the spot so that you get the hand
and leg skills down. Concentrate here so that you
can hear the right sound when you strike. Once
you’ve got a resounding noise on the focus pad
then you can start working through all the varieties
of training that I have illustrated. It’s really important
to keep that tone throughout because it means that
you’re able to maintain your energy throughout a
fçhl. Dcn´l |ecve lhe hcnc cul lhe(e fc( lcc |cnç Lul
snap it back so that you can throw more blows.
Jab:
Jab as described on page 34.
Double jab
Make sure that you get your energy for the second
punch from your ankles and legs and not from your
arm. Punching from the top of your body or arm will
mean that you telegraph the blow.
Jab – cross / straight right
Remember to hit by rotating the body. The head
should move so it’s not in the same place for both
L|cw:. Ihink cLcul keepinç lhe c(m: 'emply´: if ycu
can feel the power in them then that’s where it is – it
needs to be in your target. Keep blows snappy and
relaxed with the hands clenched hard on contact.
Line your body up so that you hit with the support of
your bones.
Jab – cross – hook
Make sure that you rotate from the ankles and that
you keep the elbow behind the hand for all blows.
On the hook, the elbow should be at the same
height as the punching hand on contact.
Cross – hook – cross
Don’t prepare or wind-up for the cross; let your
body follow your hand. Then use your ankles and
legs to rotate between the blows. Performed in
a continuous fashion, this is a good way to train
the mechanics of your hook and turn it into a
devastating close-quarter weapon.
Hook – cross – hook
Keep your wind-up to a minimum. If you have to
do one, do it very tight and make sure you close
your body in the process. You can sometimes lunge
57
inwc(c: cn lhe f(:l hook. Finish with the cross and
hook.
One-step front kick – jab – cross
Initially you should do this lead kick with a step, but
you should train to be able to do it without. Don’t
fall inward as you front kick – keep your balance
centred after the kick, then move forward with the
jab and cross. The kick brings your opponent’s guard
down and you attack over the top. Remember
to make the kick forceful and snappy, not a push,
which only pushes your opponent out of distance of
your punches.
Jab – cross – one-step front kick
Think about the box analogy when practising this
combination. You try to hit the opponent with your
f(:l lwc hil: Lul in:lecc c(ive him Lcck :c lhcl he
moves into the next box and into the range of your
one-step or lead front kick.
Jab – cross – rear round kick
If your opponent is slightly closer when you drive him
back, then follow with the rear round kick to the leg
he’s left behind.
Front kick – round kick
A simple way of joining these two kicks together.
/|wcy: cc lhe f(:l kick p(cpe(|y cnc wilh :l(cnç
intent, not just as a preamble to the second kick. Pay
attention to this in your training.
One-step front kick – round kick
A simple combo for longer range. You can always
cover the one-step with a high line fake to lower
the chances of being stop-hit. If you are in a shorter
Thai stance and slightly closer then you can just kick
without moving the rear leg.
Lead round kick – rear round kick
Here you can either use minimal footwork, Thai-style,
if striking the lead leg, or do a pendulum step to
snap kick the groin.
Tip: Timing
Once you’ve got used to striking on the beat
then practise playing with the timing of the
strikes by sometimes delaying one of the blows,
usunIIv fho fnnI ono. If vou pnuso In n sparring
context, even though your opponent knows you
are going to attack one of two targets, he has to
choose. Once he gives away his choice you can
hit the other target.
Basic hand-leg combinations
Let’s look at ways of joining simple strikes and kicks
lcçelhe(. lf ycu wcnl lc Le c çccc :lcnc-up fçhle(
you’ve got to be able to execute simple links
Lelween lechnicue: cnc Le cL|e lc fcw cccc(cinç
to the distance and the opening. Most of the really
good combative moves are the simple ones. Do lots
of repetition so that it’s coded into your muscles.
Jab – rear front kick
Open with the jab to get your opponent’s attention
directed to the upper quarters, or blind him to your
real intention by aiming at his eye-line, then deliver
the front kick.
Jab (off-line) – rear round kick
Jab at an angle, killing your opponent’s jab
response. Next, round kick his lead leg; that’s where
his weight is if he is jabbing.
Thai hook – rear round kick
Use a wide hook whilst keeping your body fairly
square, to force the opponent to shift his weight to
his lead leg. Then round kick it.
58
Lead round kick – cross – hook – cross
Use either the pendulum movement or Thai-style
twist depending on the target. The pendulum brings
the hands into play faster.
Jab – cross – hook – rear round kick
Here you overlap with the kick when the hand blows
haven’t connected with your opponent.
Five count: series one
Ihe:e c(e ç(ecl. :imp|e ccmLc: kncwn c: fve-
ccunl c(i||: Leccu:e lhe(e c(e fve :l(ike: c( L|cw:.
They work on the simple body rotation that we’ll
practise later in rhythm drills. Not only are they great
for building balance and integration but they also
work every day when you have an opponent who
retreats and you need to chase. Be careful about
over-extending or putting your head in front of the
attack. You can use either a lead front or round kick
in these combinations and can also change the
height of the initial kick. This makes it much harder for
your opponent. In truth, combinations of more than
two or three moves don’t happen in sparring – or if
they do it’s with a break, pause or manipulation in
the middle. What you end up doing is stringing lots of
short ones together. However, at this level you need
to build a base and extend your possibilities and the
fve ccunl: cc lhi: wcnce(fu||y. Nclice lhcl lhe cc(e
of all of these is a simple body rotation starting with
the cross-hook-cross and then just varying height,
target and angle on subsequent variations. Later on
you can preface the combos with different starting
cnc fni:hinç kick:.
Solo training
You should practise these combinations on the spot
before integrating them into your shadow-boxing.
Don’t do too many; just choose from the list and
make them yours one at a time. On other days do
them all, one after the other. Once you’ve done
them on the spot it’s time to move. Choose a variety
of footwork techniques and do them methodically,
or alternatively just dance and jive around, feeling
where your body wants to move. End your sessions
without a plan; just playing, doing what comes
naturally. Don’t attempt to force anything. Put it in
and let your body sort it out. Above all you have to
go with your instincts. Play and joke around at times.
Pretend to be hit and come back strong. Above all,
even though you have to work hard at it, if it’s not
fun you won’t do it. Relax and let your body do the
thinking.
Training with a partner
All of the above simple combos can be done with
a partner, in pair-work glove drills. These drills help
you to learn to cover and move to the best position;
when doing them, practise moving slightly off-line
where appropriate. Don’t lurch with big steps as this
leaves your legs grounded and vulnerable to kicks;
rather, keep on your toes. Later on I’ll show the drills
with a partner so that you get a clearer idea of how
to use them. Though drilling in the air or on focus
pads is good, there’s nothing like working with a
partner at a realistic range: you learn on the job.
That’s all for the simple combos. Remember:
combinations are important but don’t overlook
working the basics too. These are the ones that work
all the time in combat.
59
1 2 3 4 5
Lead kick Cross Hook Cross Lead round kick
Lead kick Cross Body hook Cross Lead round kick
Lead kick Cross Uppercut Cross Lead round kick
Lead kick Overhond Uppercut Overhond Round kick
Lead kick Overhond e|bow Horizonatal elbow Overhond e|bow Knee – Lead round kick
Five count drills
Hook Lead kick
Jab Cross
23 Roundkicks: technique
60
08: Head control / plumm
In 0ght|ng vou ore ot some t|me or other go|ng to 0nd vourse|| ot c|ose ronge. Ihe heod |s one o| the eos|est ports
of the body to grab so it’s essential that you have some knowledge of head control and defence against head
grabs. All of the head control and choke positions form a framework of positions that you can change between
as the opponent’s energy directs.
Side clinch Side clinch and knee
Half-clinch
By working on the head and neck, you are attacking
a vulnerable part of your opponent which affords
good |eve(cçe. Ycu ccn fcw Lelween lhe çui||cline
choke and the head and arm control with ease.
Similarly, from the full clinch, half-clinch and side
c|inch. il i: ec:y lc fcw inlc lhe hecc cnc c(m
control. Play gentle fcw çcme:. mcvinç Lelween
these positions, or do gentle sparring using clinches
in conjunction with elbows and knees. Play both
:ice: cf lhe ccnficl. /: lhe :cyinç çce: cLcul
|ec(ninç. il´: impc(lcnl lc ':ee cne. cc cne. cnc
fee| cne.´ Fefecl lhi: in ycu( l(cininç. FememLe(
not to depend too much on the knee and elbow
cl f(:l. if ycu wcnl lc çcin :en:ilivily cnc pc:ilicnc|
knowledge; however, later they should be used
freely.
Neck wrestling
This is basic neck wrestling as used in Thai boxing,
a great place to start your standing grappling
because of its integration of knee and elbow strikes.
The neck wrestling puts you in a position to either
use these strikes or defend more effectively against
them.
Let’s look at the head control clinch. There are a
number of methods you can apply here but the one
I prefer is to put both of your hands on the back of
61
Head control, steering using the elbows
your opponent’s head. Overlap the hands at the
top of the head so you get good leverage and the
cppcnenl fnc: il hc(c lc keep hi: hecc up. Keep
your back convex – bent outwards – so that it’s hard
for your opponent to body-hold and back-bend you
and take you down. Keep your elbows pointed into
his upper chest and shoulders so you can use these
two points to steer him. For both sides in this position,
block a knee strike to the groin or higher by bringing
your knee over to touch or cover his lead knee. The
defender here attempts to bring his shoulders up to
add support to the neck and makes sure that he
has his body parts stacked directly under the head.
If your hips aren’t under you then you get pulled
down to an easy kneeing position very easily. As a
defender, you need to grab his back and pull him in,
and do it quickly, as he will want to knee you and he
needs the room to do it. In this way you neutralise his
knee and can try to reverse the position.
To reverse the position, keep one hand on his back
and insert your other arm between his arms till it’s
on his neck. Lever your elbow out whilst pulling in his
waist: this lets you change his balance, open his grip,
insert your hand between his arms and put it on the
back of his head. Bring the other hand to join it and
the positions have been reversed.
This just covers the basics of this position but it’s a
good place to start. It’s important to keep the knee
close to his leg and it’s also crucial to keep your
back in a convex shape so that he can’t easily
break your structure. Keep your head up and the
head over the hips so that your back and hips
support your head.
62
Ways into head control
There are a number of ways into the plumm or head
control. Let’s look at the simple ones which work well
from guards and defences.
Use your long guard or shield block (p.82) to
outwardly block a right hand blow from him. Lean
slightly forwards and attach with the left arm and
bring him into double head control. Start kneeing.
The rear is very similar. Block a left hook or slap from
him and use the same blocking hand or your lead
hand to attach to the head. It’s a bit further from
the backhand but still easy to do. If you plan to
gain head control whatever happens then you’re
halfway there, because any mistake on his part
means you’ve got his head.
From outside you can go directly for the head but
sometimes the arm gets in the way. If this is the
case, scoop the arm out of the way and gain head
control. Sometimes he resists or his arm is stiff; when
lhi: hcppen:. pu:h il :|içhl|y f(:l. lhen pu|| c( :cccp il
and you’ll be using his energy against him. Normally
this is done in threes: you push or nudge him twice
and on the third beat pull or scoop him and he’s
working for you.
lf ycu´(e uncllcchec il´: :|içhl|y mc(e ciffcu|l cnc
dangerous to grab the head. Again, it’s important
to plan to control the head so that when he’s just
fni:hec cllcckinç ycu ccn L(icçe lhe çcp cnc ç(cL.
Put your head down between your arms so it’s less of
a target, lean or lunge in, then attach and knee. This
approach is very hard to defend against, except by
creating distance very quickly.
When you do the rear parry against the jab, you can
kill his rear hand with your extended lead and pull
him in before he can re-apply the rear hand on a
different line.
Head control doesn’t only have to be applied
defensively: it can be achieved when you do
a left or right hook which goes too far or which
your opponent bobs and weaves against. If your
hand ends up behind his head then pull him in (to
neul(c|i:e hi: Lcxinç :ki||:) cnc :lc(l kneeinç c( fcw
into other standing grappling. If the arm ends up on
lhe :ice cf hi: hecc ycu ccn eilhe( fcw lc c hecc-
and-arm, or half, clinch or side clinch.
Block right hand blow to plumm Block left hook to plumm
63
In head control you often come up against a
stronger opponent so it’s important to have ways to
deal with this. Make sure you are using your weight
and not your arms to pull his head downwards. As
he’s stronger, attack his base with knees or body
manipulation and keep him unbalanced so he can’t
bring his strength to bear. From the basic clinch,
twist your foot round to the side. Keep your elbow
in your opponent’s shoulder. Twist his head slightly
sideways to reduce his strength and then rotate
body and head using the elbow as a pivot point.
Ycu( cppcnenl wi|| fy (cunc lc c new pc:ilicn. lf ycu
rotated your right leg then follow the twist with a
knee with the left leg and vice versa.
If you are being pulled about, try to keep your
structure strong and attach to his back by
clasping your hands behind him. If you can’t
attach, then use your arms to block easy knees
and wait for one to come that you can deal with.
(If the opponent is really good at kneeing the
knee wi|| ccme ci(ecl|y in cnc Le mc(e ciffcu|l
to block or catch.) Scoop the attacking knee
inwards with one arm and under-hook with the
other. Drive your head forwards and up and
push his head backwards whilst you lift the held
leg. Step inwards a little and either sweep the
ankle of the supporting leg or knee-bump his
hips upwards (see picture below). Drop him to
lhe fcc( cnc fc||cw-up wilh :l(ike: c(. if he :li|| hc:
hold of your head, with a grappling follow-up.
>
From outside to plumm From unattached to plumm
Countering the plumm
There are a number of ways to counter the head
control in a standing position.
Knee bump
64
Put both of your arms on his face with the palms
overlapped and tighten your elbows so in effect
it locks his arms up. Push, and his grip will normally
break. Leave one hand covering his eyes
whilst you start your counter-attack with a rear
punch, and then kicks as he goes backwards.
>
Move to nullify knee attack
Face push to attack
your thumb. There’s a point near the elbow
which seems to work well for this. Then, once the
elbow structure has collapsed, go forwards to
jam his elbow against his body with your arm.
Use this same arm to reach round and grab
hi: neck. F|cce ycu( fnçe(: cn lhe :en:ilive
nerve points underneath his ear and swing him
around. In essence his head should describe a
semi-circle. Imagine that you have his head at
nine o’clock. His head has to go through twelve
o’clock and then around to three o’clock.
A simple plan is to go with the energy and tackle
his legs. You have to be careful as you are very
>
Pin your opponent’s arms
If he’s not dragging your head around, you
can nullify some knees just by moving in the
same direction that the knee is coming.
This often puts him off balance and you
get a chance to reverse the position.
>
Whilst keeping one hand on his back, to keep
you tied to him, push his elbow inwards with
>
65
Elbow push in to head neck throw
Tackle
Sometimes you just raise your shoulders to
pin your opponent’s arms, and use this pin to
swing him round. Generally, he either loses his
grip, or loses his position and balance, so you
can counter the grab or just counter-attack.
>
vulnerable to knee attacks so it’s important to
have some sort of attachment to one leg as you
drop and tackle. The single leg tackle often works
best in this instance, though you have to go with
lhe fcw. Ihe(e c(e c vc(iely cf wcy: cf lcck|inç.
from foot pins to double leg attacks, which
you can add to your skillset as you progress.
23 Roundkicks: technique
66
09: Arm breaks & wrenches
Arm breaks and wrenches shou|d p|ov o s|gn|0cont port |n vour 0ght|ng ormourv. Io ottock vou or ottoch to vou,
your opponent has to use his arms. Therefore you have easy targets that he brings to you and that you don’t
hove to go ond |ook |or. O| o|| those ovo||ob|e, the e|bow |s one o| the eos|est jo|nts to wrench ond |ock. It's |ess
qu|ck ond |ess 0u|d thon the wr|st, |or exomp|e: genero||v, the c|oser vou go towords the bodv, the s|ower thot
part of the limb moves and the easier it is to lock. Let’s look at building a repertoire of standing locks that work.
Outside / under
Use the shoulder or upper arm to wrench or break
the arm. You can adapt this, if your opponent tries
to escape, by moving his arm upwards to break it
across your shoulder. This is one of the fastest ways to
wrench or break and requires very little time or effort.
It’s important to roll inwards, bringing your shoulder
behind his elbow. This is the best way to do the lock.
The other way is to draw him in with your other hand,
which works because often you’ll have shoulder-
rolled his cross. Other times he pushes: let him do the
work. If he feels you pulling him then he’ll pull out.
Rather, guide him inwards.
Outs|de / under
Outside / middle
This is more of a drag-down or a pull-down. You
can do it when his arm is straight but it often works
better when the arm is a little bent. Rotate the arm
upwards (in a circular pattern if he is strong) and
then pull down; it’s very hard for him to be strong in
a circle. Once you’ve broken his balance and he’s
fccinç fcc(wc(c:. pu|| lhe c(m cwcy f(cm lhe Lccy
and drag your opponent, spreading him out across
lhe fcc(.
Outside / armpit armbar over / waki gatame
This is a very powerful arm break and hard to
counter once it’s begun, as all of your body weight
is on his elbow joint. The best way to do this is to
grab the wrist and strike at the head. The opponent
always takes his head away to protect it but leaves
the arm behind for you to break. Use the same
punching hand to envelop the upper arm under
your arm pit, pinching it with your arm so it’s hard
to get out. Put the hand of the same arm that’s
pinching on the opponent’s thumb. Basically there
are two ways of doing this: one where you walk
through and give him a less severe landing, and the
other where you pivot on the spot and stretch his
arm out, whilst dropping the fulcrum (where your
c(m i: pinchinç hi: uppe( c(m) lc lhe fcc(. ll´: c:
quick as turning on a light. Remember to not think
cLcul 'ccwn´ ve(:u: 'up´ fc( lhe L(eck: in:lecc. lhink
of elongating his arm and pulling or pointing it away
from the body centre, whilst putting your ribs as a
fulcrum down on the elbow. There are two types;
circling, and walking through across his front.
Assisted arm bar with lapel grab
Here’s a slightly harder variation to pull off, unless
67
Outs|de / m|dd|e
Outs|de ormp|t ormbor
he’s more compliant as a result of you hitting him. Do
this if your opponent resists. Elbow him to the head
then wrap his arm and grab your lapel or shoulder.
/(m |cck fcw
Overleaf I show a way of linking arm bars together
in a very combative way. Often your opponent
feels you trying to lock his arm and realizes it’s going
to get broken, so changes the axis on which you
are breaking or moves his body. Here I start with an
under-arm wrench but change it to a pull-down.
Then as he changes the hinge axis of his arm and
tries to bring the arm back closer to his body, I go
wilh lhe fcw cnc u:e hi: ene(çy lc pul him in c fçu(e
four lock. For best effect make sure that you have
your grasp at the wrist where it meets the hand, or
slightly on the hand. This denies him any chance of
countering the fçu(e fcu(. Shcu|c lhe fçu(e fcu( fci|
ycu ccn fni:h wilh cn c(mpil c(mLc(.
68
Under to middle to 0gure |our 0ow orm |ock 0ow
69
Inside wrap to wrench
The inside wrap is done when you use any of the
internal blocks like the shield or biceps stop. This
works against both the cross and the hook. It’s
sometimes a good idea to wrap the arm with
ycu(: f(:l|y. lc lie il up :c ycu´ve ki||ec cne :ice cf
his attack and can go into standing grappling.
An even better idea is to wrench the arm so it’s
unusable. Then you’ve still got both arms free and
ccn ccnlinue :l(ikinç. whe(ec: he´: fçhlinç wilh cne
fewer.
Inside wrap to wrench
Head and arm control to break
Overleaf I show a way of breaking or wrenching
the arm from the outside, when you follow-up to
an outside parry, or sometimes as you under-hook
his arms as he goes to tackle you. If he tackles, his
arms are often out in front of him like the blades on
a fork-lift truck. Insert your arm as you elbow his head
and pivot out of his way. You then have a head and
arm position where you can redirect him into hard
objects or walls, or wrench his elbow. Normally if
his thumb is pointing downwards this is done with a
downwards double slap but if he turns his arm so the
thumb is horizontal then link the hands and twist the
body as if you were swinging a baseball bat and the
arm will break or be severely wrenched.
70
Arm wrap to break
Iwo poss|b|e 0n|shes
71
In Part Two we’ve looked at attacks using hand and leg tools, and we’ve seen how head control
and arm breaks and wrenches can enhance your game. In Part Three we’ll look at how to defend
from these attacks.
Part 3: Defence
73
23 Roundkicks: technique
74
10: Punch defences
Hov|ng o greot de|ence |s the stort|ng po|nt to becom|ng o good or greot 0ghter. You con get bv, somet|mes, ||
you only have an attacking style, but if you want to be able to talk about your successes in later years without
sounding punch-drunk or showing lots of scars, defence is the place to start. Defence is your home, your fortress
|rom wh|ch vou venture |orth to engoge the enemv, or where vou stov ot home ond counter-0ght. A|though
we’re talking about defence, let me restate that the best defence is still offensive in nature. Simply blocking
blows might work in theory, but in reality what happens is that your opponent just tries harder, particularly if you
block hard, which gives him energy to come back at you with. Each time you do a big blocking move, the
opponent seems to get larger, whereas each time you hit him, he seems to decrease in size and power in quite
o tong|b|e wov. Ihus |t povs to hove o strong de|ence wh||st o|wovs mo|nto|n|ng on ottock|ng ott|tude. You con
wait and take advantage of weaknesses in his defence or probe with attacks of your own to stop them, either
be|ore he gets storted or to 0nd open torgets wh||st the 0ght |s underwov.
Your defensive game comes down to only six
options. These six can be mixed and matched and
inleç(clec wilh :c mcny clhe( fni:he: lhcl lhe(e c(e
too many possible combinations to learn one by
one. Rather, learn the core skills, then have a small
numLe( cf lc(çel fni:he: lhcl ycu kncw (ec||y we||.
Improvise the rest based on sensitivity, intent and
your experience.
The six basic defences are:
Cover
Crush
Parry / scoop
Stop-hit
Grab or catch, and
Evade
Initially, you will probably train these as they are
taught either in this book or by your instructor.
However, it’s important to realise that you can
radically change the basic technique by putting it
:cmewhe(e e|:e cn lhe fçhlinç lime |ine {:ee Fc(l
4). Sometimes it changes the whole character of the
move. But that’s what you want; simple skills that you
own, that have so many uses that, were you to try to
write them all down, it would be too complex.
Let’s quickly look at the six forms of defence in the
fc(mcl l´c u:e fc( c new :lucenl |ec(ninç lc fçhl.
>
>
>
>
>
>
Cover
Ccve(inç i: lhe f(:l fc(m cf cefence we lecch lc
beginners. To cover, concentrate on keeping the
hands up and the arms close to your body. It’s all
about learning how to ride a punch or kick and to
cu(ve ycu( Lccy :c lhcl il fl: inlc lhe cimen:icn:
dictated by your arms. Thus, instead of moving the
arm up and down to cover high and low blows and
opening up other lines of attack, you just hunker
down within your arm cover and learn to ride the
blow using both body and legs to absorb some of
the power. Covering needs very little timing skill, so
it’s the place to start if you’ve never been hit before.
Start slowly and not too hard, if you are new to this.
Aim to build up your toughness and durability over
time.
Covering from a body hook
75
Crush
The crush is one of the easiest forms of defence to
learn and you don’t have to have great timing to
pull it off. Crushing is where you use your elbows,
knees or shins as a defence against your opponent’s
blows. Fi|ipinc mc(lic| c(l: cc|| lhi: 'cefcnçinç lhe
snake’ and that’s what it’s like. You take the venom
out of his blows by letting him strike these hard bits of
your body. The resultant pain or breaking of bones
deters them. Learning to crush is crucial if you are
c ncvice fçhle( cnc neec :cmelhinç lhcl´: çcinç
to work quickly. However, if you are dependent on
crushing, it leads to bad footwork and evasion, so
remember to practise your footwork.
Crushing a cross
Parries & blocks
Now let’s move on to parrying or blocking blows.
It’s important to understand here that if you aren’t
going to counter-punch either during or after the
parry then you are better off just moving out of
distance or evading left or right.
Parries and blocks can be done at the start of the
attack to jam or trap, but are used more often
Parrying a cross
Stop-hit
Ihe mc:l lime-effcienl mcve i: lhe ':lcp-hil.´ Ihi:
takes the attacker out as he prepares or builds up
power to attack you. This can be done with either
hcnc: c( |eç:. F(e-emplicn nu||ife: ycu( cppcnenl´:
during, or towards the end of, the attack. If you are
just starting out, make the pc((y c( L|cck f(:l cnc
lhen (ep|y wilh cn cllcck. Ihi: i:n´l lhe mc:l effcienl
use of your time, but it is a good way for beginners to
learn basic skills. Simultaneous blocking and hitting
i: mc(e effcienl lhcn ju:l pc::ive|y pc((yinç cnc
then following up with a counter-punch. By blocking
and hitting simultaneously, you gain a beat of time
and it’s harder for him to re-counter. It’s important
to have a good position with forward intent so that
you are ready to counter-attack. A simple plan and
aggressive intentions will make this an integral part
of your game. In some cases you can use a block or
parry after the blow or kick to cover the line so that
he can’t repeat his attack. It’s actually very much
like trapping. We’ll go into more detail on the theme
of parries later in this chapter when we look at jab
and cross defences.
76
attack before he gets going and is thus a great
wcy lc fçhl if ycu c(e |içhl cnc fccinç c hecvie(
opponent. You strike before he starts and then, if he
recovers, you can evade until another opportunity
lc ':lcp-hil´ p(e:enl: il:e|f.
Grab / catch / immobilise
Then we have grabbing. This can mean catching a
kick, or capturing or trapping the opponent’s hand
so that you restrict his body movement whilst you
attack. Whether grabbing at the end of his blow’s
duration so that he is unable to retreat from your
counter-attack, or keeping him off balance, there
are lots of variations here, from simple grabs at the
wrist, which are the most common, to close-quarter
grappling where you close his options down. Grabs
and traps work well in that they eliminate many of his
evasive options and increase the number of hits you
get on-target.
Stop-hit
Body evasion
Learning body evc:icn :lc(l: f(cm c fxec Lc:e. He(e
we’ll cover the standard ways of moving your body.
Body evasion works better the closer you are to your
opponent.
Outside bob
Use your body’s big muscle groups and move your
head towards your opponent (see picture overleaf).
You can accompany the bob with a punch to the
body or head. Combatively, this is one of the best
places to be, as it’s hard for him to get you back.
Sometimes, however, you can be vulnerable to
chokes, so take precautions.
8ob/s||p ond s|mu|toneous h|t
Evade
Evc:icn i: cne cf lhe mc:l ciffcu|l cefence: lc
learn and put into action. It needs a lot of work,
therefore train it hard and often. Good evasion is the
mark of the expert, so let that be you. Evasion can
mean everything from running away, to foiling the
opponent’s attack with footwork, to simply moving
your head so that the blow goes by you. What
makes evasion so powerful is that missed strikes use
up your opponent’s energy. You can also strike whilst
evading which uses your opponent’s power against
him. Most importantly, missing makes your opponent
feel vulnerable and psychologically weaker. Evasion
is quite possibly the most important and skilful form
of defence, so let’s cover its principles, and how to
train them, in more detail.
78
Inside bob
Bob or slip his cross and reply with your own cross.
If done against the jab, however, you can be
vulnerable to his cross so you need to get close
cnc 'ecl hi: punch´ c( pul ycu( hecc in c pc:ilicn
where you cancel out the mechanics of any blow.
Sometimes you can even use your head to trap his
rear hand whilst you move in.
Bobbing to the outside
Slipping
Ihe mecninç cf lhe le(m: ':|ippinç´ cnc 'LcLLinç´
overlap; they are often used to describe the same
thing. Don’t worry about how you spell it; just make
sure you know how to do it.
Slipping can be done with just a brief sideways
bend, much like you may have seen boxers such
as Mike Tyson do. If done incorrectly this uses small
muscles and therefore it’s tiring on your body, but
it is very quick if you just want to get your head
out of the way. A better way is to use the hips as
a counter-weight. Throw the hips to one side and
the head moves to the other. You can do this at a
very low level of competence and as it uses the big
muscles in the legs and hips it’s not particularly tiring.
Slipping doesn’t close the distance but it does make
your opponent miss, usually when he is closing the
distance anyway.
Bob and weave
On the opposite page is a simple bob and weave
against a left hook. You should repeat this against
the right hook. When teaching this in classes we
often start out with a fairly large movement: the
student is urged to use his legs and think of his
head disappearing down one hole and coming up
another. As you get more skilled, the head leads the
legs, but most students need to work all their body
f(:l cnc lhen (efne il |cle(. Ihcuçh bobbing and
weaving can be done reactively, when you have
experience it’s even better when done pro-actively,
say at the end of an attack or combination. As
with ducking and slipping, if you have a constant
bounce in your knees these moves are always easy
Slip to the outside
to do quickly; the basic bounce simply needs to be
cmp|ifec lc Leccme cne c( lhe clhe( cefence.
Duck
Change your level to make your opponent miss.
Often best used as part of an attack where you fake
high, to draw his counter, and then drop and come
under.
Snapback
Make sure your stance is long. Bounce backwards
on the rear foot; this enables you to return instantly
to your start position – often with a counter-attack.
79
Bob and weave
It’s important to use the rear foot to do all the work;
only bend your back in an emergency. Think of
ycu( Lcck c: cn ci(Lcç. fexinç cn|y if ycu cc çel
hit. Don’t move your lead foot backwards as this
will permanently change your distance: instead,
mcve lhe (ec( fccl Lcck cLcul :ix inche: cnc fex
the ankle without letting the heel touch the ground.
Snapback can also be done without moving the
back leg; moving the back foot gives you about a
metre in distance but you can still instantly bounce
back to your original distance. If you don’t move the
back foot it’s about half a metre. Simple drills like the
Snapback – jab catch drill
jab-catch drill featured below focus on this element
and produce good fundamental skill.
Vilc||y impc(lcnl in fçhlinç cl cny (cnçe. lhe
snapback is an essential part of your defensive
c(mcu(y. lf u:ec in cn 'attack by drawing’ format
you can make your opponent think he’s falling
short so that he over-extends. Then you can slip and
counter easily, as he’s done most of the distance
change for you. This makes your strikes stronger as
your opponent charges onto them. Alternatively, if
hi: :l(ike: c(cp :hc(l. lhe (e:u|lcnl 'hang time’ leaves
him open to counter-attack.
80
Training body evasion
Body evasion can be trained in numerous ways:
Partner
First, train statically against a partner’s extended
arm. Start with bobbing, then move on to slipping,
lhen ccc LcL cnc wecve cnc fnc||y cuck. Dc
this rhythmically as a way of retaining it as muscle
memory. Secondly, train against simple slow
punches with a beat between them. Start with
bobbing; add slipping and bobbing and weaving.
Make sure you go at a slow pace to maximise the
chances of success.
Moving in: Pulsing jab & extended jab entering
Use evasion to enter or get near to an opponent.
These are two very similar drills I learned from my
friend, Lance Lewis, who used to box out of the
Kronk Gym in Chicago. Your partner walks towards
you slowly, sending out a pulsing jab. You evade
with whatever technique you like and try to move to
behind his back. He adjusts and keeps slowly pulsing
the jabs, moving to make it hard for you to achieve
control over his back.
Ihe 'exlencec jab entering’ drill is the same but you
keep your jab extended and in your partner’s face
as he attempts to slip, move and get your back. You
adjust your footwork to keep him on the end of the
jab. Use any method to get to his back as this will
make you less orthodox. It’s about body feel, and
body knowledge. Both partners gain from this drill.
Pads
Cn lhe pcc:. f(:l|y LcL cnc wecve. |efl cnc (içhl.
against wide single and double blows. Then hit the
pads with simple hits, after which your opponent
gives you large easy swings; bob and weave under
these swings which get progressively tighter.
Then, to train at the next level, do single and double
bob and weaves in both directions after you’ve hit
the pads with single strikes and simple combos.
Lastly, you can pro-actively evade, where you
ccuL|e c( :inç|e LcL cnc wecve cfle( :l(ikinç Ɇ
whether there’s a strike coming or not. You’re taking
the initiative and being a moving target. Come up
to deliver more blows, or move to his back or to a
safe distance using footwork.
Chair
In conjunction with parries you can do chair training,
where the focus is on your upper body. Remember
lhcl lhe p(imc(y ciffcu|ly fc( ycu( cppcnenl i: lhe
change of distance and height. Moving long and
lhen ve(y c|c:e mcke: il ciffcu|l fc( him lc hil ycu.
Remember to go at a pace where you succeed and
then build on that.
81
l (ememLe( l(cininç :lick-fçhlinç in c chci( cl hcme
:even ccy: cfle( |ecvinç hc:pilc| wilh my f(:l hip
replacement and beating the hell out of my training
partners who never moved their upper bodies.
They were so used to moving their feet, they were
only using half of their potential. The secret with all
evasion is to isolate the area you are working on and
become good at that, then put it back into the mix.
Find out the potential of every type of movement
and make it part of your game.
Slipping drill
Here your training partner gives you a jab and then
a cross, with a beat in between the two blows. Think
of it as a rhythm of jab BEAT cross BEAT like that. If
it’s too fast initially you won’t get the skill down. Slip
the jab and jab to the body; return to your normal
position; slip the cross and cross to the body.
If you hold your elbows slightly out from your body
so that your arm has a dog-leg shape you will hit the
solar plexus more often.
Bob and weave drill
Here you’re learning simple bob and weave skills
against slightly wider blows. Again, it’s just a drill to
learn the basics which you will adapt later to a more
combative format. Your partner throws a wide slow
cross, and you bob and weave under it, doing the
minimum drop. Rotate your body from the feet,
letting the rear heel come up. Start with the left
shoulder forwards and come up after the weave
with the right shoulder forwards. You can minimise
this later but for now do a big body rotation.
Let’s take a look at the six counters in use against
the main punches: jab, cross and hook. Train these
defence techniques on the pads with a partner and
in drills; you can then start to incorporate them into
your arsenal to defend against actual punches.
Jab counters
Having a good jab defence is one of the key points
of your defensive structure. There are three basic
methods that I teach: the parry, the scoop and the
cclch. Ihe p(incip|e fc( lhe f(:l lwc i: lc |el lhe L|cw
go by, diverting it just enough so it doesn’t hit you.
In this way you can use your opponent’s energy
against him.
Let’s look at these in detail.
Parry
U:e ju:l lhe fnçe(: cnc lhe w(i:l cf ycu( (ec( hcnc lc
send the blow over your left shoulder. Make sure that
you don’t use a big movement from the arm, or take
it to where you want it to go: this will leave you open
to the hook. Just do enough to make it miss and
then see if you can do even less. The parry can be
accompanied by moving your head or slipping.
Scoop
The scoop takes the blow to the other side of
your body. It’s a great move for changing your
opponent’s balance and for opening him up.
Sometimes it has the effect of asking him for the
cross, so it’s easier to time your cross counter this way
than with the parry. Important: to make this effective
you have to use snapback to create the room for his
blow to deviate off-line.
Parry
82
Catch
Often used in boxing, the catch is easy to do. Just
make sure to use snapback with it to cushion the
force of your opponent’s blow, as the punch will
break through just a simple catch with the hand
alone. Think of it as a brake on a vehicle that needs
some distance to work. Used aggressively before his
attack it can be seen as trapping. Alternatively, cling
after the blow as he returns his hand, and trap to
stymie any follow-up moves or to start your attack.
Training drill: isolation
In a sideways stance put your lead hand down or
behind you. Now your training partner attacks with
jabs at random intervals. Start fairly slowly and as you
get better he can increase the tempo. By the end of
a round of three minutes he should be throwing jabs
fairly rapidly. You use only parry, scoop and catch
to keep from being hit. Snapback is essential to take
the pressure off. Use slipping to help you. Sometimes
because of where your hand is you may have to do
a salute-type parry. Keep movements small. Keep
the lead shoulder raised and close to the parrying
hand; this way you’ll have less work to do.
Scoop
Cross counters
The cross and straight right are two of the most
powerful blows you’re likely to get hit with, so it’s
important to have a good defence. If using the
standard guard, keep it high and choose if you want
to go into half guard. Don’t just drift: be mindful.
Shoulder roll
Using the castle analogy, let’s start with the keep.
The shoulder roll can be used from either guard, and
covers both wide and direct shots. Use the shoulder
roll even when you use other leading hand parries,
just in case the blow gets through. That way you’ve
got a back-up, should your parry fail.
Shoulder roll from cross
Keep your chin tucked in and use the hand to catch
the blow. Let the shoulder deviate the blow off-line.
Important: Don’t turn too much and make sure that
at your maximum rearwards movement your body
shape forms an equal triangle with the ground, not a
rearwards triangle. This way you can still move your
rear foot and retreat if need be.
Inside stop / shield
Against a wide blow, the stop or shield works well.
The bicep stop and shoulder stop really work best
if used pro-actively before he gets up a head
of steam, whereas the shield can be used even
83
Tip
You can play with the shoulder roll so that
vou ronIIv know If, frsfIv bv usIng jusf fho
hand to catch, then secondly using only the
shoulder with no hand to support. See how little
movement you can make and how the shoulder
roII cnn bo fho frsf bonf of nn onrIv counfor·
attack. Practise coming back with your counter
earlier.
Shield stop and bicep stop
Outside parry
The outside parry can be done in three basic ways:
Short parry
Initially it’s used short, just to support an outside slip
to make sure that the cross isn’t going to come into
your line of evasion. Follow with a strike.
when he’s at full power. Make sure that they are all
supported with a raised shoulder, as you would with
a shoulder roll, and by a good base from the feet.
Variations from the shield are numerous and it’s one
of the best positions from which to gain control of his
head or upset his balance, as shown.
Simultaneous parry, riposte
Alternatively, parry and at the same time reply or
riposte with your counter. Remember that doing this
while he is attacking is the best method. Another
method is to use the closest tool, your parrying
hcnc. lc cc c 'half-beat strike’ which either chops
c( Lcckf:l: lhe cppcnenl in lhe fcce in lhe lime
between your parry and your big follow-up. Done
this way he often doesn’t see the big hit coming.
Simultaneous parry, riposte
Long guard
Keeping the parry long is one of its most effective
uses; using it from a long open guard invites him
in, thus allowing you to attack by drawing. In this
method you close him down and thumb him in the
eye if need be. Keep the elbow down and hand
open. The long guard should have a forward energy
whilst also closing down the opponent. Make sure to
close at your centre, rather than only out where the
hcnc i:. Ihink cf il |ike c ccnl(c-fcw cn c mclc(wcy.
He is coming towards you on the same side, but
you are making him move over to the other side of
the road whilst you stay on this side. Rotate the hips
slightly and push with the back leg.
Scoop
The scoop is used to drag the opponent in a little,
to put him off balance before scooping the hand
84
in a clockwise direction, using your body and back
foot as the power source for this. Sometimes you can
attempt to close your opponent down with your long
guard and then when he reacts you use his energy
to make it easier to scoop. If done properly his
head pops out like a tortoise’s and he is easy to hit.
Once you’ve scooped, you can use your scooping
hand to either control the head or to do a bicep or
shoulder stop, to stop a follow-up blow. Alternatively,
mask his face with your hand so that he can’t see
your follow-up blow.
Elbow crush
Here I’ve shown four possible ways of using the
elbow crush.
half-guard and long guard and you have a great
defensive structure.
Active cross counters
Split entry
In the split entry you cover with an outside parry
whilst thrusting a strike into the gap between his
two arms. This can be a spearhand to the throat,
as shown here, or it can be a punch to either the
head or body. Often if you scoop the preceding jab
lhen ycu infuence lhe timing of the cross and know
Horizontal
Keep the hands high. From a long or high guard, fold
your face into the crook of your elbow. Sometimes
you can lean back slightly, to make sure that the
attack lands on the point of your elbow. If blows are
landing on your arms then you either have to fold
further inwards or use snapback to make it land on
the important part. It’s important to remember, with
the elbow crush, that if you can see your opponent
really well, he can hit you. Learn to do the crush so
that only one of your eyes can see your opponent.
Alternatively, for the instant that he connects,
cover your eyes with the elbow so that you can’t
see. However, don’t let fear hold you there; it’s just
for an instant. The best method, as I say, is to hold
the elbow with one eye only able to see his body.
If you’re using vertical elbows against hard blows
make sure that your hand is anchored on your head.
Move forward and use the elbow crush much like
a carapace or shell that allows you to go forwards
unce( f(e cnc cllcck hi: cc:l|e. /|wcy: lh(eclen
your opponent’s position or balance.
The elbow crushes can be used together in
combination, sometimes doubling them up. In
particular, from the diagonal and horizontal crush
you can move to a grab or control with ease. Once
you’ve got both elbows up, it’s for all purposes the
same position as the cross guard. Mix this in with your
Vertial
85
when it’s coming. In addition to striking high, you can
strike to the solar plexus. The opponent’s turning and
forward energy only adds to your punch; you use his
energy against him. As with the slipping drill, make
sure you have your arm a bit bent in a dogleg shape
so that you connect with the plexus easier.
Split entry
Hook counters
The hook comes from outside your range of vision so
it’s important to have a good guard from the start.
If jabbing, remember to cover with your rear hand
on the diagonal so that you can cover both the jab
and the hook easily. The rear hand is normally open
so that it’s able to catch defensively whilst remaining
live and able to hit. Don’t just keep it clenched,
passively covering your jaw, as you won’t use it to
hil cnc il :cy: c |cl cLcul ycu( fçhlinç p:ychc|cçy. lf
ycu lhink cefen:ive|y il çive: cn expe(iencec fçhle(
lots of clues as to your mindset.
Cover
It’s important to know how to twist the body so
that your cover works more effectively. Just a slight
rotation makes it much safer and means that your
cover defends more of your body.
Stop
The stop is applied to the hook the same way as
the cross, and similarly can be used to stop a blow
at its inception. This works best after scooping the
hand out. Then you cling, keeping in touch with
your opponent’s hand, and stop him at the bicep or
shoulder, then follow-up with either a cross (if you’re
twisted a little) or a hook (if you’re twisted a lot).
You can also do the stop to defend from the jab,
but this needs more skill than a parry as it’s harder to
maintain close contact as he changes to the hook.
Stop to the hook
Shield
Just like the shield against the cross, the shield
against the hook needs a low level of timing skill and
Shield from the hook
86
Simultaneous cover and hit
This is a more active way of defending against the
hook. Cover with the hand held palm-forwards in a
shield position, which is the strongest defence, and
strike with a vertical punch which needs less room
than a palm-down punch. Then continue with follow-
up ccmLinclicn: lc fni:h ycu( cppcnenl.
Simultaneous cover and hit
Bob and weave
Bobbing and weaving is a great way to evade the
hook. To make the bob and weave more workable
make sure that it’s happening in a controlled way
all the time, meaning that the knees are always
bending and the head is moving slightly all the
time. This way you just have to amplify what you
are already doing on a micro level to have a fully
functional bob and weave. Bobbing and weaving
should be pro-active, not reactive in nature. Bob
and weave even if you don’t need to. This is like
moving your castle just as your opponent is planning
his attack. The only way you are going to ensure that
you will have it when you need it will be if you are
doing it all the time. Learn to love to move.
Crush
The elbow crush can be used in three ways against
the hook: to the hand, to the biceps and to the
chest. This normally depends on how deep your
opponent attacks but you can also choose where
you want to crush.
is great for either attacking the arm by wrapping, or
as a lead-in to throwing or head control. It’s good for
moving into the plumm or head control, and also for
moving into the arm wrench.
Crush on hand
Crush on bicep
87
Crush to chest to silat take down
23 Roundkicks: technique
88
11: Kick defences
Kicks are powerful, long-range attacks. If used by your opponent in conjunction with hand attacks, kicks can
draw your hands or legs to one area or line, whilst you are being attacked at another point where you are less
prepared. It’s important to recognise that sometimes good kickers are good at kicks because they are weak
at closer ranges and have developed their kicks to keep people away. It’s your job to challenge this. As I said
in Chapter 6, if your opponent knows his basics well and is really good at kicking, he is going to be harder to
counter ond vou mov 0nd |t verv hord to get c|ose enough to check out his close range skills or to counter-kick.
A good knowledge of defence will give you a much better chance to do this.
Of all the major kicks the front kick is the hardest to
defend skilfully against. It’s easy and direct, and fast
for your opponent to do. It doesn’t place him in too
much danger and there is little preparation if he has
his hips raised.
Ski||: ceve|cpec cçcin:l lhi: kick wi|| hcve Lenefl: in
terms of courage, timing and position against all the
other kicks.
Evasion
Evasion techniques against the front kick largely
fc|| inlc lwc ccleçc(ie:. Ihe f(:l lype cf evc:icn
is moving to make his blow miss, and instantly or
simultaneously counter-attacking. The second is
when you move to simply get out of the way and
then choose whether to leave it at that or to reply
wilh ycu( cwn ccunle(-mcve. CLvicu:|y lhe f(:l i:
more active and more offensive in nature and uses
fewer beats of time. The second gives the kicker
more time or more beats to recover and to possibly
counter your counter. If your footwork is good
then the second type of evasion happens without
c lhcuçhl. :c il´: lhe f(:l. cffen:ive. lype lhcl we
should concentrate on.
An effective defence is one where the same
techniques work against as many blows or strikes as
possible. Have a small number of skills that you know
well, and then adapt them with distance, timing and
p|ccemenl lc fl lhe ci(cum:lcnce:. Nclice c: we çc
A sound knowledge of the basic skills and ways
to train them is important, as is the importance of
having a simple plan. First you should understand
your guard and stance. Next you should focus
on blocking methods. This means not doing any
movement too large, keeping things close and tight
and with good alignment, so that, in closing one
area, you don’t open another and expose your
centre line or major targets.
As we saw with punch defences, there are only six
basic defensive things that you can do against any
attack. Once again they are:
Evade
Crush
Parry or scoop
Stop-hit or stop-kick
Grab or catch, and
Cover
You can do these singly or in combination.
Let’s take each type of kicking attack in turn and
look at a range of suitable defences to them.
Front kick
You can use four of the six ways of defending
against the front kick. Passive covering doesn’t work
because the kick penetrates your centre line so
directly.
>
>
>
>
>
>
89
through this chapter how many of the counters are
very similar and just have to be adapted slightly for
differing attacks.
Body evasion and rear punch
This is an advanced technique which takes quite
a bit of courage and intent. You use attack by
drawing and lure your opponent in by offering a
juicy target. Simply twist your hips and side step a
little as you twist. Don’t do too much, as the intention
is to be close enough so you can deliver your punch
rapidly. Most people worry too much about the
incoming kick, evade too much and it doesn’t work.
Let it scrape by you. Do the math and see that the
only part of his kick that’s dangerous is the point,
where the foot is. Evade this and you’re hitting him
with his own power and yours. Warning: be careful
of follow-up punches or fake kicks as this technique
will leave your head open. Be prepared to slip
and counter-punch. This can be done without a
supporting outside scooping parry or with it. Practise
il wilhcul cl f(:l lhen ccc lhe parry if needed.
Body evasion, rear punch
Body evasion; enter and lead punch
This is most effective against a lead kick, but if it’s
used early enough it works against a front kick from
either leg. Step in and twist so that you evade the
kick. Foot placement and timing are important
here. If you hedge your bets and side step too
much then you will be too far away and the kick
will get you. Step directly in. The preparatory part of
his kick, when he lifts his knee, is the time to move.
Step directly and then twist to evade the kick whilst
punching. Support your counter-attack if needed
with a low block which just deviates the kick. Don’t
try to block it, but move it marginally off-line. This
counter can be done against both kicks but is
harder and requires better timing and more courage
against the rear. However, timing and courage are
good attributes to acquire! Body evasion, lead punch
90
Evade and groin-kick
This is so simple that many people don’t ever use it.
Ihe(e c(e lwc wcy: cf ccinç il. ln lhe f(:l. ycu c(e
going to kick with your lead leg, regardless of which
leg your opponent kicks with. Simply step with the
rear leg either way, depending on the kick, then
rotate your body out of the way and kick to the
groin with your instep. In the second method, move
your leg to the side and kick with the other leg. Both
methods work with amazing ease. If you really want
to drop him then this has to be in your armoury.
Evade and groin kick
Retreat and counter-attack
Evccinç Ly (el(eclinç wc(k: fne mc:l cf lhe lime
but if your opponent attacks deeply then you can
fnc ycu(:e|f cve((un. Ihe(efc(e l (eccmmenc lhe
more aggressive counters. If your opponent thinks
you’re going to punch him in the face, he attacks
with less vigour. A mix of drawing him by retreating
and counter-punching works great. In this example
you retreat by moving your stance as a whole to
the rear, then counter-kick with a rear front kick. His
kick :l(elche: lcc fc( cnc eilhe( hc: 'hang time’ or
c(cp: fc(wc(c: lc lhe fcc( |ecvinç him cpen lc lhe
counter-kick.
Retreat and counter-attack
For all the other passive evasion use the footwork
patterns that we covered in chapter 3. Don’t be
heavy on your feet and have a bounce in your
knees. Move early so that you don’t have to react
at the last moment. Use footwork to draw the
opponent in, to stretch his blow just that little bit
further, in the hope of getting you. Then use one of
the aggressive counters.
Crush
The crush is very simple and can be used passively
by just raising your leg and closing your guard so
there are no holes. Alternatively, you can just raise
your leg and skip inwards towards your opponent,
jcmminç hi: cllcck. lhen fni:h wilh hcnc: c( hcnc:
and legs. It’s important in both of these to have
forward momentum.
Crush
91
Parry
There are a number of parries that you can use
against the front kick. Let’s go through the safest
and easiest to do, then onto the ones that require a
better sense of timing or which carry greater risks.
Scoop parry
Use this against a kick from either leg of your
opponent, though it’s best if you use the one on
the opposite side to his kick: if he kicks with the left
you use your left hand to scoop. It means his body
is closed and it’s less easy for him to follow with
another kick or hand attack. If you do it the other
way, it still works but you enhance your opponent’s
ability to follow with a round kick. Make sure that you
move the arm in a circular fashion so that you don’t
jcm ycu( fnçe(: cnc lhcl ycu ccme f(cm Le|cw lhe
kick. Important: In pair training and shadow boxing
make sure that you instantly bring the hand back up
to the high line. Your opponent could be faking you
low, to draw your hand down. There are two scoop
methods:
Scoop and throw
Scoop and retain
Tuck your body and scoop the leg upwards, and
initially towards you, to overstretch him. Then, move it
back towards the opponent, attacking his balance.
When his balance Is broken, attack his standing leg.
Scoop and retain
E|Lcw cefeclicn
Ihe e|Lcw cefeclicn i: ec:y lc cc Lul hiçh|y
effective. Just push your elbow forwards into his kick,
whilst slightly curving or tucking the body, so that
the kick goes by. It can be done using both elbows,
lhcuçh c cefeclicn cçcin:l c |ecc kick hc: c hiçhe(
Scoop and throw
Scoop the ankle of the kicking leg and throw your
opponent’s leg as you move your own body. Kick
the leg as it lands on the ground because at this
point the weight is transferred to it. You can also
throw the leg in the air and attack his supporting leg,
which has the weight on it.
92
chance of success. Like the scoop, this is best if you
cefecl him :c lhcl il c|c:e: hi: Lccy cnc lhe cn|y
follow-up is a back kick or spinning hand attack,
which has to come a longer route. Follow-up with
hand, leg, or grappling attacks. Important: use the
minimum of movement. Don’t go too far off-line but
try to keep your hand tools pointing at him. Keep
hands high to protect against spinning hand attacks
if you close in.
Outside parry
The outside parry is great as it really turns your
opponent. Use it with the earlier evasion to
guarantee you don’t get hit. The weakness of this is
that you leave yourself open to a hand follow-up as
your lead hand is low. Only do this when you see the
opponent is fully committed or when your intuition
tells you it’s the right thing to do. Move your head
out of the way as soon as the parry has changed
the path of the kick and hit with your rear hand.
Don’t linger too long with the block or you’ll get hit.
Alternatively, you can scoop the ankle at longer
range and just lift the leg to once again threaten
his balance or throw the leg to open up his body for
your counter. Follow up with a rear stomping throw.
E|bow de0ect|on
Outs|de porrv to punch ond reor stomp|ng throw
93
Low block
Combatively, the low block is not the best block to
do: your hands are low, dealing with the kick, and
the top of your body is open to attack. However, like
all things it’s about how, when and where you do it.
Everything works in the right place. Whilst it can be
used in a basic parry and counter-attack format, this
will only get you a short way before you are being
faked low and hit high repeatedly. Psychologically a
hard block gives your opponent positive feedback
and he tries harder. If used to support jamming
counter-punches, it works great. Use it as a way in to
grab and throw, as shown in the next chapter.
Low block
Grabbing / catching
Because the front kick is a direct kick, the catches
that work well are the ones where you are going
to go on and throw. Use a low block, supporting a
high level attack to keep your opponent distracted.
In reality this is a stop-hit, a parry and a grab
combined. From here if you are close enough you
can do the bump takedown against the knee.
Lead punch counter to inside reap takedown
Bump takedown
94
Side kick
The low-line sidekick is highly effective for your
opponent to do both in attack and defence, and
ciffcu|l lc ccunle(. Lel´: çc lh(cuçh il: ccunle(:.
Folded leg
Meanwhile continue with an attack or entering
strategy on the high line. This way he only gets one
chance to kick.
Fold and re-kick
If your body is more side-on, you can retreat your leg
until his leg drops at the end of the kick. Sidekick to
his knee.
Raise and re-counter
Alternatively withdraw, raise your leg and front
kick. Use this as the beginning of an attacking
combination.
Ob||que
Mid and high level side kicks
The counters to the front kick can be used against
the mid-line sidekick because they share the same
|ine. Ihi: i: whcl ycu wcnl: c :imp|e fçhlinç p|cn lhcl
covers all eventualities. The sidekick occasionally
angles in under your lead elbow so you have to be
accurate in your counters. Also the sidekick is the
opponent’s longest kick so his body is further away.
Any entry that you do has to make allowances for
this. Some of the counters shown now are the same
as those for the front kick.
E|Lcw cefeclicn
Just as you did before, tuck your body and push the
e|Lcw fc(wc(c: lc cefecl lhe L|cw. lf ycu fee| lhe
elbow won’t do the job, instantly switch to the scoop
which wi|| wc(k fne.
Elbow drop
Here you tempt the opponent to kick, by keeping
your arm slightly raised, then drop the elbow.
Change your body axis by leaning slightly forwards
and drop your body weight so that your opponent’s
kick is spiked on your elbow. Don’t use the arm; use
the body drop instead. You don’t do much, but
what you do is highly effective.
Oblique
The oblique to the groin works against all lead side
kicks at low and middle height.
Fold
Fold your leg back either a small amount if your
opponent’s kick is aimed low at the shin or swing it
more from the hip if it’s aimed at the knee.
95
Elbow drop
Drop palm
Snap your body back a bit and, as in the picture
(right), change the body angle for a moment so that
you use your body weight to parry the kick. Drop the
palm or the forearm on his sidekick. Think of drawing
it slightly backwards towards you. Don’t look down
but keep your eye contact on his chest or eyes. The
best follow-up here is one where you use the same
c(m lc fnçe( jab high, either to hit or to fake, so you
can groin kick low. Then you’re off and moving.
Drop palm Double pillar
If it’s thrown at the right distance, your defences
against the lead high side kick are very limited. This is
one of the few times a cover will work.
You’ll either have to move backwards using this or
alternatively use it in a jamming motion. Standing
where you are often just gives you whiplash as the
kick hits your arms and upper body.
Double pillar
E|bow de0ect
Crush
The sidekick is weak at its start so it’s a great kick
to jam. Just raise your leg and hop inwards, with
your hand weapons poised for action (see picture
overleaf).
Crush
Evade and parry combination
Evade and side kick
Here you evade to the left and kick to his supporting
leg with your side kick. If it’s done to your right then
evade and rear groin kick. Though these are good
defences, you need to be athletic if you attempt
this without a supporting block or parry. Use it in
conjunction with a low block or parry like the scoop
and you have more time and are on to a winning
formula. Just use the scooping block to throw the
leg to the side and then, depending on how much
you’ve turned your opponent, move in with hands,
legs or grappling.
If you want to keep your skill set to a minimum for
maximum combat effectiveness just evade and
groin kick as before.
Evade and scoop to spearhand groin kick combo
Evade and scoop to rear groin kick
96
Stop-hitting strategies
You cnn uso vour Iogs fo sfop·hIf ngnInsf nII nffncks. !of`s Iook nf somo mofhods· fho ono vou uso Is
determined by where you balance is, how much time you have available and what feels the easiest
to do.
First is the fronf kIck. You cnn sfop·kIck wIfh oIfhor of vour Iogs vorv offocfIvoIv. If vou nro foo sIow
or Info In sfnrfIng fhon fho fnsfosf opfIon Is fo fronf shIn·kIck. SwIng vour hIps nnd rnIso fho Insfop
so that you don’t jam your toes. Alternatively, raise your leg to begin a kick but turn this shape into
a leg crush. It’s all based on how much time you have available.
Tho noxf ono fo hnvo In vour fooIbox Is fho Iond sIdo·kIck fo fho Iow IIno. ThIs works bosf whon
vou`ro sIdo on. Jusf hnck nwnv nf fho IondIng Iog oIfhor ns n sfop·kIck counfor or ns n dIsfurbIng
nffnck. Tho IIno bofwoon fho fwo Is bIurrod If vou nro pro·ncfIvo. AIfornnfIvoIv, IIff vour Iog hIgh
and side stomp kick to the knee, if you have the time. If that doesn’t work, adapt it to a raised leg
jamming technique and hop in and close with your opponent.
Finally, there’s the oblique kick. The oblique can be used to the shin, knee, groin and stomach as it
arcs upwards. Where you strike again depends on how much time and space you have.
Stop-hit
Sometimes you can see the preparation for a lead
side kick quite early so it’s a great opportunity to just
stop-hit your opponent.
97
98
Round kick
The round kick is a very common attack. It’s easy
to throw and easy to block. Let’s go through
the progression of defences that we use at my
Academy. This really works and gives you a safe and
effective means of learning. Once you’ve got some
of the basics down you can start using variations
which require a better sense of timing and are faster.
Cover
Move away from the kick. Important: keep your
balance neutral. Don’t fold over towards the kick, or
turn your back, offering him the three target jackpot
of two kidneys and a spine. Rather, curve your body
into the size of your arm. Think of curving the ribs
closer together by lifting the hips and curving the
back so that the ribs are more like one, and less easy
to break.
Cover and scoop: basic
Here, you move and cover but use the furthest hand
to pin the opponent’s foot against your arm. Then
use this furthest hand to scoop and throw the leg.
You angle and attack the leg just as the leg lands on
lhe fcc(. Cnce ycu´ve çcl lhi: ccwn cnc ycu( timing
is better you can just do the scoop on its own.
Cover and scoop
Cover and scoop variation
Here you throw the leg in the air and attack the rear
supporting leg where the weight is.
Cover and near hand scoop
You can still retain the foot against your arm if you
need to. This is useful for students who don’t yet have
the timing perfected. Then use the nearest hand the
hand of the arm you’re covering with to scoop and
throw the leg to the side.
Cover and near hand scoop
Cover and under-hook
Do the same as with the cover and near hand
scoop. If you’ve got good timing then under-hook
the kick as soon as it hits your protective cover. If you
need more time or reassurance then use the furthest
hand to retain it for a moment till you can do the
mcve. ll´: c|| cLcul mckinç lhe cppcnenl fl lc ycu.
cLcul ycu ncl Leinç in c hu((y c( çellinç fu:le(ec.
Let him have the problem, not you.
Double block to under-hook throw
Use the double block as another way into the under-
hook. By following this method, you’ll make it hard
for him to kick you in the head. Keep the low arm
slightly bent so it acts as a brake or speed bump to
99
a high line kick. Check the thigh with your lead arm
and under-hook. Twist your body so that you are the
maximumdistance from his punch, then step in and
inside reap his supporting leg. Make sure that you
turn in the direction he is kicking – it’s much harder
for him to counter and the throw is much harder.
Ihen eilhe( fni:h wilh c ç(cin punch cnc lu(ncve( c(
attack the knee using either a lying knee bar or a
standing knee wrench. For best effect, step in and
twist so that you are throwing in the same direction
as the kick and be sure to reap the standing leg into
the air. See p.100 for pictures.
Iv|ng knee bor w|th two poss|b|e 0n|shes
Over-hook to reaping throw to Boston crab
In this example, as soon as you’ve over-hooked,
punch him in the head with your rear hand and
stop his forwards motion. Then step through and
reap his leg. Keep your back straight so that you
aren’t pulled down and your opponent doesn’t
end up half-twisted. Just continue by stepping in
the direction he is twisted. Keep your back straight
and apply the leg lock, or use in combination with a
hip/back stretching lock.
Boston crab
100
Over- and under-hook strategy
!of`s Iook nf whon fo ovor·hook nnd whon fo undor·hook.
l. If vou`ro oxfondod, OVI!·HOOK
This means that if your opponent kicks you as you are punching him, close the ribs and absorb as
much of the powor bv movIng In fho dIrocfIon of fho kIck, nnd ovor·hook fho Iog. Mnko suro fo uso
the blade of the forearm to pressure the shin as this makes it harder for him to do a number of
counfors. As fhIs Isn`f fho sfrongosf wnv of hoIdIng, vou nro vuInornbIo fo vour oppononf counfor·
kneeing or closing to plumm head control.
2. If vou`ro nof oxfondod, ÐO!I!I I!OCK TO !ÞÐI!·HOOK
This is a stronger position and you successfully block your opponent’s attack. You are, however,
vulnerable to a jumping knee, triangle choke or arm bar. Make sure to check his nearest shoulder
and twist your body so that you are the furthest distance possible from his punching hand. This
stretch also sets up any following throw you might execute, so it’s essential to do.
Obviously if in spnrrIng vou fnd voursoIf doIng ono whon If wouId, In fhoorv, bo boffor fo do fho
other, don’t worry: just continue doing what comes naturally. Theory is smooth, whereas reality is
rough. There is no absolute way of doing things that guarantees success. If something’s working,
go wIfh fho ßow nnd don`f gof In vour own wnv bv boIng foo nnnIvfIcnI. Afforwnrds, If vou IIko,
you can analyse and maybe train the other method more so it’s a more instinctive part of your
technique toolbox. Above all, it’s about instinct and intention; using what happens and going with
it.
Over-hook Double block to under-hook
101
Crush
When you’re learning the crush, it’s important that
you don’t build bad habits which can lead to simple
counters. There are two primary ways to crush. Firstly,
block with the portion of bone just below the knee,
where the head of the shin bone is. This is the least
painful method. However, to get that part to hit
every time needs lots of practise.
The other method is where you turn your leg out
so that it’s at a sharp angle to your body. Any kick
landing on it meets your shin with your thigh bone
pointing outwards, which means the force of the
kick is met head on. If possible, block with the part of
the leg below the knee, but it’s not essential. If you
don’t turn the leg out enough, your crush will often
fold against a strong kick.
The crush can be used for all kicks up to the mid
level. Tie it in with the arms and a curve of your body
and you have a good defence. If you constantly lift
your crush high, the opponent can fake the kick high
and then drop it to attack your supporting leg. If you
lift it, keep it quick and only go as high as needed.
Note: the crush is painful to do. You can condition
your shins by hitting Thai pads and hard bags. For
training, wear shin pads to protect. In real situations
it’s probably a one-off pain. Never show him that it
hurts you. Keep your eyes strong.
Crush to same leg kick
Crush the attack and then step to the right and kick
with the same leg.
Crush and standing leg kick
Here you crush and then re-kick with your standing
leg. Use the force of stomping the crushing leg down
to add power to the kick.
Crush to same leg kick
Crush to lead leg kick
Use a lead leg crush. Don’t drop the leg but engage
the hips strongly and front kick with the same leg. This
will disrupt your opponent’s balance. Follow up with
a right round kick.
Cross crush to rear round kick
The cross crush can be used if your weight
distribution is wrong and you can’t easily crush with
the nearest leg. You can use it with follow-up round
kicks or on its own as a destructive defence as
shown below. Ensure you keep strong eye contact
with the opponent so that you show him that it didn’t
hurt you – even if it did! It’s all about breaking his
spirit.
Cross crush
102
Evade
Evade and cut kick
Evade with a triangle step and round kick to the
supporting leg of the kicker. Sometimes called a
cut kick, this is best if it angles slightly downwards
so it breaks the stability of the supporting leg. Bend
your supporting leg to make it its most effective. It
can also be used in a slightly upwards direction if
you are short of time. Enter strongly. In training, be
careful to not overdo this with your training partner
as repeated blows to the back of the knee can
aggravate this sensitive area.
Evade and side kick
Ihe 'evcce cnc :ice kick´ i: hc(ce( lc cc lhcn
the cut kick but even more effective as it goes
cc(c:: lhe knee :l(uclu(e. Ihe ciffcu|ly i: in mckinç
accurate contact as you have a smaller target
area than the round kick. This needs to be practised
diligently to have the greatest effect. Be careful
of your training partner’s knee by kicking with
control.
Cut kick
Evade and side kick
103
104
Time line
On this page is a time line of sorts, showing your
opponent’s attack at various stages and some
counters that could be used at each stage. This isn’t
a rigid time line: you can both attack and defend at
any point along it in a variety of ways. However, it is
a useful idea to hold in your head whilst training.
The only trouble with these kicks is that they don’t
|cck fc:h: lhey ju:l cc lhe jcL. Gel lhe:e wc(kinç
cnc lhen p|cy wilh ycu( mc(e fc:hy kick: cnce lhe
opponent is more fearful and under your control.
Alternatively, mix with high line kicks to stretch your
opponent’s defence. As you can see I’ve only
outlined a few kicks, but because they are easy to
remember and to use they are more likely to work,
cnc ycu wi|| çcin ccnfcence.
Early stages of attack
Lead leg low and high line kick
Lead hand stop-hit
105
Later stage of attack Very late stage of attack
Crush and attack
Catch over and under Double block
Under-hook
106
Training methods
D(i|| c|| ccunle(: cçcin:l :inç|e :|cw cllcck: f(:l.
This is the place to do lots of reps and put them
into your (efex pclle(n:. Ihen p(ccli:e u:inç :imp|e
combinations so that though it starts differently you
learn to see the shape of the attack you’re working
on, even when mixed up with other attacks. Then
practise either in an alternate kick-for-kick pattern
where you each take turns, or with one person
feeding alternate legs. Start by having a basic
ccve( lhcl ycu c(e ccnfcenl wilh. lhen mix lhe
other options in. Occasionally scoop, then change
to working on evc:icn cnc cul kick:. cnc lhen fni:h
with crushing. If you haven’t got the time or the skill
down then go slower or cover to give you time to
think. Once you’ve got that down, work the stop-hits
in. Crushing is the easiest to learn and to do, so if you
neec lc Le up cnc fçhlinç cuick|y lhen lhcl´: lhe
way to go. However, if you only focus on this quick
fx. which wc(k: fne wilh pcc: cn. ycu( footwork
and evasion and parrying will suffer and when you
haven’t got pads you may be at a disadvantage.
Ring the changes in your training program so that
you don’t become dependent on any one way.
FememLe(: c|wcy: hcve c :l(cnç yel fexiL|e :lcnce.
with all your tools pointing at the opponent and
keep strong eye contact. The only way he knows
what is going on in your mind is by what you show
on your face. Don’t show him anything. Alternatively
play with him by appearing agitated when you
aren’t and calm when you’re not. Be the puppet
mc:le(. / |c(çe pe(cenlcçe cf fçhlinç :ucce:: i:
dependent on psychological aspects. Become the
mc:le( cf lhi: Ly ccinç il cnc |cckinç ccnfcenl in c||
drills. Strong eyes!
Time management: If you have lots of time, work
ycu( ccunle(: Lclh :ice: lc keep ycu fexiL|e cnc lc
have a balanced body structure. If you have time
work the weak side even more. Most people don’t,
but if you do, you’re coming at your opponent from
a side he isn’t used to. It’s all about how much time
you have. If you haven’t got much time, keep it
simple and just concentrate on mastering one side.
107
23 Roundkicks: technique
108
12: Throws
Throws are a great way to defeat an opponent. An opponent may feel defeated just by being put on the ground.
However, be owore thot throws thot don't d|sob|e on opponent o|ten hove to be conc|uded w|th o 0n|sh|ng
techn|que, so thot the opponent |s no |onger oct|ve. On|v then con vou toke core o| onv |urther opponents.
Throws differ from style to style and system to system depending on what they are designed to achieve and the
culture from which they come. Some are big, dynamic throws where often you land on top of your opponent
ond cont|nue the 0ght - || he's not o|reodv d|sob|ed |rom the power of the throw – by grappling and ground
str|k|ng. Other tvpes o| throw ore more ||ke bodv d|sposo|: vou hove deo|t w|th the opponent bv str|k|ng h|m
o number o| t|mes ond the throw |s o wov o| putt|ng h|m on the 0oor |n whot |s, |or vou, o stroteg|co||v strong
|ocot|on, o|ten |n the wov o| other opponents. Once vou understond th|s d|||erence, vou w||| understond the uses
to which you can put each throw.
Counters to the jab
In this chapter we are going to start looking at throws
from the standpoint of the techniques and basic
positions that we have already covered. Let’s start
from the slip against the jab. This is one of the most
common defences and also one of the least risky.
Body tackle series
Slip the jab and go deep so your head is near his
armpit. Alternatively, your opponent’s attack is
such that you are already quite deep. Grip your
opponent’s waist as shown and pull in tightly so that
Punch and body grasp
he gasps. Don’t be too nice: your aim is to fold him
in the middle. You can do this in two ways. Firstly,
dynamically use your forward momentum. Push your
head to the left and take him down whilst bending
his body in half. The other way takes longer but is
surer. Grasp the waist, keeping stable with your hips
low and near his, and push your hips forward so that
hi: |eç: c(e cff lhe fcc(. Dump him lc lhe (ec(.
For both methods, if the throw doesn’t seem to be
working, trip with your right leg. If this isn’t enough,
often you can step over and land on your opponent
in a mounted position.
109
Leg tackle series
Slip and parry the jab, then drop down (with your
guard up) and tackle your opponent at the waist.
If the body tackle isn’t working, or the position isn’t
strong enough to throw him, go lower – and use your
sensitivity skills to recognise early on if it isn’t working.
Remember that attacking the opponent at one of
the three key points – the top, the bottom and at the
hips where the body hinges – is the main concept.
You can drop and attack the legs in a variety of
wcy:. f(:l|y Ly c :inç|e |eç lcck|e. Hc|c lhe |eç liçhl|y:
you can hold it just above and behind the knee and
near the ankle. Keep his leg as straight as possible.
Step forwards with your right leg and then, using
your head as an extra lever, twist towards the left.
This stops your opponent using a sprawling defence.
Icke him lc lhe fcc(.
Secondly, use a double leg tackle (pictured
overleaf). There are two ways to do the double.
You can dynamically attach to the lead leg whilst
threading your other hand behind the rear leg and
driving forwards. Alternatively, drop from the body
tackle position and pull both your opponent’s knees
together, with your hands clasped behind him. Step
forwards and lift his legs as you twist to the left and
cump him lc lhe fcc(. Dcne p(cpe(|y. lhi: lcck|e ccn
be controlled and slow for training purposes.
Thirdly, do a foot pin and throw. You can either
continue as shown for the other two or perform a
rolling leg break which brings you on top of your
opponent, ready to strike.
Learning the basic concepts will make your leg
tackling much easier. On the street, the leg tackles
hcve lc Le mccifec. c: c(cppinç lcc hc(c cnlc
concrete can injure you as much as your opponent.
Good conditioning will make all tackles easier to
do, and in particular will make you less averse to
changing levels so that in turn you become harder
to tackle yourself.
Single leg tackle
110
Double leg tackle
Variation: foot pin
Leg lock
111
Counters to the round kick
If you kick, your balance is compromised as you
cn|y hcve cne |eç cn lhe fcc(. He(e l :hcw wcy: lc
counter the swing round kick. This is the easiest kick
to catch and throw from, particularly if the attacking
leg lingers.
Inner reaping against a kick
Catch under
To start this drill, either cover and under-hook, or use
the double block to check his kick and then under-
hook as you did against the round kick (p.105).
Catch over
When you catch over, it is important to lift his leg by
rising up on your toes. Once you’re up on your toes,
push back towards him. Take control of his body.
Make sure that the hard edge of your arm is biting
into his leg so that he is unable to bend his leg to
knee you, or come closer so that he can strike you.
You are the striker: take control.
Head and arm windmill throw
This throw, also known as puta kapala, uses the
Head and arm windmill throw
There are two ways to throw your opponent with
the greatest ease. From the side control, line your
cppcnenl´: Lccy up f(:l :c lhcl he i: ec:y lc lh(cw.
Secondly, if you attach properly you can use the
momentum from this attempted strike, redirecting
your opponent’s forward energy to throw him.
Concentrate on the striking if you are on the side
and have the head and arm position. Concentrate
on redirecting if you are directly in front of him and
he is coming towards you, as you have less time to
play with.
weakness of the head and the leverage of the
arm to throw the opponent to the ground. When
you have achieved head and arm control in some
way, and have moved to the side to avoid a tackle
attempt, knee him, elbow him then use the throw
to dispose of his body in a way which is strategically
sound for you. The alternative method is to use your
elbow to slow your opponent’s forward motion.
Attach and throw, moving back so that he can’t
attach in turn.
Unskilled tackles
Cflen in (ec| fçhlinç lhe lcck|e cllempl i: ju:l c
need on your opponent’s part to get closer and
to stop you hitting him. He will often turn his head
112
away whilst reaching out with his hands. Many times
his eyes will be closed or averted. Take advantage
of this to introduce him to a hard object if you are
:l(eel fçhlinç. ln lhe ccjc. p|cyfu||y (eci(ecl him
towards the wall so that you get to practise thinking
in this manner. Don’t slam him into the wall but
simulate this; it goes without saying that it’s important
at all times to take care of your training partners.
Once you’ve thrown your opponent you can
fni:h him in c numLe( cf wcy:. Ycu ccn stomp
cn hi: hecc. wilh cn c(m L(eck lc fni:h. Ycu ccn
alternatively :lcmp cnc fni:h wilh c |yinç c(m L(eck.
I’ve also shown how to counter if he manages to
grab your leg using an octopus head wrench. Go to
the right if he grasps your left leg and to the left if he
grasps the right. Be careful when doing this that you
are applying all of your body’s force against one of
the most sensitive parts of his body: his neck. For this
reason, when training go very slowly, and take lots of
care of your partner.
Unskilled tackle…
...re-direct and introduce to hard object
Octopus heod wrench 0n|sh
113
Head lock throws
The basic front headlock works well. It tends to
cause pain but doesn’t affect your opponent’s
consciousness, like a rear choke, so as a result it’s
a place to be prepared to move from. Because
it’s painful, you get a range of reactions from your
opponent which you can use to help to throw him to
the ground.
Guillotine...
Throw
$tomp 0n|sh
114
Guillotine to stocks
Head and arm
Rolling head lock
115
Rear throws
Attacking the rear is safer for you as your opponent’s
limbs don’t work particularly well there. Therefore,
attacking the back gives you a huge strategic
advantage. Watch out for rear head butts, low groin
strikes and spinning elbows plus rolling leg locks.
Although these require vigilance, they are about
all you have to watch for by way of easy and fast
counters to the rear position.
Ways to the back
There are a number of ways of gaining control of
your opponent’s back. Here I’ve just tagged them
onto some of the basic skills that we’ve already
covered, so you don’t have to learn new skills but
just go a step further with the ones that you know
already.
Slipping the jab
Slip the jab and either punch or body tackle. Pivot
on your leading leg and rotate the rear leg behind
your opponent. To keep him from rotating the same
way as you, check his rear or furthest hip. Working
on the nerve there disrupts his balance. It doesn’t
work for everyone but is usually highly effective and
ycu c(en´l fxec lhe(e wcilinç fc( him lc ccunle(.
When moving to the rear, raise your head (as shown
in the c(ucifx c(i|| cn p.11ó) :c lhcl ycu ccn´l çel
guillotine choked. You can slip and attack the rear
on the c(c:: Lul il´: much mc(e ciffcu|l cnc |ecve:
you vulnerable to the knee if he’s facing you. Use
this only when he is off-line and you can see the
opportunity.
Slip and hip check to get the back
Kick scoops
We saw the two methods to scoop kicks - one using
the nearest hand, one the furthest - on page 98.
When using the nearest hand, step to the rear as you
will have only moved him off-line. Then stomp and
choke using one arm to encircle the neck and the
other to facilitate the choke and to add power.
In the second method, drag your opponent down,
then pin him against your leg and push your thumb
into the neck notch. Attack the nerve there whilst
ycu (ip lhe fcce. cnc hcmme(f:l cllcck.
When using the furthest hand, enter and if the head
isn’t available, as it often isn’t, grab the waist and
lcke him ccwn lc lhe fcc( lc fni:h him lhe(e. Ycu
can use the bump takedown, where you pitch him
up in the air on your hips and then, when his feet are
cff lhe fcc(. c(cp him lc lhe fcc(. /|le(nclive|y. c(cp
to one knee and use your forearm against his hip
bone to drag that hip to the rear, and to the ground.
116
The best thing about scooping kicks is that it instantly
gives you your opponent’s back. Be careful in
moving in as it’s very common to get knocked out
by a spinning blow. Keep your hands high until your
head is on his back. Keep your head down to avoid
getting hit by rear head butts.
Arm drags
You can move to the back easily by arm-dragging
your opponent. Your opponent throws a wide blow;
you stop it and, with the furthest hand, under-hook
with your arm and drag him, so that you are at his
rear, or at least part way. Then repeat on the other
side. You can also do this from wrist wrestling or other
clinch positions.
Training
C(ucifx c(i||
Ycu( cppcnenl hc|c hi: c(m: cul in c :c(l cf c(ucifx
pattern and you step under his arm with the leg
on that side, dropping as you go under and then
looking upwards towards the ceiling. Make sure that
your hips are underneath your head so that your
body shape is strong. Then repeat on the other side.
Arm drag
Cruc|0x dr|||
Arm drag
117
Clavicle drag
Part 4: Putting it all
119
together
23 Round kicks: technique
120
13: Advanced combinations
In chapter 7 we looked at some of the fundamental combinations of strikes. In this chapter I’ll introduce more
ways to make the most of these in defence, and also introduce combinations for use at closer range.
Long range
You can increase the usefulness of the simple
combinations we looked at earlier by putting one of
lhe fve lype: cf cefence in f(cnl cf lhem. lf ycu´(e
ccinç lhe fve ccunl c(i||: in l(cininç. ycu :cmelime:
have to add another strike or kick, or conversely
subtract one, to get to your starting position.
Hcweve(. ycu wi|| fnc p(elly :ccn lhcl ycu ju:l fcw
nclu(c||y cnc f|| lhe çcp:. FememLe( lhcl lhe :ix
types of defence that you can do are: cover, stop-
hit; crush; evade; parry; grab (or clinch). Some of the
combination elements are given as a refresher on
the following page, but refer back to the relevant
earlier sections of the book for full details.
Opponent attacks with a cross or feigns a cross
You defend with:
Stop-hit with lead front kick to body.
Fini:h wilh (e:l cf fve ccunl
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Crush – horizontal hammer which acts as
lhe f(:l L|cw cf lhe ccmLinclicn. Ccnlinue
wilh lhe clhe( fcu( L|cw: cf lhe fve ccunl
Outside parry before his punch from a long
çuc(c - eye çcuçe c: f(:l ccunl cf ccmLinclicn
cnc ccnlinue wilh (e:l cf fve ccunl
Outside parry during his punch – right cross to
Lccy c: Lecl lwc cf ccmLinclicn cnc fni:h
fve ccunl wilh hook – cross – lead round kick
Evade with bob and weave
– hook – cross – round kick
ln:ice Licep :lcp - fve ccunl
or cross – hook – cross
Inside :hie|c - c(m w(cp c( w(ench - fve ccunl
Bong sau parry – arm wrench. Finish
lhe (e:l cf lhe fve ccunl
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Crush Hommer0st Inside shield
121
Lead front kick stop kick
Lead round kick Crush
Evade, cut kick
Evade and grab
Cover and scoop
Jab Hook Cross
Uppercut Shovel hook Stop to bicep
122
Opponent attacks with a round kick
Slcp kick lc :lcmcch - fve ccunl
Stop kick with oblique kick to groin – round kick
lc ç(cin c: lhe :lc(linç kick cf lhe fve ccunl
Crush – round kick to his standing leg
cnc lhen fni:h lhe fve ccunl
Evcce wilh cul kick - fve ccunl
Evade and grab – cut kick – knee and
leg throw away – combination
Cover and scoop – throw away
– simple combination
Opponent attacks with a lead round kick
C(u:h wilh |ecc |eç - fve ccunl
Slcp-hil wilh |ecc punch c: f(:l
mcve cf fcu(/fve ccunl
Evade by retracting your lead leg (toy
gerk) and reply using a lead kick from the
wilhc(cwn |eç. Fini:h lhe fcu(/fve ccunl
Ihi: çive: ycu c numLe( cf icec: cf hcw lc fl lhe fve
count or other combinations into your training. Focus
on one initial defence and get that response down
by doing lots of repetitions. Then, if possible, do it for
as many attacks as possible. For instance, the stop
kick and stop-hit can be done in the same way for
almost every attack. Similarly, the crush (using both
the arm and the leg) is very easy and doesn’t require
expert timing. However, because the crush is so easy
(though sometimes painful) make sure that you work
evc:icn f(:l. cnc ju:l c: much c: c(u:hinç.
Though here I’ve only shown how to use the four or
0ve count, vou cou|d do |ots o| d|||erent tvpes o|
comb|not|ons or port|o| 0ve counts. For |nstonce, just
do the cross and round k|ck |rom the 0ve count, or
the cross and hook. A|so, see how vou con 0t |n the
other combinations shown in chapter 7.
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Tip: Focus on one thing
If training any combination, spend a long time on
just one attack and get that down, then put it back
into your list. Work out where the preparation is
on your attack and learn to hide it.
Medium and close range
At medium and close range you get more chance
to use the uppercut and shovel hook. Many students
attempt to use these too early and don’t develop a
good enough jab and c(c::. Wc(k cn lhc:e f(:l. lhen
when your opponents are consistently getting past
them, it’s time to work on shorter-range tools.
Here I’ve shown the use of combinations which
integrate the use of the uppercut, moving from long
range into medium range.
Jab – lead hook – rear uppercut – hook
Jab – lead hook – step with rear
body hook and high hook
Lead shovel hook – rear shovel hook – tight
or wide hook (Use when you are head to
head with your opponent and he has a tight
guard. Slip to the inside and shovel hook, then
:|ip lhe clhe( wcy cnc fni:h wilh c hook.)
Lead uppercut – cross – high hook (slip to
the inside and uppercut up the middle.
Finish with a cross and high hook.)
Rear uppercut – lead uppercut
– right cross low – high hook
Rear uppercut – lead uppercut – overhand
Rear uppercut – lead hook – cross
Lead uppercut – rear uppercut
– tight or wide hook
Lead uppercut – rear body hook – rear high hook
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123
Close-quarter combinations
Just as with the trapping entries into combinations
(p. 125), you can start your counter-attack or
combination from close-quarter positions. Start
f(cm lhe hc|f çuc(c pc:ilicn whe(e ycu fnc ycu(:e|f
once you have slipped or bobbed to a position
close to your opponent’s armpit. Alternatively, use
this approach when your jab has missed and your
opponent has slipped to that position. What often
happens is that in this loose, untied, clinch position
you both re-group and have a rest of sorts.
Keep your back leg strong, as often it makes him
think that you are backed up against ropes or the
wall and have no backwards options. Then, when
you choose, you can just snap-back to a slightly
longer range, giving room for your tools to work.
From the half guard:
Bump him to make the minimum of space,
just enough to get your punch through.
Rear uppercut to lead hook. Follow with
cross – body hook – cross, or go back
to clinching where you can’t be hit
Snap-back instead of bumping and
repeat the combination above
Elbow lift: Snap your elbow upwards quickly
to bring his head up from its hiding place
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near your armpit, then cross – body or
head hook and cross or rear elbow – lead
elbow – rear elbow and knee
Kidney slap: Pivot on your lead foot so
you’re no longer directly in front of him,
and slap to the kidney area to bring his
head up. Go into cross – body hook – cross
or any other applicable combination
Bump, using your horizontal arm to bar his
options, and hook to the head (make sure
to keep the hook very tight so it just goes
around his guard). Follow with appropriate
uppercut or cross-led combinations
Lead elbow pick up: Using the hand from either
on top or underneath, open his body up and right
hook to the body, with the hand down and the
lead knuckles biting. Repeat the right hook to the
head and continue as targets present themselves
Rear pick up: Pick his elbow up with your rear
hand whilst stepping in and pivoting to the left.
Follow-up with lead body or head hooks and
lhen ccnlinue wilh ccmLinclicn: c: ycu :ee fl
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Bump Elbow lift
124
Training combinations: partner
Combination work is intended to build your ability to
fcw when ycu c(e fçhlinç. :c il´: impc(lcnl lc keep
this in mind when working with an opponent. Both of
you should wear bag gloves, as these small gloves
make you work your technical skills better than a
larger 12 or 14oz glove. There are three main ways
cf wc(kinç he(e - in fxec ccmLinclicn:. cefen:ive|y
and pro-actively.
Fixed combinations
Slc(l wilh ycu( fxec ccmLinclicn:. Ycu cllcck ycu(
Kidney slap with follow-ups
opponent with the agreed combination and he
parries, covers, or evades as defence. Regardless
of your level, there is work of this type for you to do
he(e: f(:l|y. lc mcinlcin ycu( exi:linç :ki||: :eccnc|y. lc
explore new combinations, new ways of attacking.
In sparring, the training partners with whom you spar
will eventually get to know your game, so your game
has to develop. The way to do this is through repping
new combinations or approaches.
Defensively
After practising the above, do the same
ccmLinclicn: cfle( L|cckinç c( pc((yinç c cefnec
Lead elbow pick-up
125
Tip: Don’t telegraph
Get your body position right so that you don’t
have to do a wInd·up or n preparation, because
the necessary tension is already there within your
stance or position. This is much like an athlete on
his marks at a race: good position will cut down
any dead time at the beginning of your attack.
blow which your training partner throws at you,
much as we did on the focus pads. He attacks
you with a cross, for example, and you block or
parry and then go into your combination counter-
cllcck. Mc(e ccvcncec fçhle(: ccn p(ccli:e lhei(
ccmLinclicn: cçcin:l cny cne cf c ç(cup cf cefnec
blows. It means you are just tagging the combo onto
the end of a parry or block.
Important: Cut down the time between the defence
and the counter-attack when doing this sort of
training. Almost see the parry (or slip or block) as the
f(:l ccunl cf lhe ccmLc. Ycu :hcu|c Le cn ycu( lce:
and moving forwards or at least having a forwards
intent when doing this sort of work. This makes you
pro-active even in your defence.
Pro-actively
Finally you should do combinations pro-actively,
which works really well in sparring. This is where you
ask a question: for instance, you throw a jab – which
often elicits the same or similar response from your
opponent – then you parry or evade and do your
ccmLc. 8y fçhlinç lhi: wcy. ycu ceve|cp c çccc
idea of what his response will be, as opponents often
respond with the same thing you’ve thrown and this
puts you ahead on the timing. This is complicated
if you want to do a back-and-forward training drill
with your partner. Here are a few of my favourites
which work really well in sparring. Train them with
your partner, giving the response you want and then
practise in slow :pc((inç :c ycu fnc whe(e il wc(k:.
By doing things pro-actively you steal time from your
opponent.
Cross – salute
Jab – catch
Jab – cross – failed hook – bong sau – follow-up
Take note: you can’t do these in a backward and
forward style as easily as the simpler combinations.
Decide how many you are going to do and get him
to attack you in the way you want. Learn the shape
and you can make up your own combos. Research
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what happens to you in sparring so that you can be
ahead of the game.
Trapping to combinations
Simple traps, where you trap your opponent’s attack
against him, work well as a route to combinations,
whereas more complex traps depend on sensitivity
cnc |cl: cf l(cininç. Simp|y l(cp lhe f(:l hcnc Lc((ie(
lhcl he p(e:enl: cnc lhen fni:h wilh c ccmLinclicn.
There are three ways of doing this. As I have said
before you can do these on your own, with a
partner, or on the pads. Here we’ll show them with a
partner as this is where it works best.
Stop the jab (overleaf)
This is just a light touch on his lead hand. It stops the
countdown and he has to go back to his mental
start line, or hook you, or hit you with his rear hand.
It’s simple and effective.
Jab – cross – hook. Bounce the hand from
in front of his jab to stop his countdown
then go directly into your combination
Bong sau / rolling arm defence (against the
cross) – cross – hook – cross. He strikes with the
cross as soon as you trap his jab. You defend
with your lead arm and then strike back
Stop on jab, then slap and follow with
cross – hook and round kick
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126
Single slap trap / pak sao, to:
Cross – wide hook or slap – rear low round kick
Cross – hook – cross – lead round kick
Cross – round kick – round kick
Grab / lop sao, to:
Cross – body hook – head hook
Cross – round kick – rear round kick
Three-for-three
One of my favourite exercises to do with a partner
is three-for-three or four-for-four. This is very simple:
you throw any three-count combination at your
opponent and he responds with any three-count
that comes to his mind. This makes you mentally
sharp and also teaches you how to cover. You have
lc hcve c Lccy cf kncw|ecçe f(:l. Lul cnce ycu
have that then you are off and moving.
Start with the standard combos. You should work at
making them penetrate the holes in your opponent’s
guard. Once you’ve got three or so of these down,
you can change between them at random, so that
even though your opponent knows broadly what
you are going to do he still has to be able to read
whcl i: çcinç lc hcppen. lf ycu fnc lhi: |eve| ec:y {l
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Stop the jab, then jab cross hook, alternatively bong sau
Pak sao
Lop sao
127
High left hook High right hook
Left body punch Right body punch
don’t) then you can go on to being more random
in your attacks, as long as they are within certain
boundaries. The aim, after all, is to build on success,
not only for you but for your training partner who is
practising defence. Aim at holes in his guard and
interrogate his defences. You don’t have to repeat
just the standard combos. These are useful for
teaching you the basic patterns, but you can break
the patterns by changing target, repeating blows
and hitting where he’s open. Probe his defence and
think out of the ordinary.
If you have problems and are getting hit a lot when
you’re attacked, then go back a step. Go slower
cnc (efne ycu( cefence cnc ccve(.
Four corners
This is a way of integrating the combinations that you
know with a simple defensive cover. Depending on
lhe (cnçe. u:e eilhe( lhe f(:l c( :eccnc ccmLinclicn
listed.
In this drill the pad holder tests your defence with a
hook or slap. You then respond with the following:
Against high left hook: cover with tight cover
and respond with hook – cross – hook, or, if closer
lead uppercut – rear uppercut – hook – cross
Against high right hook: cover with tight
cover or shield and then respond with
cross – hook – cross, or, if closer, rear
uppercut – lead uppercut and cross
Against left body punch, body hook or
slap: cover with elbow then respond with
left uppercut – right uppercut – hook
From right body punch: cover with elbow
and then respond with left or right uppercut
(depending on where you are) – cross – hook
>
>
>
>
128
Start slow but ask your training partner to increase
the speed of his attack so that it happens at the
end of your combination and there’s less of a
pause between moves. If the skill level gets worse or
disintegrates, then go back to a slower pace. Any
combination can be used using hands, hands and
legs, knees or elbows. Use your imagination but drill
the basics.
When you are defending, keep your feet pointing
at your opponent as much as possible. Don’t over-
react to his attacks. Point your body towards your
opponent to ensure your energy is focused in the
right direction.
Tip: mix ranges
Work Iong rnngo combos In wIfh ßurrIos of cIoso
range strikes and then move out, making sure you
don’t retreat in a straight line. Go back to using
your jab or straight kicks to ‘stick and move’ again.
Tackle attempt combinations
When your opponent attempts a leg tackle you can
use these four simple ways to counter, to be used
alongside your striking. If you do this on your own
in shadow-boxing, use your imagination but make
sure you move enough, and correctly. If done with
c pc(lne( l fnc lhe Le:l melhcc i: lc p(ccli:e cn lhe
focus pads.
To simulate a tackle, the pad holder does one of the
following:
Sprawl
Pivot
Icuche: lhe fcc(. c(
Charges with hands behind back, or
Charges with head down and both hands
extended (also known as a bear hug attempt)
Sprawl
Ihe pcc hc|ce( lcuche: lhe fcc( lc :içnify lhcl he i:
making a tackle attempt. You sprawl, which should
put you on top of his body with the ability to choke
or reposition so that you control his back. Make sure
you keep your head up. Get back up quickly and
punch.
Pivot
The attacker can come in for a tackle attempt in
one of two ways: with his arms out, which allows
you to wrench, or with his pads held behind him
and his head exposed. Pivot out of the way, either
on your lead foot or by withdrawing your lead foot,
and perform the redirect on the other side. This is
very similar to what a matador does with a bull. Just
move out of the way and perform the follow-up
combination.
>
>
>
129
Head and arm
Use the same footwork as the pivot, but pick up
the opponent’s head and arm, with the arm in a
potential arm lock, and redirect the head – in a real
fçhl lcwc(c: cny hc(c cLjecl. Ccunle(-cllcck wilh c
knee cnc lhen fni:h wilh lhe ccmLinclicn.
Short knee to combination or cross and round kick
Use a short knee to stall your opponent’s tackle
or to bring his head up, followed by a standard
combination or one sided combination.
Arm wrench or throw to combo
When applying the arm wrench, use the same body
mechanics as if you were doing a right or left hook
cnc lhen fni:h wilh lhe (e:l cf lhe ccmLinclicn.
As you can see, just adding these simple tackle
defences to the combinations that you already
have gives you a formidable defence.
Combinations with a head control or clinch ending
In these combinations we will focus on either doing
a full head control (sometimes called the plumm)
with knee attacks, or a side head control (often
called the side clinch) again with knee attacks. With
the full head control, remember that, rather than
bringing the knees straight up, you should drive them
in so that they are hard to block. Once you can
do standard knees you can vary the type of knee
attack and also change heights, much like we did in
the three-for-three and four-for-four training earlier in
this chapter.
Tip: hand position
When putting your hands on top of your opponent’s
head, remember to overlap the hands (don’t
InforfwIno fho fngors) wIfh fho oIbows grnspIng
the head tightly. It allows you to direct his head
easily to the left or right, or hold it in one place.
With the side head control, make sure that the
elbow is down inside your opponent’s shoulder, if he
is close enough. The hands should be overlapped
again, with slight spiral energy towards the top of
his head which makes it harder for him to oppose
your energy and counter the position. For the sake
of space we will just focus on the attachment and
ending. You can add any of the previous combos
that will take you to this reference point.
Lead front kick – jab – cross – side clinch
Jab and cross and, as your opponent slips to the
outside, pivot and control his head. Double knee
and then either deliver a straight shin to the head or
push away and round kick to his legs.
Lead round kick – cross – hook – heod contro| / plumm
If the hook goes wide and your opponent’s head is
within the circle created by your arm, pull him in and
give three knees to the stomach, then push away
and kick. Alternatively, switch to half-head control to
counter his tackle or grapple attempt. Finish with a
combo as above, or a hand combination.
Side clinch
130
Jab – cross – hook – side clinch
Sometimes your hook misses and your opponent
has the opportunity to come in behind it. As on
the tackle attempt series, pull back the side under
attack, pivot as you retreat and pull him into side
c|inch. Knee cnc fc||cw-up c: Lefc(e c( ju:l fni:h
wilh c chcke. lf lhe chcke fci|:. ycu ccn fni:h wilh
one of your favourite combinations.
Kick grab counter – plumm
Here your opponent grabs your round kick. You
crash in and push the leg downwards whilst
controlling the head strongly. Follow this up with
knees then with a combination, low round kick or
tackle / single leg pick-up.
Kick grab counter – plumm with knees – leg pick up – knee
ride
Grab his kick and punch to the face or focus pad,
then gain the plumm position by whatever means
you like. Drive in the knees if your opponent’s energy
is backwards and upwards (he’s trying to lift his
head), then let go and perform the single leg pick
up. Take him down and throw the leg to one side.
Knee ride and strike the face area or focus pads if
he has them.
Tip: making music
Your body learns best when all of its senses are
working for you. It’s important to learn with
rhythm and sound as some of your key helpers. If
doIng combos frsf, Ionrn fhom on fho bonf wIfh
the emphasis on good body mechanics. Get your
shoulders moving and your head. Once you’ve
got the beat then break the beat or play with it. If
working on focus pads or Thai pads concentrate
on the noise that the strike or kick makes. In the
start, work on making this a resounding and sharp
bang on all blows of the combination. Don’t go
further till you’ve got this.
Key points
Ycu :hcu|c f(:l |ec(n ccmLinclicn: cn lhe Lecl wilh
the emphasis on good body mechanics. Get your
shoulders and your head moving. If you’re practising
with an opponent, don’t rush in. This is a common
mistake: keep your body behind the punches or
kicks so that you don’t telegraph. This is one of the
hardest things to practise: when your training partner
backs up too much, as they often do in a drill, you
fnc ycu(:e|f chc:inç him wilh ycu( hecc in f(cnl
and raised. Be careful, cautious and aware when
doing partner work. Remember that lots of quality
work can be done on your own; you don’t need to
coordinate with a partner so it can be done any
time, anywhere. Instead of wasting those spare
moments, do your combination training and see the
results after just a short while. Let’s look at ways of
doing all this on your own, which is a great training
method.
Training combinations: solo
In solo training, as in all training, you get to build
muscle memory through repetition.
On the spot
First, start by just going through the combinations
that you’ve outlined, on the spot. Don’t do too
many different types at one workout; to build muscle
memory you have to repeat things over and over.
Five different combinations in a workout should do
for most students; you can add more depending on
how much time you have.
Footwork-based
Next, do the same combinations but with simple
footwork drills. For instance, curve left, do the
combination, curve right, repeat the combination.
This can be done with almost all the footwork drills
we’ve previously shown. Slide and step doesn’t
work so well with this format as it primarily works on
131
a forward to backwards axis, but practise using this
great footwork to break in and out, use it during the
combination to break ground, and try putting the
combination at either end of it. This sort of training
can be seen as footwork training, but if you link
footwork and solid combinations you are onto a
winninç fc(mu|c. Mcke :u(e lhcl ycu ccn´l fzz|e cul
at the end of your combination and die on your
feet. Keep your feet active and use a jab to get you
out of distance so that you can start once more on
training your routine.
Free shadow-boxing
Thirdly, train the combinations by putting them
into free shadow-boxing using slipping and other
body evasion and evading footwork. Mix the
combinations that you’re drilling with single direct
attacks. Shadow-boxing is an excellent way to build
skill. You need imagination, but good shadow-boxing
will internalise all your techniques and give you
warrior skills without being hit. If you don’t know what
to do, just concentrate on one or two combinations
and intersperse them with a jab or double jab, and
use one or two simple ways of moving. To work at
different ranges, use elbows and knees in the same
format as the punches that you’ve learnt already.
Relax and play with the timing and footwork. Once
you have some sparring experience then you can
bring this experience to bear to update your game.
Shcccw-Lcxinç i: c ç(ecl wcy lc Lui|c ccnfcence
cnc c 'ccn cc´ menlc|ily in ycu( hecc Lefc(e çcinç
Iip: 'vi:uc|i:e´
!so omofIon· vIsunIIso fho fghf In vour mInd,
make noises, pretend to be hit and then come
back stronger. Pretend to totally dominate your
opponent. Your mind and body can’t tell the
difference between reality and an imagined
experience if done with ‘emotional intensity.’ Have
fun.
inlc (ec| fçhlinç. When ycu hcve :cme expe(ience
you should go back to your shadow-boxing and
add what you have learned to the format. Have
forward intent at all times, even when moving back.
Don’t stand still; be a constantly moving target. See
yourself as a winner at all times.
Breaking the mould
Finally, break the combinations by only doing them
in a partial format. For instance, only strike two and
three of a four-count combination and add this
to your shadow-boxing, or any two numbers that
fl lcçelhe( we||. Dc lhi: whi|e cl lhe :cme lime
concentrating on body mechanics, balance and
body feel. Change the rhythm of the combinations,
sometimes on the beat, sometimes missing a beat.
Keep a bounce in the knees and change your body
height to mix the height of your blows. Similarly,
work both long distance and close work. Make your
combinations and your footwork like a dance; enjoy
moving through your body.
23 Round kicks: technique
132
14: Rhythm
To be combatively effective you have to have a simple plan which is also profound in its implications. When
vou ore 0ght|ng vou hove no t|me |or concepts ond m|nd work: rother, the bodv must reoct bosed upon tro|n|ng
routines and patterns, and improvise around intuition, sensitivity, body feel and intent. If you see all the various
techniques as separate then this is a lot for your mind to work on and won’t lead to functionality. Simplifying
everything down to its core essence is the way to go.
Strikes can be performed in a variety of ways
and from a variety of angles but when reduced
down to their essence they tend to follow simple
body patterns. Most multiple combinations are
based around simple body rotation. Your choice
of combinations of blows, such as uppercut and
overhead or jab and cross, is guided by the angle
that your body is at.
This means that the body’s core is the essential
region if you are changing punches, and the arms
are just an addition, a way of taking the power
generated at the core to the target. Hitting from the
core of your body, you can change very quickly if
you keep your blows tight. It also gives you the ability
to change your intended blow late, so it’s much
harder for your opponent to counter.
The body rotation that you need to develop to
effectively punch can be likened to a wheel
being turned. A standard jab and cross would be
like holding the wheel horizontally. Uppercut and
overhand blows would be like holding the wheel at
c fc(ly-fve ceç(ee cnç|e cn eilhe( :ice.
Multiple blows with the same hand, often done
on the angle, still have to use the same body
mechanics, except one beat of the double isn’t
delivered and instead is used to build the power to
deliver the second blow.
Whether you are using punches or elbow strikes, the
essential movement is the same. A good way to train
your ability to put these together and to work your
core is through practising rhythm drills.
Rhythm drills
Rhythm drills are carried out using the all of the
punching methods we’ve covered plus the body
evasion skills. This means that not only is your body
learning how to move but you are learning timing.
If you work through this chapter and seek to
unce(:lcnc hcw lc çel (hylhm cnc fcw inlc ycu(
blows then you’re well on your way to looking and,
more importantly, hitting like a pro.
The beat pulse
In pop music, the beat pulse is the big beat on the
drum that you tap your foot to. On a metronome (a
timing pulse machine available from music shops)
you’d set it to about 40-60 beats per minute, or one
per second. Go slower if you need to, or choose
a tune which you like and work out to this. It’s
important to see it as a dance and let it get into your
body. Play with the pulse. If you miss it, just move until
ycu fnc il. Lc:inç il cnc fncinç il cçcin c(e çccc fc(
your sense of rhythm so don’t get stressed about it.
Enjoy moving.
Fi(:l we :ee ycu f(:l hillinç lwc punche: lc c pu|:e.
Ihi: i: |ike fickinç ycu( hcnc cul cnc cclchinç c fy in
the air. Next it’s three or four punches to each pulse.
Then do the three or four punches on the angle,
then on the other side. Then, bob and weave once
per pulse, then twice per pulse, then slip each way
two to a pulse. Next, snapback twice to a pulse.
Then mix any two. Uppercut very short, four or eight
to the pulse, up and down in the middle. Now play
all of these together. Once you own the beat you
133
Two punches to a pulse Three or four punches to a pulse
Three or four punches on the angle Bob and weave once per pulse
Slip two to a pulse Snapback twice to a pulse
Mix any two Uppercut very short
134
can play at losing the beat or striking just before or
just after. It’s like jazz: be discordant and then be in
the beat. Both are valuable.
When I originally studied boxing, I initially learned
to punch on the beat at an angle across my body
- fc:l cnc |içhl - much |ike l(yinç lc cclch c fy.
Once I had this then I would do it for two or three to
the beat. Do this on the spot. Obviously, if you are
going faster the blows have to be abbreviated, but
your body is still working. Get your shoulders to be
loose and moving. There should be a loose bouncy
fuic fee| when ccinç lhi:. Ihen ccc lhi: lc :imp|e
evasion skills like slipping and bobbing and weaving,
ducking and snapback. Do all of these on the beat
or in relation to the beat. Then you have a sort of
improvised dance which can focus on just one
aspect, like the punching or the evasion, or mix it up
into a type of shadow-boxing – but concentrating
on rhythm.
Once you can do the rhythm drills on the spot then
you can start to move around and use footwork,
dropping in and out of the rhythm. Every now and
again go back and go over the basics like slipping or
bobbing and weaving. Because this type of training
goes into your body through the route of music, it
goes much deeper. Relax, let the rhythm take you
cnc fnc ycu( cwn wcy cf ccncinç/fçhlinç.
I remember seeing dancer Gene Kelly and boxer
Sugar Ray Robinson tap dancing together and
Robinson was by far the better mover. It showed
when he fought.
135
23 Round kicks: technique
136
15: Timing
To help you to understand one aspect of timing and to emphasise the importance of being pro-active I’m going
to explain the combat time line. This gives you a way to understand how you can change the nature of a move
depending upon its position along the time line. Then you have a simple plan but lots of built-in variation.
can be hard to explain legally, as a gleam in the
eye can’t be picked up on CCTV, or by witnesses
if il´: c :l(eel fçhl. lf il´: c sparring session then this
i: cL:c|ule|y fne. Fec| fçhlinç cLi|ily i: Lc:ec cn
being guided by your intuition. Not getting in the
way is something that should be cherished when it
happens.
2. Stop-hit
Secondly, you could attack on his preparation, the
moment he starts to attack you. This is the aptly-
named stop-hit or stop-kick we covered in Part 3.
This is highly effective and is an essential part of your
game. You hit him when he’s just getting started.
Most opponents telegraph their blows in some way
or other. This is some sort of movement on his part
that lets you know the attack is coming, if you know
what to look for. Often it’s just a matter of observing
and noting the small routine things that he does
when he attacks.
Telegraphing
Telegraphing is something that you should
concentrate on eliminating from your own attacks.
Often this isn’t simply a raising of an elbow or
c|enchinç cf c f:l Lefc(e lhe cllcck. c( even c
(ci:inç cf lhe eyeL(cw. ll ccn Le :cmelhinç :pecifc
like this, but sometimes it is just that your opponent
has a certain rhythm that he falls into when he is
going to launch an attack, and he’ll repeat this
:lc(linç ccnce ecch lime he ccmmence: fçhlinç.
Ycu ccn cllcck cn Lclh :pecifc le|eç(cphic mcve:
that he does and on his dance that leads to an
attack. It’s important to keep observing in all your
training.
/l cne enc cf lhe ccmLcl lime |ine. ycu c(e fçhlinç
pro-actively; at the other, reactively. When you’re
fçhlinç. ycu ccn cc lhinç: Lefc(e hi: cllcck.
during his attack or after his attack. Stopping your
opponent before he gets started is the best tactic as
you limit his choices and take control of the situation.
However, in the reality of combat you don’t always
get to choose the ground or time where you will
have to attack or defend. Therefore you have to
adapt. Understanding the time line gives you a
better understanding of how things work, which
should make you more adaptable. It should also
make you realise that any technique works only
so long as it’s functional. The time line is just a tool
which you can use to improve your training, so don’t
get too obsessed with it. If you’re being successful
then keep on doing what you are doing; if not then
the time line may help, alongside further work to
(efne ycu( lechnicc| :ki||:.
Fighting time line
Cnce ycu c(e fçhlinç lhe(e c(e c numLe( cf lhinç:
which tend to happen all the time. These constants
are what I will try to explain in this chapter. Once
you’ve understood the time line you can see a
:imp|e çcme p|cn lhcl ycu ccn cpp|y in eve(y fçhl.
1. Pre-empt
Ihe f(:l lime |ine lcclic i: lc :l(ike ycu( cppcnenl
before he gets started on attacking you, when he’s
just started to plan his attack. You see the intention,
the gleam in his eye and attack before he does. This
137
If you don’t take this pre-emptive approach then
you are into the interactive, trading type of combat
lhcl mcke: up mc:l cf fçhlinç.
3. Evasion
Evasion and counter-punching are the next things to
do in your hierarchy of tactics. What makes this most
effective is good footwork and body movement.
Footwork
You can use footwork to stay at a suitable distance
from your attackers’ limbs, either just out of range or
off his line of attack. You should try to be constantly
moving so that his big guns can’t get a good line on
you whilst all of your own big attacks are there, at a
distance, and pointing at your opponent.
Snapback
Secondly, you can stay at a medium-to-close
distance and either snap in and out of range
using snapback, or evade using slipping and body
evasion.
Close-quarter counter-punch
If you are attacked with moves that penetrate
deeper into your circle then you have a third option.
Slip, or evade, and move into close range with
your opponent doing most of the work to close the
distance. By evading and counter-punching like this,
ycu wi|| fnc lhcl ycu ccn hil (ec||y hc(c. c: |cnç c:
your structure is good. You don’t have to be fast,
though you do often have to show some courage
to do the minimal amount of movement and stand
your ground. Counter-punching like this is the most
effective way of hitting hard. The way to train this is
by doing lots of repetition and understanding the
science and effectiveness of this approach. The
closer you are, the harder it is for your opponent
to hit you and the more skilful your attacker needs
to be. He has done all the work of covering the
distance between you. This is now a job that you
don’t have to do; all you have to do is make sure
that you are off the line of attack. Once you are
here at close range you can strike, throw, or strike
and then throw, or move to your opponent’s back
where he is in an inferior position.
4. Block & parry
Blocking or parrying is your fourth recourse. Normally,
in training, these blocks and parries are practised so
that you do them during or at the end of his attack.
Often, however, this isn’t the most effective way to
use them. Like the striking, blocks and parries can be
moved in both directions along the time line.
It’s at middle range that the hand defence
techniques that I’ve shown in this book are at their
most useful and this is what much of your training is
about. These can be done in three ways: before,
during or after your opponent’s action. One is to use
the block or parry before his attack gets started. This
is a very effective way of closing him down and is
much like a stop-hit, but is a stop-parry or block. You
use the block to trap him. Many trapping techniques
can be used like this, before your opponent gets
started. Often I will tell students that the two things
lc cc cl lhe :lc(l cf lhei( cppcnenl´: cllcck i: f(:l
to strike him and second to imbalance him. Use the
parry or block to do this. Play with his balance.
Doing blocks and parries during your opponent’s
attack is effective mainly if you are going to
counter-punch. It’s important not to stop his forward
momentum but to redirect it. Make sure in your
practice that you don’t over-block as this can leave
you vulnerable to trapping.
If you are not going to counter-attack then move,
138
don’t block. The reason that you block or parry is
to keep you at a range or position where you can
deliver attacks. Even blocking can be dangerous, so
why take chances if you aren’t going to strike?
Lastly, you can sometimes block at the end of the
attack and follow your opponent back. This can be
done just to keep the line closed as you counter-
attack, or to trap or jam him so that he can’t defend
as well.
Application of the time line
So how do you go about learning where and when
to apply your time line tactics? The best way to build
the stop-hit, or any other action, into your game is to
use it all along the time line. That is, jab all the time
or front kick all the time, whether it’s as a stop-hit
or after your opponent’s attack. This will make you
better at applying that technique, and you’ll also
|ec(n lhe Le:l lime: lc u:e il. F(elly :ccn ycu´|| fnc
that you are stop-hitting much more often, but are
not under time pressure and you’ll realise that it can
be used all along the time line.
Let me explain. Have one or two stop-hits like
the jab or front kick that you focus on doing all
the time. Then if you are successful and get your
chosen attack in as your opponent attacks, it’s a
stop-hit. On the other hand, if it’s a bit late then it’s
a simultaneous block or evade and hit. Bruce Lee
le(mec lhe :imu|lcnecu: L|cck cnc hil 'Lin :i| cc´.
If you attack after, then you’ve either blocked and
counter-attacked with a kick or punch, or you’ve
counter-attacked after the attack has missed. Blows
normally miss because the distance is too great or
because the blow or strike is slightly curved; it then
has what we call a closing line and an opening line.
The closing line is the diminishing gap in front of his
blow; the opening line is the increasing gap behind
the blow. If possible, hit into the opening line.
The crush can be used almost anywhere on the time
line. Use it early to jam, or as a shield which enables
you to strike and enter behind, or just as a way to
spike his attack.
Ju:l cccinç lhe ccncepl cf 'Lefc(e. cu(inç cnc
after’ to your training and sparring practice will
mcke ycu c much Lelle( fçhle(. ll´: c :imp|e p|cn.
but hugely powerful.
139
23 Round kicks: technique
140
16: Scenarios
What happens when you hit them?
If your opponent has been hit, either before he got
started or by some defensive gambit on your part,
he tends to do a number of things which you can
prepare for and deal with more effectively when
they happen. Even if you, or he, has missed, he may
still do some or all of them.
Scenario 1: He retreats, you follow
If your opponent has been struck, he may retreat,
and you can follow him back with kicks or the
combinations which we have covered earlier. Don’t
over-reach, or chase a retreating opponent too
hard. Work only where you are evenly balanced and
don’t get too greedy; people are often knocked
out as a result of being too persistent in their counter-
attacks. Think of your opponent as a spring. If you
compress him too much, he will spring back at
you. Judge the point at which you’ve got some
advantage and then decide either to continue your
attack until your opponent drops, or, if your intuition
le||: ycu lhcl he mcy cc cne |c:l ce:pe(cle fu((y.
ycu ccn |el him cul lc cc c fcunce(inç ccunle(-
attack and then hit him again at the end of this. In
fçhlinç. lhi: jucçemenl i: hc(c lc çel cnc i: Lui|l cn
experience. Act like a pro and keep a cool head.
You’ll get further this way.
If you’ve hit your opponent effectively he may fall
lc lhe ç(cunc cnc lhe fçhl i: effeclive|y cve(. 8e
careful to make sure that he is totally down. In street
fçhlinç il´: c|wcy: Le:l lc u:e c fni:hinç lechnicue
like a knee drop or round kick to a seated opponent
to make sure he doesn’t bounce back up whilst you
deal with the next opponent.
Use your sparring in the dojo to get into good habits,
inc|ucinç fni:hinç ycu( cppcnenl:. even if il´: cn|y
shadow-boxing style in the air. Don’t leave an active
cppcnenl cn lhe fcc(. /nclhe( lhinç lc wc(k cn i:
whcl lhe Jcpcne:e cc|| 'Zanshin’ (awareness) where
you keep alert to the dropped opponent and treat
him as a threat at all times. It’s important to do this
when doing training drills. Often people turn their
back or don’t pay attention at the end of drills and
build in bad habits that will get them hurt in real
fçhlinç.
Scenario 2: He is stopped but re-groups and comes
again
Sometimes an opponent is stopped by your blow but
re-groups and then comes again. Here you get the
chance to do all the former stuff again, or you can
puni:h him fc( ccvcncinç Ly ':lickinç cnc mcvinç´:
jabbing him hard as he attempts to advance and
then using footwork to keep out of trouble. Keep
him on the end of this stiff jab until he loses heart.
Sometimes you can let your opponent expend some
ene(çy wilh c fcunce(inç cllcck cnc lhen :l(ike him
again when he runs out of steam. As you can see in
these examples, good footwork is essential.
Above all, don’t panic. You are ahead and just
need to keep your cool and repeat what you’ve
already been successful doing.
Fighting is complicated and there are no simple rules that guarantee success. However, understanding the basic
|ormot thot 0ght|ng o|ten |o||s |nto he|ps vou |n both vour studv ond opp||cot|on.
In this chapter I’ll show some common scenarios that happen in combat and ways to use the techniques
covered in this book to deal with them.
141
Scenario 3: He advances
If an opponent crashes in towards you this normally
occurs in one of two ways. One is more passive in
nature. This is where you’ve hit him hard and his
instinct is to get closer and smother your blows.
Sometimes this is done with his head up but most
often your opponent comes in with his head down
or turned slightly from your attack, with his arms
outstretched to make contact. The second is a more
active style where your opponent wants to close
and tackle or throw you. Nevertheless, you can
treat both these ways as one, though you have to
perform to a higher standard against a more active
and aggressive opponent or a trained wrestler.
In the simplest example you can short knee your
opponent to deny him the tackle, then chase
him back or drop him with combinations of strikes.
Alternatively, you can achieve some control over
your opponent’s body, for example with a head
and arm control, and slam him into hard objects,
lcke him ccwn cnc cc c ç(cunc fni:h. Ycu ccn c|:c
divert your opponent’s clinch or attack attempt
much like a matador does to a bull.
Scenario 4: Clinch
Another scenario is when you fall into a clinch or tie
up position after your blows. This is a huge area that
warrants its own book. However, we have covered
a number of the simple options here and this should
give you a good place to start. From the clinch the
fçhl ccu|c lhen çc lc ç(cpp|inç c( lh(cwinç. Ycu
are better off having a small number of throwing
techniques that you can master. In this book we
have concentrated on some high percentage
throws that are easy to do and that happen often.
The head and arm throw is often a good place to
start and can be adapted to be a pure hip throw if
needed. The head is a huge target and you should
have escapes from basic head controls as part of
ycu( çcme. Ihink in c|| c|c:e cuc(le( fçhlinç cLcul
the four directions that you can move in, and train
so that you have some sort of technical skill in all four
directions. Above all, be active, not passive. When
clinching, as in most things, it’s essential to keep a
good base so you are harder to move or throw. If
possible, strike, as this denies many of the grapplers’
advantages. Grappling is a much bigger area and
beyond the scope of this book but you should make
:u(e ycu hcve :cme kncw|ecçe cf ç(cunc fçhlinç
as a fundamental part of your art.
In o|| 0ght|ng moke sure vou ore the hommer ond
not the no||. 8e oct|ve not poss|ve ond toke the 0ght
to him. Even if you are moving backwards, ensure
that you have forwards intent. This will give you
pos|t|ve mento| |eedbock ond more con0dence.
Above all, be the hunter, not the hunted.
23 Round kicks: technique
142
Conclusion
Fighting is complex but you can enhance your study of it by learning the fundamentals well and welding
together o p|on thot w||| moke vou more success|u|. Once vou've got th|s then vou con odd more comp|ex ond
esoteric techniques to the mix. I see many students with lots of knowledge yet with no framework within which
to work. The aim of this book has been to give you some of the keys to integrating your knowledge and to see
where all the diverse approaches can be used as part of your game. I have, of course, focused on basic skills.
You con odopt these to other too|s, or use s|mp|er comb|not|ons: |t's the concept thot's |mportont ond |or th|s
reason I haven’t focused on the complexities of close-quarter work, trapping and locking. Within this book there
are many techniques and concepts that, if you take the trouble and time to master, will make you into a truly
|orm|dob|e stond-up 0ghter.
There are a number of things you need to guarantee
success. Most important is a good teacher or
instructor. Be prepared to travel for the right input,
though if you have an open and inquiring mind
and a friendly disposition it’s amazing how many
incredible people live near you and from whom
you can learn. A good instructor may not be of the
:ly|e cf fçhlinç lhcl ycu fc||cw Lul ç(ecl in:l(uclc(:
c(e lc Le l(ec:u(ec when ycu fnc lhem. whcleve(
system they teach. Realise that some of the best
teachers may not be the most well-known. Judge a
teacher by his students. Are they respectful, friendly
and skilful? Tough, swaggering people are often
found on the outside of the ring, telling those inside
what they should be doing, whereas the ones inside
tend to be a bit humbler and more in the real world.
You’ll be spending lots of time with these people,
so choose well. You in turn have to be a good
student. What does this mean? To me, it means
a person who turns up and does his work, whose
focus is on quality. As comedian Woody Allen said,
'º0º cf Leinç :ucce::fu| i: ju:l lu(ninç up.´ / çccc
student doesn’t complain, but shows his interest
by his actions, not his words. Over the years I’ve
met numerous students who like to talk about how
much l(cininç lhey c(e ccinç c( fçhl: lhey´ve hcc
or masters they’ve learnt from. Then they move, and
you can see instantly exactly what they’ve been
doing and at what level they are. Don’t waste your
time talking when you could be training.
To be successful, you need to be consistent in your
practice. This doesn’t mean training every day; this
will lead to over-training and injury. Three or four
good sessions per week with a bit of other study from
books or DVDs, plus conditioning training, is easily
enough. You learn more when you rest; your body
grows after the stimulus of training and your brain
has the time to sort things out which it can’t do when
you are constantly training.
If you are going to be serious in your study it’s
important to have a support structure. This could
include physical therapists who can help if you get
injured and most importantly good training partners
who share some of your goals. If you want a good
support structure you have to be one to others. Give
advice when needed, be supportive and keep them
real. Martial arts is full of wild dreams and theories,
lots of them based on hope. Keep a base in reality
but be prepared to think the unorthodox.
Use this book as it’s intended: as a base from which
to work. Realise that you’re more important than any
style or system. Learn the rules and then break them;
'if il wc(k:. il´: çccc´ i: lhe mc(c| he(e. Fe:ec(ch ycu(
own experience. Where do you end up all the time?
Then research that position or area, become expert,
and take it from there.
Martial arts is vast and will lead you on a voyage
of discovery, not only on your own inwards
143
journey learning about fear, trust, determination,
diligence and self-discipline but also by awakening
your senses. Through that it will lead you to an
appreciation of different cultures, different rhythms
and music, and hopefully a feeling of increasing
pecce - c|| f(cm c fçhlinç c(l. Gccc |uck cnc çccc
training.
Drills and work-outs
145
s
146
Triangle footwork
Triangle footwork is used a lot in Filipino and Indonesian martial arts where each point of the triangle could be the
start of another triangle so that you have a huge range of ways of moving. This is mainly for dealing with multiple
opponents. Here I’ve just done simple triangle steps to build leg strength and a double-sided approach to body
development. Use these attributes for tackling or evading or as a challenging warm-up. Do rounds of two or three
minutes or until your legs get tired.
Forwards triangle. You can do this with a length
of chain or a long stick like a Japanese Bo,
dropping under the strike to make sure you drop
low enough. Builds courage and entering skills
Forwards triangle and punch. Punch to
the stomach. Aim for the same target
regardless of which leg is forward
Forwards triangle and long knee
Forwards triangle and jab and cross
(different leads each side). Hit the same
targets whichever leg is forward
Forwards triangle and side kick
to the knee or stomach
Triangle away from round kick and
cut kick to the standing leg
Triangle away from the round kick
and side kick to the knee
Reverse triangle and spinning side
kick to static opponent
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147
Crush drills with a partner
Do the following in sets of ten or until you’ve got them down. Then slowly mix together, working on keeping
a central balance, raised hips and strong eyes focused on the opponent. Don’t look at the kick, look at the
opponent’s chest.
1. Tree drill
Outside crush slowly, then inside crush for one to
two minutes without putting the foot down. Think
body structure; hips up, back strong. Builds balance,
strength and proprioception.
2. Partner drills
This is just a sample way to work. Start by just
isolating the crush and getting that right. Have it at
the right angle and don’t let it fold. Then go on to
combination crushing with the same leg. Then use
one leg after the other for combination kicks. It’s not
as simple combatively but your balance improves
as you have to be central and not have the weight
Attacker Defender
Jab – rear round kick Parry – lead outside crush
Cross – lead round kick Parry – lead cross crush
Jab – cross – lead round kick Parry – parry – rear leg crush
Jab – rear round kick – lead round kick Parry – lead leg outside crush – same leg cross crush
Jab – cross – lead round kick – rear round kick Parry – parry – rear outside crush – same leg cross crush
Jab – cross – hook – rear round kick Parry – parry – cover – crush
Then add counter kicks
Jab – rear round kick Parry – outside crush to same leg front kick
Jab – cross – lead round kick Parry – parry – cross crush – lead front kick
Jab – cross – lead and rear round kick Parry – parry – rear outside crush – cross crush – same
leg front kick
Cross – lead round kick Parry – crush either leg – rear round kick
on one leg or the other. Once you’ve got that
idea, follow up with a front kick without putting your
foot down, to build core strength and ability. Then
change the follow-up kick to a round kick as in the
last couple of examples, or knee, hands or even
plumm.
148
Knee workout
Do this with a partner. Put your hands on each other’s shoulders, to keep the range only, not for support.
Long knee
Remember to turn the hip a little so the back doesn’t
take all the strain. It should go inwards, not upwards.
Do one three-minute round using both legs equally.
Combinations
Do this on the Thai pads or, if you’re with a partner,
use the defences shown below.
Attacker Defender
Jab – long knee Parry – chest check
Jab – long knee Parry – opposite hip check
Jab – cross – long knee Parry – parry – chest check
Jab – cross – lead long knee Parry – parry – opposite hip check
Jab – cross – lead long knee Parry – parry – same side hip check
Jab – cross Parry – double parry – long knee
Jab – cross Parry – rear elbow crush / high cover – long knee
Jab Rear parry – lead low round kick – middle rear round kick – lead knee
149
Power workout: Thai pads
In this very simple four-minute workout the emphasis isn’t on doing the relevant techniques quickly, but, more
importantly, making them heavy. Go at the pace that will allow you to put your body weight behind the blow or
k|ck. kemember thot vou're just trons|err|ng bodvwe|ght through vour orms or |egs: don't |et |t end |n them. I| vou
can feel it in the arms then it’s in the arms. Let it go, feel empty and let the weight drop through.
Do each of the following for 30 seconds:
Jab and cross
Grab and knee
Left round kick
Right round kick
Left and right horizontal elbows
Front kick – round kick
Lead front kick – round kick
Finish with push-ups or plank or burpees
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150
Punching workout
Static straight-blast punching
Slowly, one arm sliding over the other.
Moving side horse stance
Slowly, in a continuous manner.
Focus pads
Round one:
3 mins; Jab, double jab, jab – cross, and jab – cross
– hook. Use your footwork. You can do them in any
order, but a good place to start is by doing 20 of
each or until you get a constant sound off the pads.
Eventually, mix against a standard V hold or get your
pad-holder to call the shots. Finish in the last half-
minute with straight blast punches against pads.
Round two:
Ih(ee ccunl punchinç. ce(ivec f(cm lhe fve ccunl
drills. Basically, do cross – hook – cross variations.
Don’t charge in too much; imagine you’re with an
opponent who refuses to back off and you’re having
a bit of a war. Move left and right or snapback
between each combo. Last half a minute: straight
blast.
Round three:
This round is focused on the bob and weave and the
slip.
Single bob and weave against a hook. Come up
and cross – hook – cross or variant.
Single bob and weave against a wide cross. Come
up with hook – cross – hook or variant (double body
or body – head hook – cross – hook – cross.
Double-bob and weave against double-left and
right (or right and left) blows. Come up with either
cross – hook – cross or hook – cross – hook-based
combos.
Let the opponent’s arm scrape the top of your head.
Keep movement to a minimum. Use a combination
of head movement and feet movement to bob and
weave. Finish with half a minute straight blast on
pads.
Round four:
Slip opponent’s jab and rear uppercut – hook. Push
opponent if he’s too close and move right.
Slip opponent’s quick jab with rear uppercut – lead
uppercut – cross. Left hook – jab away and move
right.
Slip opponent’s straight right. Uppercut – cross – left
hook and move away.
Slip opponent’s straight right. Lead uppercut – rear
uppercut – hook – cross – jab away – move right.
Slip opponent’s straight right – lead uppercut – rear
uppercut – cross (same hand) – left hook – move
away to the right.
Finish with push-ups for 30 seconds.
151
Simple footwork and punching drills
Use these simple footwork patterns with basic punches so that you know that, under pressure, you’ll have the
right body position. It will mean that there’s no dead time before you launch either an attack or counter-attack.
I've used s|mp|e bock ond |orwords mot|ons 0rst, then worked on s|mp|e s|dewovs movements. Do the repet|t|ons
so that it gets into your bones, then use the footwork and associated strikes in sparring. ‘If you use it it’s yours, if
you don’t it’s still mine!’ Do each group or just one from each group for a three minute round.
Forwards and backwards
Attack, stepping forwards, with jab – jab
Step back (step and slide) two steps and jab – jab
Attack, stepping forwards, with jab – jab
Step back (step and slide) two steps – jab – cross
Attack with jab – cross
Step back (step and slide) two steps – jab – cross
Attack with jab – cross
Step back (step and slide) two steps and jab – jab
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Sideways and curving
Jab – cross. Move left (step and slide
c( :huffe/Lcunce) cnc jcL - c(c::
Repeat to the right
Jab – move with L step to the
right or around in a curve
Jab – cross – move with L step and
walk to the right or around in a curve.
Re-insert lead leg – jab – cross
Double jab – move with L step and walk to
the right. Re-insert lead leg – jab – cross
Cnce ycu´ve (un cul cf :pcce. :huffe Lcck
to the other end of your training space
Jab – curve left – double jab – curve right
– jab and cross – curve left – jab – cross – hook
– curve right. And so on; you get the idea.
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Combatively, moving straight back isn’t that
desirable. Two legs going forwards is faster than two
going backwards. Once you’ve got the forwards
and backwards idea, work on being less rigid in your
lines and once you’ve gained distance ,move off his
line of attack.
Never going back? I’ve coached lots of people
who always concentrated on going forwards and
who weren’t interested in the idea of rearwards
mcvemenl. Cnce lhey´c Leen in c (ec| fçhl c(
competition and spent most of the time going
backwards they worked the rearwards and curving
fcclwc(k much mc(e cnc we(e Lelle( fçhle(:.
152
Probably one of the most unique individuals in the martial arts
world, Bob Breen is renowned for his teaching abilities and
his knowledge. He has captained his country in international
competition in two differing martial arts and has been at the
forefront of martial arts development throughout his career.
To many, Bob is an inspiration; a period of health problems led
him to have a double hip replacement and he continues to
suffer from severe food allergies. However, he is still in training,
fçhlinç cnc hcvinç fun cnc |ecc: c :upe(L lecm cf :lcff cnc
Instructors.
8cL i: (encwnec c: c :pecic|i:l in c|c:e-cuc(le( fçhlinç. He
teaches a synthesis of empty hand, stick and knife work, using integrated principles for all
three areas. He is regarded by many, including Dan Inosanto, as being superb at close-
quarter and one of the world’s knife defence experts.
Bob began martial arts training in 1966 and from early 1967 began studying Wado Ryu
under Tatsuo Suzuki. He continued in Wado Karate for a number of years and passed
his black belt in 1970, passing his second degree in 1972. He continued to study Karate
and associated arts, moving to Japan in 1974 where he trained under a variety of Senior
Masters.
Bob competed internationally in Karate on a number of occasions. He was captain of the
Amateur Martial Arts Association (AMA) team which beat the Japanese in 1974 – a new
thing then. Bob then moved into boxing and groundwork and was one of the pioneers of
fu|| ccnlccl in Eu(cpe. Lclh fçhlinç cnc p(cmclinç.
ln 1º78 he :lc(lec E:k(imc wilh Jcy DcL(in cnc in 1º7º hc:lec lhe f(:l Dcn lnc:cnlc :eminc(
in the UK. Since this inspirational look at Jeet Kune Do and Filipino martial arts, he has been
a disciple of Guru Dan Inosanto, a student of JKD and Kali concepts, and their use in
ccmLcl. He i: cuc|ifec c: c Fu|| ln:l(uclc( in JKD cnc Kc|i unce( Dcn lnc:cnlc.
Bob is regarded as the father of JKD and the Filipino martial arts in Europe. He was the
founder member of the World Eskrima Kali Arnis Federation in 1987 and founder of the
Eu(cpecn /(ni: Kc|i E:k(imc Fece(clicn in 1ºº2. He fcuçhl in lhe f(:l Wc(|c Chcmpicn:hip: in
the Philippines in 1989, as well as being team coach. He continued as coach in 1992 with a
very successful team.
What sets Bob apart is his reputation as a teacher, producing many of the top instructors
in the UK today. In 2000 Bob founded Jeet Kune Do-Kali International, an organisation
dedicated to expanding the high quality teaching of Jeet Kune Do and Kali throughout
Europe.
About the author
153
Acknowledgements
Sincere thanks to the excellent models featured throughout this book:
Joe Kerr Stephanie de Howes Peter Newton Austin Plunkett
Owen Ogbourne Carl Greenbridge Judy Breen Julian Gilmour
Stephanie, Peter, Carl, Joe and Owen are available
as private tutors and can be contacted via
Bob Breen Academy
16 Hoxton Square
London
N1 6NT
0207 729 5789
154
Index
A
arm breaks 66
attack by drawing 22, 37, 79, 83, 89
B
back-bend 61
balance 16-18, 21-22, 26, 61, 46-47, 51-52, 57-58, 64-
66, 76-77, 81, 83-84, 91, 92, 98, 101-111, 115, 131, 137,
147
ball of the foot 46, 48-49
biceps stop 69
block 62, 93, 137
bob and weave 28, 78, 80, 134
body-check 29
body-hold 61
body alignment 35
body axis 94
body mechanics 34, 36, 38, 43, 129, 130-132
Bong sau 120, 125
boxes analogy 54
C
castle analogy 82
catch 74, 76, 79, 81, 82, 83, 85, 88, 111
centre line 17, 22, 26, 31, 34-35, 49, 88
checks 29, 53, 54, 88, 100, 111, 115, 148
clinch 17, 21, 53, 60, 62-63 120, 129, 130, 140
close-quarter 9, 37, 42-43, 56, 76
close range 21
convex shape 61
courage 88, 89
cover 74, 85, 86, 88, 98
cross guard 28, 29
c(ucifx c(i|| 115
crush 24, 52, 74, 77, 84, 97, 90, 96, 101, 105, 120, 122,
138, 147, 148
cut kick 102
D
distance 75, 78, 79-80, 82, 88, 95, 99, 100
dog-leg shape 85
drag-down 66
E
elbow crush 39, 84, 86, 148
elbow crushes 84
evasion 27, 30, 75, 76, 77, 80, 81, 83, 88, 89, 90, 92,
106, 122, 131, 132, 134, 137
F
fake 35, 49, 50, 57, 78, 89, 95, 101
fçu(e fcu( 67, 68
Filipino martial arts 18, 26, 29, 75
fve wcy: cf cllcck 37
fcw çcme: 60
foot placement 89
155
footwork 18, 24, 54, 58, 53, 30, 75, 76, 77, 80, 88, 90,
106, 129, 130, 131, 137, 131, 134, 140, 146, 150, 151
forward energy 83, 85, 111
forward momentum 90, 108
full clinch 60
G
gloves, boxing 124
grab 74, 76, 88
grappling 18, 21, 43, 69, 60, 62, 63, 69, 76, 92, 96, 108,
116, 141
guillotine 115
H
half-beat strike 83
half-clinch 60
half guard 28, 29
hand-wrestle 53
hand tool 38, 42
'hcnç lime´ 26, 46, 79, 90
head control 60, 53, 62, 60, 63, 86, 100, 129
heavy kicking 49
heel position 16, 34
hip twist 49
I
inside wrap 69
K
Karate 8, 9, 10, 12, 48
kicks
back kick 51
front kick 46, 52, 47-48, 51, 54, 57, 88, 91,
93-94, 97, 101, 120, 129, 138, 147, 149
front kick vs. round kick 46
round kick 46, 48, 49, 52, 57, 26, 58, 91, 111, 102,
98, 120, 122, 126, 129, 130, 140, 146, 147, 148, 149
snap 35, 46, 48, 49, 50, 51, 52, 56, 57, 111, 137
spinning side kick 51, 146
swing 38, 46, 49, 50, 52, 64, 65, 94
kick shield 48
knee-bump 63
knifehand 40
knuckles 34, 37, 39
Kronk Gym 80
L
Lance Lewis 80
lapel grab 66
lateral stance 18
level change 30
leverage 46, 60, 61, 109, 111
liver 50-51
locks 22, 64, 66, 115
long guard 17, 53, 29, 62, 77, 83, 84, 83, 120
long range 20, 39, 120
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156
lop sao 126
M
mask 84
matador 128
measure 20, 21, 56
medium range 21
N
neck wrestling 60
nerve points 64
O
octopus wrench 112
P
pad holding 54
pak sao 126
parry 17, 40, 69, 75, 75, 81, 82, 83, 82, 84, 96, 109, 120,
125, 137, 138, 147, 148
pendulum step 47, 50, 57
pivot 25, 63, 66, 69, 129, 130
plumm 62, 147, 63, 86, 100, 129, 130
power 22, 29, 30, 34, 35, 36, 37, 38, 47, 44, 49, 50, 56,
74, 75, 76, 83, 84, 89, 100, 101, 108, 115, 132,
preparation 122, 125, 136
pull-down 66
punches
Lcckf:l 38, 39
cross 8, 25, 28, 29, 30, 34, 36, 57, 56, 57, 58, 69,
75, 78, 81, 82, 83, 84, 85, 101, 115, 120, 122, 125,
126, 127, 129, 130, 132, 146, 147, 148, 150, 151
double jab 34, 131
hcmme(f:l 38
hook 28, 29, 35, 38, 57, 58, 62, 69, 74, 78,
81, 85, 86, 125, 122, 126, 147, 150, 151,
forward hook 37
shovel hook 38
jab 21, 30, 34, 35, 42, 62, 75, 78, 80, 81,
84, 76, 85, 95, 108, 131, 132, 150, 151
ficke( jcL 35
:lcncinç f:l jcL 35
stiff jab 35, 140
palm heel strike 39
slap 62, 39, 69, 125, 126, 127
puta kapala 111
R
range 20
reap 93, 99
(efex 106
ribs 29, 49, 53, 66, 98, 100
rotation 48, 49, 58, 81, 85, 132
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157
S
salute-type parry 82
scoop 74, 81, 83, 84, 91, 92, 94, 96, 98, 106
shape 12, 50, 38, 54, 51, 61, 81, 82, 85, 106, 116, 125
shield 48, 62, 82, 83, 85, 86, 120, 127, 138
shin pads 101
shoulder roll 28, 37, 77, 82, 83
shoulder stop 82, 84
side clinch 60, 62, 130
slip 38, 78, 81, 109, 122, 150
snapback 16, 21, 51, 81, 82, 84, 132, 134, 137, 150
solar plexus 22, 49, 81, 85
solo training 58
southpaw 13, 26
sparring 11, 12, 60, 77, 100, 124, 125, 131, 136, 140,
151
spear 20, 36, 42, 53
split entry 42, 84
stances 16, 18, 20, 31
standard guard 28
stomp 97, 112, 115
Stop-hit 74, 75, 76, 88
:wc(c fçhlinç 20
T
telegraph 17, 36, 37, 44, 56, 125, 130, 136
Thai Boxing 29
Thai boxing 17, 29, 47, 60
Thai stance 17, 57
thumb gouge 29
timing 20, 10, 34, 49, 44, 57, 74, 75, 84, 85, 88, 89, 91,
98, 122, 125, 131, 132, 136
tortoise 84
toughness 74
Toy Gerk 25
trapping 75, 76, 82
tree exercise 52
U
underhook 63, 69, 98, 99, 100, 116
W
weight distribution 16, 36, 37, 39, 66, 94, 95, 149
wind-up 36, 56, 125
Wing Chun 18
wrenches 66
wrenching 69
Y
yoga 52
Z
Zanshin 140
158 158
159
Visit www.bobbreen.co.uk for up to date information
about the Bob Breen Academy, including seminars and
classes.
23 Roundkicks: technique
160

Dedication
For my wonderful wife Judy and son Jacques, and my family, whose support over many years has enabled me to live my dream. Also many thanks to all the Academy members and instructors, past and present, for their support and for

Bob Breen A path to understanding snowbooks .

stored in a retrieval system or transmitted in any form or by any means.com 1-905005-07-5 978-1905005-07-9 All rights reserved. recording or otherwise without prior permission in writing from the publisher.snowbooks. photocopying. . © Bob Breen 2006 Photography by Pete Drinkell Edited by Emma Barnes Designed by Emma Barnes and Stephanie de Howes First edition Proudly published in 2006 by Snowbooks Ltd 120 Pentonville Road London N1 9JN 0207 837 6482 www. Design and Patents Acts 1998. Whilst every effort has been made to ensure that the content of this book is technically accurate and as sound as possible. magnetic tape. by him in accordance with the Copyright. neither the author nor the publishers can accept responsibility for any damage. electrostatic. injury or loss sustained as a result of the use of this material.The advice and techniques in this book should only be undertaken by martial arts hold specialist martial artist insurance. mechanical.com Feedback? Ideas? Let us know at info@snowbooks. No part of this book may be reproduced. electronic.

Contents Introduction Introduction 6 8 Part 1: Preparation 01: Stance 02: Range and Measure 03: Footwork 04: Guards 14 16 20 24 28 Part Two: Attack 05: Punches 06: Kicks and knees 07: Simple Combinations 08: Head control / plumm 09: Arm breaks & Wrenches 32 34 46 54 60 66 Part 3: Defence 10: Punch defences 11: Kick defences 12: Throws 72 74 88 108 Part 4: Putting it all together 13: Advanced combinations 14: Rhythm 15: Timing 16: Scenarios Conclusion 118 120 132 136 140 142 Drills and work-outs Acknowledgements Index 144 152 154 5 .

Introduction .

7 .

more traditional. both physical and mental. It has shortened the time I’ve needed to become functional in whichever type of combat I’ve chosen. The aim is to make it clear and simple and help you on your way to being an effective martial artist. training in context and to have a deeper and clearer comprehension of it. that I had. These around the world has shown me people’s training needs. Like Lee. It would have been easy to write a book that impressed my peers or that showed lots of fancy Teaching on a nightly basis and doing seminars Scope of the book I n this book I cover primarily empty hands (as up rather than 8 . be tethered to the past and that wasn’t what I wanted. as well as to provide a sourcebook to satisfy students’ questions. when and how to use them. In my forty years of martial arts training all the martial arts that I’ve studied. and thus where the focus of this book should in a modern and functional fashion. At the early stage of my martial arts study I bought books by Oyama and Nakayama on Karate. However. Lee’s focus was on the functionality of the technique or training method and that is my focus within this book. It hasn’t been my intention to cover the techniques developed by Bruce Lee and his friend and training partner Dan Inosanto during the Sixties and Seventies. I wanted to show not only what techniques to use but. It is a techniques as a base and adds what is functional and desirable from modern methods and my own experience to show a way that is relevant to modern martial artists. I have used a conceptual approach and I have taken many of Lee’s thoughts on the nature of combat to very little esoteric terminology in the book. Jeet Kune Do is a principles-based system that has enabled me to see all my other.Introduction Principles learn the principles that underlie combat. The crossit’s easy to come up with instant responses to immediate dangers. I set out to help students along the way by providing an understanding of how principles and other tenets could inform and improve the learning and training process. A book showing this could. When I sat down to write it. This was the book that I needed when write a book that the advanced student could dip into occasionally. it also gives an idea of how the whole thing works. why. more importantly. to an extent. In this book I’ve used a principles-based The aim of this book I have written this book to give beginners and intermediate students a guide to learning and training martial arts that isn’t limited to the techniques being taught. the completeness of these books has never left me and I have sought to emulate that here.

but on lack of technique. but the importance of these cannot be overstated. taking the place of a Japanese instructor who for the rest of my life.and grappling are outside the scope of this book but crucial nevertheless to developing a rounded training kit. but circumstances dictated that I fought fairly frequently a lot of the time. Now I was a Karate practitioner. However. something that I thought was normal. Teaching others and training were my new existence. I had no method to apply. or warming up and down. Another found me at a the world was changing. as I wanted a quiet life like everyone else. execution and strategy. Much of what we read great inspirations to learn more. a reluctant one-time job. Modesty Blaise were around and popular before I heard of Bruce Lee. group threat to single unarmed combat. Maybe that’s why I have had a life-long interest in weaponry and how to defend against it. yet for lots of modern youngsters is alien. In the late 1960s doors previously closed were opening everywhere. Karate was great but at that time My background M y own interest in strategy and principles began before I had heard of Bruce Lee grew up. my visits to Chinatown’s Chinese movie theatres to see him in action made me aware that he was on another level entirely. O’Donnell’s characters showed great use of strategy and techniques and their been invented. then knife against my empty hands. what I wanted to do yet had no interest in teaching: training was my life. This took me off the street corner. My aim is to walk the line between function and technique. Meetings and exchanges with Kung Fu practitioners also happened around this time whilst I was working as a stuntman and I gained During this time we were all adapting. back then. stretches or conditioning training. I was 9 . a stoic monk-like with belts as. My training partners and I used a boxing stance and did hand immobilizations and many of the other things that were talked about in these articles on Bruce. However. To a young man practising Karate they were yet another source of inspiration to gain more knowledge and understand the game more thoroughly. the Karate scene here was very small. as I had plenty. when into this matrix came Bruce Lee. all the time surrounded by a group. Just being in this down-to-earth environment meant I got to see and experience a about Bruce in the magazines we already knew. and then a bottle attack. I was no great hero. Over time I got a boxer and lost not on heart. In my Karate practice I had been fortunate to come under the tutelage of Tatsuo Suzuki 7th Dan. I trained with top Judo players and boxers and loved to grapple even though my Karate friends thought it unseemly.

We took what we could and fought full contact and gained a rough and ready experience. My initial meeting with him in 1979 was amazing and blew me. multi-faceted inspiration came from meeting Don Draeger in . As a result of this ban I have boxed or fought continually ever since. I saw in him how to behave as a true martial artist. He organised the catering for all the top boxing matches. I was forbidden to box at school when I was young because of an ear operation which meant I couldn’t pass the medical. It all Japan. I owe him a great debt. Through him I learnt to be stoical and to adapt my game to my body. away. and. my love affair with good boxing had been fostered as a youth when I worked at the London Hilton for my father. I loved his use of training equipment and was intrigued by the wooden dummy. My continuing enthusiasm was fed by Tadayuki Maeda. Much of it resonated with my own experiences. I learnt not only about timing and counter-punching but also about being a gentleman and having empathy with those who trained with me and under me. Foremost among all I have trained with is Dan Inosanto. I have been privileged to train with Dan for nearly thirty years and I am one of his longest-serving students. I was also studying Okinawan weaponry from my friend John Sullivan who I’d been in Japan with. constantly enquiring but self-controlled and humble. another All Japan champion. Bruce Lee’s training partner. Further. It showed me that there was much more to learn and that I had better get going. We have moved from a master-student relationship to one My own development has been helped incredibly Tatsuo Suzuki in action I knew that I wanted to do what he was doing. He had a bad back injury so found it hard to kick high with ease. Additionally. Through this I met and talked to boxing greats like Jack Dempsey and some great men. though probably not his best. on I never met in person. Boxing has also been instrumental in my development. and my friends.a convert overnight and devoured anything about him or anything he wrote. All Japan Karate Champion. They all left an impression.

mastery is always a relative term. Ralph became my soul brother when we moved into JKD. Dave Birkett. In recent years my training has been enlivened by an amazing group of training partners and friends. At this level it’s about repetition and building body knowledge. I owe a great debt to all of them: Terry Barnett. David Onuma. This is a time of research and study. another long time student and friend Alex Turnbull and my inspirational old friends Alex Livingstone and Ian Oliver. In recent times. plus you start to pick up on the subtleties of the art and build basic technique in depth. Finally I should mention my close friend and student Lou Manzi who I get to work out all my theories on and who serves as my training dummy. and master but above all a constant inspiration. Only once you truly understand can you feel free to abandon the method and go with what the situation dictates. grappling. Steve Wright. Of course. Many of us are at different stages of development in various areas of the art. It’s my belief that good boxing and kickboxing skills will give position to use more advanced trapping (reacting to your opponent’s energy to manipulate and pin. Along with technique this is a time to place great emphasis on learning timing and distance – something you should work hard to develop. Sound knowledge of the basics is essential both in selfdefence and for sparring. This is a core part of developing your game. as he has changed the lives of countless others. but they work better when supplanted by a boxing or kickboxing base. To go through all these stages in every aspect of the arts is a lifetime’s study. He was the ying to my yang and we spent days talking about concepts and strategies. You start to gain the understanding and positional knowledge to be able to use the more esoteric techniques within the art. Dan has encouraged my study of various martial ways and I have had great success in many of these. Any art that allows you at an early stage encourages improvisation around a theme or simple concept. arthritis limited my game until I had two hip replacements. Foremost amongst these during the Seventies and Eighties must be Ralph Jones and Geoff Britton. The training partners I have had along the way have been an invaluable aid to my development and my understanding of martial arts. Meeting Dan has changed my life. 11 . Owen Ogbourne. from which I recovered with the help of some great training with James Evans Nichol in Submission Wrestling and in Silat with Steve Benitez and his team. as you get better the level of expectancy just gets higher. you can start to learn more about the method and the techniques involved. mentor. Seek the method The progression for anyone learning any art tends to follow the same pattern. whilst also emphasizing quality basics will. allow you to achieve some mastery of your art. who started training with me over thirty years ago. We were the band of brothers who travelled and fought together. Build a base In all arts the highest levels of achievement are built upon mastery of the fundamentals. Good boxing skills also at ease in a chaotic situation.where he is friend. Like me he shared a love of Modesty Blaise books. I believe. Neil McLeod. This is how we describe it in my instructor training program and for our phased training program: > Build a base > Seek the method > Become the method > Abandon the method > Return to simplicity Once you have an understanding of a basic game. Wayne Rowlands.

before it even gets started. You create your way. based on the past in a knowing way. I want the simplicity on the other dichotomy between being functional whilst also Abandon the method Return to simplicity This book is mainly concerned with giving you a toolkit of techniques and an understanding of where This can only be done with a good knowledge of the fundamentals. you start to use your growing recognition of shape and movement. taking it as it comes. I don’t want the simplicity on this side of complexity. Of course the ultimate aim of martial arts is to forestall any belligerence on a potential opponent’s part. The highest point of the art is where you can force your opponent to do what you want whether he is aware of it or not. Then it’s on to really understanding your Looking at this process from the beginning you 12 . that doesn’t mean only knowing what the fundamentals look like and being able to mastered and internalised the techniques you can start to interrogate them. To paraphrase the poet Oliver Wendell Holmes. you construct a situation where the person is likely to do the thing you want.Become the method attack or defence looks like. and a reactive approach if you’re defending. To research your experience you have to have some. In the many reference points. as Bruce perform them parrot-fashion. as Lee called them. I had tried a naïve. and you have a base or common entry point for improvising or relating to your opponent’s energy. responding with the appropriate technique.’ is the ethos of this type of training. By using reference points your improvisation skills are based around common themes and start points. when you’ve done lots of repetition in drilling and sparring. This is OK at a base level and we all have to go through this. approach in my youth and found that I just got more bruises that way. then adapting them to your body and to your experience. you just go with what is. Next. by your spiritual and physical presence. You don’t choose beforehand what you to your opponent and what they choose to do. and chaos doesn’t seem so chaotic. There is no short cut here. the From these reference points you have numerous techniques available. This is when you are At this level you are in the art. so this means sparring. this level you have no expectation of how things will be. Eventually you get to the point. yet chaotic. Alternatively. This is the trap that a minority of Karate practitioners fell into (though to my mind that isn’t the real it must be good. drilling and learning as you go. You know the techniques and now are in a practising mode. This is where you build your experience. often without try this’ type of approach if you’re attacking. to abandon the method – you are on the road to all of my training and teaching it has been the gaining a deep knowledge of the fundamentals. back to where. throwing away eventually come full circle. where you can see the shape of the coming attack. building a base. selecting and developing those which work best for you.

you should be training all techniques on both sides.This process. 13 . only approach where generally simple works best. Research your own experience. look at where on the line you do most of your work and adapt it so you have more depth and understanding. He was an innovator and has changed the face of modern martial arts worldwide. There is no substitute for a good teacher and you should go out of your way to seek one out. make sure at all times that you respect and take care of your training partners. An understanding of opening and closing lines is essential if you are to make the most of your opportunities. for convenience I use the each time. If you’ve got the time it’s immaterial which side you start out on. If you’re just starting out I normally recommend that you put your left side forwards if you are right-handed. Choose whichever approach best suits you. If you are more experienced or seek to understand the timing aspects mentioned time line in chapter 15 and keep that in mind whilst reading the rest of the book. Finally. both sides work and both have advantages. approach. However. Apologies to anyone who thinks I’m being sexist – if you knew some of the female black belts at my Academy you’ll know I’m under no T moves on to more advanced technique and fundamentals. can be accelerated if you know what you are doing and where you are going. I think. Realise too that sometimes appearing to be slow and behind the beat is often just as effective as being ahead of the beat as long as you are not being hit. Notes How to use this book Throughout the book. However. As you advance. I’m also going to assume a left lead – apologies to the southpaws out there. I have given training routines which will help your progress. Think about and after’ to good effect. Bruce way and we should respect his genius in this. I’ve seen a You should also use this book in conjunction with professionally-instructed classes. Ensure you approach your training with focus and passion. Look at ways you can advance your techniques up the time line so they are more pro-active rather than reactive. but be thoughtful and considerate too.

Part 1: Preparation .

15 .

Note also that they are in an offensive position directed at the opponent. As you progress. Ultimately. you forget them. Front stance 16 . The weight is forward on the lead foot and the rear heel is raised. which would show your opponent that you are defensive and no danger to them. It’s about learning where your balance is. so you must remain balance in all directions with ease. they help you to execute a particular technique and so they poses. Your body inclination and direction should show this in no uncertain terms: offence is the best defence. The body is slightly turned so that you offer a smaller target. or it can be a more permanent type of footwork move.23 Roundkicks: technique 01: Stance Drew Bundini Brown In this chapter we will cover basic you need to be well balanced. The most suitable thing to do is often dictated by your opponent. rooted at the point of impact so that you can deliver blows with force. not pointed upwards. a stance is like a still from a movie. Simple stance changes can have a profound impact on your opponent’s ability to strike effectively. rather. and learning how to move between stances or to move using the same stance. a snapshot of part of a movement that isn’t stiff or develop good effectively whilst remaining mobile. The raised rear heel is crucial as this will allow you to move backwards easily. you learn to improvise around them and they become transitional. With all stances and footwork. whilst at Stances are not techniques themselves. attacks from. and the hands are held high and tight to cover against blows. stances as a handy reference point and you have to learn them well. This is really important: it’s essential that you are the hunter and not the hunted. Using stances at this early stage helps you to Front stance The front stance is the basic stance used in boxing. This can be done snapback’ (see page 78) where you move and then come back to your attack. keep your striking and kicking tools directed towards your opponent.

Be aware of tackle attempts and keep light and mobile so that you can respond easily. the heel of your lead foot lines up with the toes of your back foot. You can make this stance slightly longer at times. then integrate hands into this mix. or by striking. Hands can often be out in a long guard. protecting your centre line isn’t so important. thus killing his boxing range. more neutral stance used commonly in Thai boxing. though this isn’t a problem if your knee techniques are good. Even though this might telegraph your intentions. The long guard can be vulnerable to your opponent coming underneath it with hand attacks. they can be used to grab your opponent and bring him into a clinch position. This front stance is the best one from which to use hand strikes. The squarer position means that you can kick easily to wide angles. The extended front leg is vulnerable to attack either from round out of it using a shorter Thai stance (see below) as your neutral stance. so that you can use the legs easily for low-line defence. Place your feet so that the back of Pros and cons The Thai stance is great for kicking. you can keep him at bay using kicks and long knees. rather than kicks. You are compact. Thai stance 17 . If your opponent attacks. of defence is your legs. punches tend to be weaker unless you drive from the ankles. which are kept hard and strong. either by crushing. with good balance. these extended hands serve a multitude of purposes. and you can use your hands to mask your opponent’s face so that he can’t see whilst you attack. though it is not so good at long range. they can be used very effectively to parry your opponent’s blows at their origin. Make sure that the hips are raised and both heels Thai stance This is a shorter.Pros and cons It’s an easy stance to learn and use. and leg strikes at longer distances. It provides a great platform for delivering hand blows in particular. but it is normally kept quite short. They can keep your opponent at a kicking or kneeing range. lead kicks are normally done with a step or slide. The hands can still be effective but because of the raised heel stance. In the front stance. if the step and slide are disguised with a hand strike or a feint they work well.

However. in a looser format.Lateral stance / Yee kim ma Pros and cons The lateral stance is used at close range. passively. Open your legs as shown by rotating out further. it means you have an attacking angle on your opponent. of opponents’ blows. It differs from the boxing and Thai approach in that the head is further back. Elusive and very functional. This will give you the standard stance. or can be made much more aggressive with the use of blows like the straight blast or chain punching which is hard to counter at close Lateral stance 18 . When attacked on one angle you adjust your weight and move to the other angle. it can be looser than this. just as long as you understand the principle. is essential. These are some of the basic stances which we will work with in this book. is also used by Filipino Kali and Indonesian Silat systems. One leg has seventy percent of the weight and the other thirty. Though this isn’t the best stance for delivering very powerful blows. it is highly effective in a self-defence mode or when you don’t want to escalate what may just be a tussle into an all-out this to boxing or clinching and standing grappling formally in Wing Chun styles. the lateral stance can be used to stay out of the way. They are just the basic building blocks and should be well practised. Add these to the footwork drills in chapter 3 and develop an awareness of your own body’s balance and movement. It requires good hand skills to be most effective and only works well at close range. this stance.

19 .

Phrases like ‘I’ve got the measure of him’ have their origins in the combative notions of measure and range in hands. medium inform the stances that you move through and the techniques you select. you would need to step in to use any of your attacks effectively. or at what range you can most effectively use your various kicks and punches – your body tools. alongside out of the range of his kicks and punches. destructive tools. Understanding ranges There are four basic ranges: long range. Don’t see ranges as the space around you into ranges is a useful way to lay the foundation of your understanding and make it easier for you to learn techniques and concepts. range without thought as you respond and react. You either want to draw him in or use methods to bridge the gap. Long range When you and your opponent are just out of each other’s reach. You use your longest spear-like tools – including lead side kicks. front kicks and jabs – to both measure your distance and to get closer to him where you can use your more effective.23 Roundkicks: technique 02: Range and Measure Range and measure. Sometimes techniques work in all three standing ranges. Find your measure with a jab 20 .

In the picture (left) you can see my hand measure with a jab I just add four inches). at this range your opponent can deliver all of his tools most effectively and may be feeling his most comfortable. Then you can go on to understand how to increase your workable distance by adding different types of step or lunge. However. not too far away. The other alternative is to be able to move easily into the long range with the minimum of effort. clinch. I make sure that I stretch even to the point of being nearly off balance so that I know the furthest extent of my reach. so that with a minimum of movement you can be just out of range. the ground Finding your measure Your measure is the furthest distance at which your tools work well against your opponent. I get to know the furthest range from which my tools still hit and then just add the different steps. he over-extends. or alternatively taking him down. or with lead leg kicks. and over time I get to know the length of my step. it’s easier 21 . trapping. Here to go closer and restrict your opponent’s chance to unload by tying him up. This makes it much easier for you to counter-attack. knee and elbow. you have to know your measure with the jab and the lead leg side kick. standing grappling and throwing. for you to know your opponent’s. You can snapback so that he misses by fractions of an inch. locking him. First you have to learn your measure. Because he’s missing every time.Medium range Medium range is where much martial arts training takes place and as a result it’s where the close. First. It’s very easy to understand both your own and your opponent’s range and measure once measure. Once that’s done. This range thus has many games and approaches which include boxing. then you can slip in and be so close that either he Close range At close range there is a lot of potential for things to happen. Similarly. I then mentally know that I will be able to hit my opponent if he’s within my measure or my measure plus a step. once you know your measure you’ll be better able to gauge your opponent’s distance and use range defensively. and locking. grapple and tie your opponent up. It seems complicated. in addition to striking. then be ready to come in again when the opportunity presents itself. It’s a dangerous range and has to be well trained. stepping within the length of measure to which you can then add steps if you aren’t close enough. If he’s leg and then the lead leg. depending on how much ground I have to cover. If my opponent is at a longer range I do the same jab but with an initial step. but the place to start is by learning the range of your tools without stepping. Although outside the scope of this book. Both you and your opponent have most of your tools available and you can manipulate. An alternative to making his strikes miss is drawing him in deeper. your longest tools. much like using a ruler.

either for chain punching or attacks up and down your centre line. Core principle: Centre line The centre line is a crucial aspect of your understanding of the combative relationship between you and your opponent. so they take unnecessary steps to get close enough. if you close one door you’ve only opened another on the other side. In these ways you destroy you are in the right place to knock him down or out. Also. Rather. therefore he’s not able to attack your centre as effectively as you are his. throat and chin differently. From a defensive standpoint you’ve got to realise that you can’t defend everywhere. If you cover the centre you’re open at the edges. and announces their intention. Don’t let that be you. 22 .’ You seem open but in reality you’re ready to respond. Leave your centre line open but close goes round and checks all the opponent’s centre line without being directly in front of him. This uses too much time.can’t generate enough power or the angle is wrong for his blow to work effectively. Bruce Lee called this ‘attack by drawing. where your eyes don’t work at their best. so you have to centre line open – it’s the area where your eyes are the best defensive tools to use. if you cover the edges you are open in the centre. you draw your opponent to attack you down the centre line – you lure him in. in this way. solar plexus. Many of the prime targets like the groin. Then you can clinch or manipulate his balance. What you should do is close no door too tightly. you can’t effectively defend both high and low lines. use a combination of body or head movements with a minimal blocking or parrying method to defend against any blows. hooking blows to the head. I spar with many students who have no knowledge of their own distance. Similarly. Your arms are better deployed to guard against looping. Some styles like to defend the centre line by having the arms there.

23 .

you need to move with the minimum of effort and only just enough for your opponent to miss and waste his energy. Combatively. Step and slide Slide and step 24 . Most people in class would like to stand where they are. This is the standard way of adjusting your position in relation to an opponent so that you can stay at a consistent distance. This is normally the point at which you are at the end of his range and the beginning of yours and where both of you can hit with your hands if you take a step forward. thus it’s essential that you overdo Therefore make sure that you exaggerate your use of footwork in training. range in relation to your opponent when the gap is slightly larger or you have to make up distance. slide the front foot back. as sometimes closing one door just opens another. Moving right is – there are a number of other options for moving right that are more functional (see L step. When going forwards it can be used to jam your opponent’s attack attempt.03: Footwork Footwork training features an essential contradiction. Get to the point where you love to you should make sure that you don’t do too much.26). See this Boxing series footwork Slide and step Step and slide The slide and step can be used to maintain your footwork to learn is the step and slide. Slide your back foot up towards your front foot then take a step with your leading foot. p. A variation on this theme is to raise the closest leg like a crush or jamming technique. When going backwards. and when going back it can be used to crush your opponent’s attack or counter-attack. Alternatively it’s great when accompanied by strikes which hide the footwork. You move the leg nearest to the direction you are going back in your standard stance. and then take a step backwards with your rear foot. to be really competent at footwork you have to do more than is necessary in the training stage so that you get to the point where your body loves to move. Don’t bob up and down: keep your head at a constant level. However. This can be done forwards and back and left and right.

.

Don’t be there. It can also keep you out of the centre line focus that your opponent wants because that’s where he can charge or lunge in most effectively. Practise curving either in shadowboxing or when doing pad work (the feeder can give you slow round kicks or wide hooks to get you to move off-line at the end of your combinations). or at close range where you are making the most of a bad position and crashing inwards. It has a sort of skipping feel to it. because if you try to pull it out you will get what Bruce Lee hang time’ where you’re lingering at the end of a blow. Both work well and can mess up your opponent. and connects foot and brain quickly and instinctively. Step through This is a different stance change but this time it is performed at medium to close range. Therefore you can see that it is possible to change stance at long range. crushing or trapping technique as shown. or when your hit falls short and you just follow it in. Watch good Cuban boxers and you’ll see this used to great effect. You don’t need to move too far. You can see this as a stance change done at distance so that you change from an orthodox to a southpaw lead. as in going round the pad. Often we do this either with a L-step (Switch) Withdraw your lead leg and step to the right with your rear leg. waiting to get hit. Once you’ve switched you can either replace your lead foot on a parallel line to the initial one or you can walk in an arc and reinstate your stance anywhere on the arc. just far enough that you are off the centre. Often used in Filipino boxing. It’s easy. either when attacked or when you decide that it is a good thing to do. Being just off his centre line all the time means that you are stealing time from him yet keeping your own attacking options open. L-step 26 . it immediately puts pressure on your opponent’s balance. Stance changes Around the pad drill footwork drill we teach at my Academy. This footwork gets you out of the range of his big right hand punch and is an easier way to move to the right than the step and slide or curve.Curve left and right Curving left and right takes you out of harm’s way against an opponent trying to trap you in a corner or against side attacks like the round kick. Once again it makes you light and elusive.

We’ll look at body evasion later on in Part 3. Going around the pad Step through 27 . use footwork as one method.Summary It’s important to note that you can either move to do both at the same time. So when working evasion. and body that most people won’t see that it’s two different approaches.

Make sure 28 . it’s a great way to cover whilst actively bobbing and weaving. which is particularly effective if he is using the standard guard. Here. the lead arm is in a The cross guard is versatile and can be used in a variety of ways. Quadrants Standard guard Standard guard This is where your forearms are held vertical.04: Guards of your body as possible. body turned to offer less of a target. Cross guard Half guard Use the half guard when you are at medium or close range. position to lead hook and can also be used as a bar across your opponent’s body used to push him off balance or jam him so he can’t use his hands. The rear hand covers the rear quadrant. It is often easier to bob and weave with the lead arm dropped. use it to crush your opponent’s blows (p. 75). There are four types of guards that you need to know which we’ll look at in this chapter. 82) and bob and weave (p. and to do this it’s helpful to visualise the body divided into quadrants as shown below.78-79) to cover against right hand blows. Firstly. Point your hands towards your opponent. the lead hand covers the lead upper quadrant and the elbows cover the side rear and lead quadrants. Use the shoulder roll (p. elbows in. like two pillars. Secondly.

You can also manipulate his head to offset his balance or use your thumb to gouge his eye. Body movement and closing your opponent down are essential parts of both these guards. Long guard The long guard is used in Thai boxing and Filipino Kali. check him to reduce his kicking power and use the extended lead to head grab and eliminate his boxing range. often the cross guard and the half guard don’t work particularly well at long distances and can leave you open to simple trapping. This exposes the ribs but the added risk can be worth it as it’s much easier to manipulate your opponent at the origin of his blows and kicks. or both. you can easily trap his limbs as your into the cross guard from the half guard. hands can be extended. Either.Half guard Cross guard both hands are fully cocked to enable a left or right hook. You can bodyLong guard 29 .

Also.Checking the doors trapping attempt when not threatening his line with like that in the photos. Remember all of this is built on simple basics. Take the standard guard as an example. disguised in a sea of constant motion. changing distance and changing power – light and evasive then hunting down with power blows. Touch your forehead occasionally to make sure that your hands are up (it’s so easy to drop them. though they can sometimes go forwards to cut his angles off for any potential body strikes. move the rear hand as if you’re cleaning a window. The rear hand can make little circles and occasionally go forwards in a vague footwork. he can get the cross in only occasionally because you’re monitoring your cover with a head touch and he can’t reliably predict that your hand will be there to be trapped. Add level change to this. It makes it very hard for your opponent to deal with and puts you in charge of what’s happening. time of your choice go back in with intent. so make this a habit) position. This means your head is moving up and down in addition to evading left and right. threaten your opponent: don’t think defensively but always threaten to take the game to him so that he is more hesitant and is stopped before he builds up momentum. Above all. Keep the elbows tight. using your knees whilst keeping your head up. Learn integrate them into your game. and head movement as well as evasion. Be the hunter. Vary the a cross or other blow. The lead hand should pulse towards your opponent so that when you do part of it is hidden from him. This means your opponent has to watch for your jab. change guards and game occasionally as he will be planning his response to your standard game your opponent mentally unbalanced and not in 30 . Similarly. instantly reducing your hitability.

distance and the centre line.In Part One I’ve covered stances. footwork and guards and introduced the concepts of range. In Part Two we’ll look at strikes and kicks to use from the mobile base we’ve created. 31 .

Part Two: Attack .

33 .

yet its use can be very varied and very destructive.23 Roundkicks: technique 05: Punches Principles of striking I see many students at my Academy who are very muscular yet can’t hit hard. It’s even more important that you hit using your skeleton. not just your muscles. if you need the extra depth to hit the target. body in you can learn how far away you can be whilst still able to hit. The double jab is for penetrating deep into your opponent’s defence. As one of my old friends used to say. using as many levers acting together as possible. Add a lead step. knuckles of the contact your body should form a straight line going foot. for putting him on the back foot and possibly to set up the cross. Make contact with your opponent with the bones of your body lined up behind the strike. Ways to practise the jab First practise the jab on the spot. Once you can do this well. The rear hand is near the corner of the jaw and the lead hand is on or near the centre line with the elbow tucked in. ‘where there’s a joint. practise with a step. Turn the hand so it is palm downward en route to making contact. Punches The jab The jab was accurately described by Bruce Lee and The jab is inherently simple. The hand should Double jab double position so you use the correct body mechanics. As you’re stacking your body up in a straight likely to crumble if you hit a heavy opponent. Once again. without moving your feet. To think of the jab as just an opening or ranging shot is to only understand one aspect of it. Move your head slightly forwards and off-line to the right so that even though you deliver the jab quickly you are still hitting with all of your body’s weight. as we saw in Chapter 2: by leaning your The basic jab Stand in the basic front stance with both hands up. Push with the back leg. It shows that good striking ability isn’t based solely on muscular strength but rather on good body mechanics: hitting using all of your body. in particular from the raised-heel rear foot. Starting position Whilst your lead hand should generally start from a Circle the hand both clockwise and anti-clockwise and pulse it towards your opponent – it means your jab has various starting points and makes the timing of the attack harder for your opponent to forecast. Take a step forward on the second jab. don’t get the power for the second jab from 34 . It means you will punch above your weight and it will put you in the ‘big hitters’ league. there’s a weakness. Let the power for the second punch come from a bounce in the legs. so that there are a minimum number of joints having to be held in place by gross muscular force. making sure that you move the hand before the foot.’ Throughout Part Two I will show you how to line your body up for maximum effectiveness.

Also use it as a fake to draw his guard high so that you can come in underneath. The jab is used when your opponent has a very tight guard. allow less snap in the muscles and joints than with the regular jab. than power should come from the legs and correct body alignment. Instead. if not harder. lock your arm for pole. First let’s look at the stiff jab. The surprise nature of this jab makes your opponent overreact. rather. Change tempo and power characteristics too. Mix in doubles and the stiff jab as your opponent starts to respond. Line the body up and. and you have a potent strategy. This is a great way to interrogate the centre line and often sets up the left hook really well as your opponent tends to close the centre tightly. Don’t drop your hand or let it curve inwards as your opponent will then have an open line along which to strike. best done when you are retreating. The best method is to mix all the jabs together. Keep the elbow in and the Other jabs It’s a good idea to work a number of variations to the jab. Flick for distance and presence then change the power so that suddenly it’s a really heavy strike. as you punch. You should feel the shock of the punch go down into your rear foot. This is the opposite of the jab out.the arm. legs. but this jab can still be thrown when you’re unprepared. Keep your rear hand open and near the corner of your jaw. almost spring from the legs so that the arm needs to do the minimum of work. Work on making the second jab as hard. Next there is the stiff jab. Bring the hand back quickly to its starting position after the second strike. keep your elbows in and your head down. Make sure your body is lined up properly if you can. Jab 35 . The stiffness of this blow prevents your opponent from coming forwards. Use the jab to gain intelligence about your opponent’s intention – it gives you instant feedback about his thinking.

Cross 36 . we often refer to both the cross and the straight right cross. Then hit at It makes you practise putting your hand into the holes in your opponent’s guard. It can help to think of this as hitting at various numbers on a clock face. a change of distance can often make it miss and go across the front of you. whereas the straight right goes directly through a hole in the centre of the guard. as the name implies. However. if defending against it. This method can be extended until you are hitting directly overhead in a looping hit that descends. Use both methods to understand the tool: practise with minimal commitment where the cross is fast and snappy and then with greater commitment by throwing your body weight behind the punch. can be very hard to deal with as it penetrates your guard at an unusual angle. Rotate on the toes of the rear foot and turn the shoulders. practise punching with the arm leading and the body following and supporting the blow. the cross is meant to go across and around his guard. like Mohammed Ali. Also. If seen from your perspective.The cross and straight right Rear-hand punches are amongst the most powerful tools you have. As with the jab. onto your opponent’s head. Let the rear knee follow the direction of the punch but remember to have all your levers lined up so that they add power to the Straight right To deliver this punch. Cross Whereas the straight right is intended to spear straight through the opponent’s guard. bang on twelve o’clock. turn your body as if the left hand side of your body is a hinge. It is worth remembering that the rear hand punch can be thrown at a variety of angles. but they share similar body mechanics. others. Make the hand travel in a straight line.’ However. Make sure all your levers are lined up and throwing the punch forwards. don’t let the elbow come out too much or it’s easy for your opponent to blow. As shorthand when teaching. punch straight and hit towards the six o’clock. Here we are going to deal with them as separate punches. The cross. You’ll make the timing of your blow much harder to read. the cross is a punch which loops around the opponent’s guard. Concentrate. there are different types of cross and straight right. like the right hook. like Mike Tyson. use their straight right and cross like missiles. like a jab. Your degree of commitment to the punch can change depending on the circumstances. use this almost It’s important to hit with the whole body so be sure Have the rear knee pointing in the direction that you are hitting and don’t let it twist too much to the left. so that there is no telegraphing of the punch: no wind-up or clenching Some boxers. then do the the arm. Move your head off-line. forward and to the left.

but because the weight is on the lead foot you can’t rotate it as much. rotate the body and do the punch at the same time. you can let the punch come with a bit of a delay which will give the hook extra whip as it tries to catch up with the rest of the body. Bruce Lee used the term attack by drawing’ to describe this form of attack. for example. drawing your opponent deeper into your defensive ring. Make sure the elbow is in a line behind the hand on contact with your opponent. If you move the foot to the side as you make the jab. without telegraphing your intention by raising the elbow too early. innovative set of principles to help students to The secret to the execute the left hook. as it adds more bite to the punch. Make sure that you penetrate deeply on the cross and then rotate your lead foot. should move to the back. Be careful to let everything line up at the moment you make contact. knocks you out.Jab and cross When moving from the jab to the cross in a combination. A good way to practise the mechanics of the hook is by training it in conjunction with the cross. socalled because your body weight is forward. You still rotate your body. close your body as you retreat with a shoulder roll. which it won’t be in the street. Try to move the feet. the idea is to drop your opponent in one punch. you will need to move the lead foot out to the left side. bring the weight forwards. and complete the hook. Don’t rotate towards the rear. minimise your exposure by doing a shoulder roll. turn your hips number of ways of holding the hand and each has vertical with the palm towards you. because it’s a smaller movement than the retreating hook.’ The standard lead hook is often thrown in a retreating manner. it makes it easier knuckles. instead. Feel it through your two main knuckles. However. then you are set up for the cross and you haven’t telegraphed your intention to your opponent. Remember. Hook and forward hook 37 . If you hit with the palm down there’s a greater chance you will break your hand if it isn’t taped up. Some people advocate the palm down method as it has more bite. power and bite. at close-quarter it works very well. Use the momentum of the turn to rotate the left hook into the target. The hook The hook is one of the best punches in boxing because it comes from outside of your opponent’s eye line and allows him little time to prepare himself. Try both and see which suits you. Most important is to rotate the lead foot so that by the end of the punch it has moved through hook. On this hook works best. As your training advances. allowing the right shoulder to drop back: this makes you much less Forward hook The second type of hook is the forward hook. likely to get hit. so your punches have to have weight.

lean back (whilst keeping balanced). Slip in either direction and line your body up as shown. You can almost look at the shovel hook as an inverted cross. I’ve best. or hand tool. Alternatively. the shovel hook can be used to the body or to the face. Let the body mechanics of the cross build up the body tension to pay for the hook. as he attempts to slip. Shovel hook Backhand blows Here I’ve grouped together as they have a similar motion. Uppercut 38 . Once you have it. with your elbow near your hip. Slip right or left and align the body. Use the uppercut as part of a combination where you search for the opponent’s head from a variety of angles and. At closer range there is little difference between the blows except for the hand shape. begin all of shape of the hand only as the arm extends. though they do look similar. bring your hips forward and swing upwards.What is important in this drill is to make the difference between the end position of the cross and that of the hook as great as possible. involved. It is strong and effective and it’s easy to sneak it inside the guard. This isn’t the same punch as the uppercut. you hit him. Twist the body. the punch goes inwards Uppercut Used at close range. though at shorter range: the punch comes from the body’s core with the arm doing minimal work. Whatever hand tool is ultimately used. the uppercut can be hard to stop. For the ultimate in power it’s important to stack your body parts one on top of the other so as possible. Do this drill hundreds of times in a constant motion without pausing at each end until you get the hook to really work well. Shovel hook Made famous by boxers like Jack Dempsey. you can just adapt that feel to whatever type of hook you are using. It will mean that you get two for the price of one.

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as the power is focused upon a small area. It’s great as a half-beat strike which for me every day. which is also usually applied to what’s functionally useful for your training. but I Pak sau. to areas like the throat. this is one of my favourite strikes but it requires really good timing and lots of repetition to make your own. Also. its powerto-effort ratio is high.Knifehand The strength of the knifehand is that it will go into holes in your opponent’s guard. the throat. This should help you to focus on the spearhand. half-beat throat chop 40 . There are a number of general methods for training this and the other blows. that other blows can’t reach.

Pictured below are four knifehand sequences. 41 .

Here we show it used to open up the high line which would make it easier to deliver a following kick. scoop his jab away and then insert the spearhand to the throat. This works a treat and is used instead of the spearhand. a technique often called the split entry. If your opponent attacks with jab and cross. though my own preference is for the spearhand as it stops your opponent dead.Spearhand The spearhand is your longest hand tool so it makes sense to use it to good effect from a distance. spear hand Split entry against cross Split entry against jab Spearhand over cross 42 . The techniques can also be done with a punch. Split entry Let’s look at using the spearhand inside your opponent’s attack. closespearhand can be used both inside and outside of your opponent’s attack.

it’s not so effective and is relatively easy to block which leaves you open to counters and grappling. when your hook misses you can let the elbow follow through and do the damage. This is normally achieved by making a cutting motion with the tip of the elbow. we show the spearhand executed in a cutting motion over the top of both the cross and the opponent’s blow and you can slide your spearhand into the eye area. Spearhand strikes don’t need to have a stiff hand. This way you develop a close-range capability whilst still working the body mechanics for a medium and long-range game. Use the elbow where appropriate in place of the punch in the combinations throughout this book. use it defensively. Horizontal elbow Counter to head control Downwards vertical elbow on pad 43 . and it can be used in a variety of ways. to crush your opponent’s attack (p. rather. it can be used to attack. the hand can be kept loose Elbows The elbow is one of your most destructive weapons at close-quarter. Firstly. For instance. the elbow can be used with other strikes when in close range. Whilst it can be used as a club.Below (right. 75). In addition. Secondly. previous page).

Make it part of your daily or weekly training routine and put the technique in your bones. then your game starts to fall apart. Do it over and over again. It’s harder than it looks and so it’s a good place to start. This singularity of purpose makes you much harder to beat. Do repetitions. moving with the basic footwork drills between the repetitions. If your punches miss or fall short. 44 . Let your ear lead the way. when hitting pads or the bag. Spar with a mental focus on using one tool at a time. as described in Chapter 7. Make sure that there is no telegraphing of your intention. Hit the bag. listen to the sound and make the sound the same or as similar as possible for all power strikes. takes the pressure off this single game and puts pressure on your opponent. The downside of this singular approach is that you you get locked into the idea of your one best shot. or your opponent has an easy answer to your best shot. Then mix the strikes up in simple combinations. Before getting to grips with combinations it’s important to understand the importance of single attacks. Don’t be tense but let the limbs feel empty: let the strikes whip. This approach focuses on distance and timing. Getting simple single attacks to work against training. concentrating on just a few strikes and loop them together in singles and doubles. Having a good knowledge of combinations. Mix the strikes up as part of preset training drills.Training There are numerous ways to practise the basic strikes. which we’ll start to cover in Chapter 7. Shadow box using them or with a theme based imagination is an incredible tool. The subsequent strikes. The idea is to land a single telling blow. Start by doing everything on the spot. Above all.

45 .

you can come up onto the ball of the supporting foot as this can give you more important to remember to snap the kick back and not to let it drop at the end of the attack. Here I’ll show the progression that I teach in my Academy. Don’t fall in when doing the kick as this leaves you open to step kick. it makes you open to a counterhang time’ where you are hanging about at the end of your attack. so there is a reduced threat from throws. At long range. Rear leg front kick Raise the knee and extend the leg whilst at the same time rolling the hips forward so that you make contact with all the body’s weight behind the kick. Connect with the ball of the foot. 46 .23 Roundkicks: technique 06: Kicks and knees Kicks are not only your longest tools but some of your most powerful. This movement should be covered by fakes and high line strikes. If you don’t snap it back. Also. Don’t have a stylistic bias but focus on what’s effective and what you can make work. you will still need to do some sort of step. The weakness in using kicks is that your balance is compromised and you can be open to being thrown. twisting it slightly Pendulum step kick Rear leg front kick simple counters and your forward momentum adds to your opponent’s power. Like artillery. Rotate the rear supporting foot slightly so that the hips are free to move. Both snap kicks and swing kicks have a Front kick The front kick is one of the most simple yet most round kick. The approach that I use here is to show kicking methods which are harder for your opponent to catch. they allow you to do damage at a distance. and while keeping your head in the same place throughout. Although there are stylistic differences between differing arts. slide your rear foot up towards the lead foot. starting with the easiest very effective methods. kicks may need preparation to get your hips in the correct position under your body. the to defend against. Depending on your stance. the extended leg is an excellent lever for your opponent to move you with if he is able to grab or scoop your kick. Lead leg front kick There are a variety of ways of doing the lead front kick. Get it back so that you can kick again. From a front stance. If you want. yet some can also be used at very close range. Working from a shorter stance avoids the need for much of this preparation at middle range. when it comes to function it’s best to see all of it as just kicking.

Start from a short stance and make sure that your hips are up. However the best thing to do is to kick him in a sharp enough way to drop them. as shown here. which is preferable. you have to step past your lead leg to kick. Snapping the kick in and out gives a more traumatic result. hence the name. derived from Thai boxing. However. you kick with little or no preparation. If you wish to gain further distance the method I teach is to move the lead foot forwards and then to execute the pendulum step. If your stance is longer. you can step within the length of your stance as described above. Right: I’ve shown the replace step. Static kick In this method. After contact. Let the hips roll under so that it adds power and you are more stable. Raise the lead leg and execute the front kick. It’s great at short to middle distances and can be augmented by a hop harder to do.so that the heels are close together. Replace step Static kick Sometimes you aren’t in a position to get any power from the front kick without taking a step. The kick needs good balance and lots of practise to make it a stopper. not push him away so that he gets another chance. yet you don’t have the forward option open to you since your opponent is too close. where you take a short bouncing step backwards with your lead leg but without changing Replace step 47 . Then replace the kicking leg back where it started and move the rear leg backwards. withdraw the foot and the hips as fast as possible so that you can deliver further kicks with either leg. if your stance is short. so that the kick is half-way there. Raise the knee and push the kick forward. The movement has a pendulum-style feel to it. Many people use this as a way of keeping the opponent away.

emphasise heaviness and bite as you drop the kick in.) Rotate the hips sharply to follow the foot and be careful not to move inwards and choke your kick up. delivered from the rear leg. Kick. First. This rotation is vitally important.the direction that your body is facing. added to the power from the ground. above) and the other with a snap approach and with the ball of the foot. out the supporting foot as far as is possible so your toes point in the opposite direction to where you’re facing. it is easier to see and thus move away from. although if your opponent is in a left lead. Like all kicks that have a preparation. Find out which works best for you. don’t mistake speed for power and bite. to give you an effective and powerful kick. Low rear round kick to leg: Thai-style The Thai-style low round kick is done to the outside of the leg. Once I’d been kicked in the head by one of the instructors a number of times I became much more respectful. rotate Just as with the low-line kick. You need to spend time on this. When practising. so that if your opponent moves closer you can knee him instead – and if he moves away you still hit with the instep. Importantly. Rear round kick to body There are two ways of kicking to the body: one in a Thai style (similar to the kick to the leg. different targets require differing approaches. rotate the supporting Low rear round kick Twist the foot 48 . making contact with your shin. Rear round kick to body: Thai-style Round kicks When I started Karate. (This kick can also be done horizontally and at a slightly upward angle. This builds a tension between leg and body. Both are moderately effective. I remember smirking slightly when the Japanese instructors called this the their way of describing it. both kicks will hurt. However. let the weight go into the kick so it has more bite. used in the right place it’s very effective. unless you want to do him some damage. As with the front kick. Also. then the other as a variation. Keep the leg straight if kicking a bag or kick shield but allow it to bend on contact if you are training with a partner. There isn’t one single method that works well at all heights. Bend the knee of the supporting leg so that you are kicking in a slightly downwards direction. The target is about six inches above the knee. wearing shoes or kicking with bare feet can make a big difference to your choice of kick. there are a number of ways of doing the round kick to make it functional.

bring the hands across the body to cover and keep one hand tight to the face when the leg whips back. Heavy kicking feels effortless in the leg. Lead round kick to the middle The Thai-style kick can be used to the middle but I snap kick more effective and harder for your opponent to grab. the greater the extension – though too much twist makes it hard for you to recover and follow-up with hand blows. Raise the centre line and snap the leg to full extension. with all your body behind it. Snap kicks work best from the front leg whilst swing kicks work well from either leg. concentrate on making it a heavy kick. where the attacker touches the leg with a fake round kick to the groin. This stops your opponent from coming directly forwards and prevents him from hitting you at the start of your kick. As before. though the body can tire. not the ribs which are under his arm where it’s easy to grab and you can be thrown even if you get your kick in. hitting the solar plexus. keep the leg straight and hit horizontally or upwards. This is a strange kick in that the more you interfere the less powerful the kick is. or as part of a combination.foot and allow the hips to follow. like the one pictured here. then rotates the hips and snaps the kick to the head. Concentrate on the basic kick and as you become like turning the hip over just as you hit so it has more bite. However. Snap kicks also work really well when done as part of a combo or after a low-line fake. hitting with the ball of the foot. Turn the hips over and raise the rear leg knee so that it blocks the direct line in towards you. Rear snap round kick to body: using ball of the foot Head kicking Head kicking can be done using both snap and swing kicks. Extend the leg. Emphasise the foot turn and the hip twist and let the leg swing free like a baseball bat. it’s best if you have a varied game. Keep this kick short and it can easily be used with hands to make part of a constant barrage. Swing kicks are very destructive and if done with good timing very hard to block – your opponent has to evade instead. Use a pendulum or one-step covered by a hand strike or fake. If you can feel the power in the leg then it’s still in the leg. This is because the tool lands on his solar plexus. Different levels of hip rotation will affect the reach of your kick – the more the rotation. Work on getting the ball of the foot to go into the holes in your opponent’s guard. Lead round kick to the middle Head kick from fake 49 . Initially. With shoes on this can be fairly effective as it goes into your opponent’s body behind or under the elbow.

Practise kicking high and then letting the kick drop like a swallow to hit the leg. any method can be used. This isn’t so important if you’re wearing shoes but it still focuses the power more. then vary the height of the kick as late in the motion as possible. but train it by doing it both right and left with either a stomp beginning or replace step (where you skip. and use the bounce to power the kick) for the most ease. start low and then raise yourself on your supporting leg to hit a higher target. moment. Side kick It’s interesting that different types of kick come in and out of fashion depending on what type of Foot position Faked high line. Then you know the shape of that entry.The swing kick to the head is easier from the rear leg. Alternatively. it’s important to load the kick properly. the side kick has gone slightly out of fashion but it’s an essential part of your game. His companion had his liver showing by the end of the The side kick can be done from both the rear and lead leg. A friend of mine defended himself against four knife attackers in Morocco using a variety of kicks but most notably the side kick. the latter probably being the most from the lead leg with a faked high-line strike and a pendulum step. Get your training partner to tell you if the fake looks authentic. To practise from the rear. one step lead leg side kick 50 . switching leads. Twist the foot so that you hit with the edge. You can start with one type of shape. though this is easiest with swing kicks. Favoured by Bruce Lee and others like Joe Lewis. it’s also good in a self-defence mode. Bring the foot up in either of the two ways shown below. The method for doing this is to repetition. In actual combat. All kicks can change target half way through. Remember to add your hips in as well. point your knee at the target that you want to hit or a little bit further beyond so that you hit through the target. Important: With snap kicks.

whichever method you use. When done slowly the hips have to be in the right place for you to hold your position. whilst you and a partner kick slowly keeping close. Either step across and rotate or make your stance narrow like a side stance so that you can rotate and kick without preparation. Slow kicking You can just concentrate on slowing your kicks down fast. throwing your leg over a chair or other obstacle. This ensures that you are less surprised if he counters. take it to ninety percent and don’t lock out. The other method is where you rotate and look as you kick. There are a number of training methods for this. Training methods It’s necessary to build up the strength in the hips and make the muscles that support your balance stronger to make you a more formidable kicker. The essence of the kick is the knee raise and hip move and the snapback. it’s sort of a reverse front kick. Obstacle practice Kick. Back kick 51 . It’s hard to counter. or get a third person to kneel on all fours on the ground. You ensure your accuracy by making sure the turn is right. Instead.Back kick The back kick is one of those strong kicks which can be used when your opponent is very close or when you are spun off-line. It’s sometimes called the spinning side kick as it shares a similar shape. don’t extend to your full reach at speed as you are likely to injure your knee. I know from personal experience that this is hard to counter as it often curves inwards and can catch you on the liver even if you move quickly inwards to throw or hand counter. If doing snap kicks. Try both ways as they both work: it’s about having intent and belief. One method is to rotate and do a kick directly behind you without looking.

Go with the swing and turn your body normally. or hop down the dojo doing repeat kicks from the same leg without dropping it from the cocked position. you can hold your leg cocked and extend it at slow speed and bring it back. Swinging your round kick Thai-style round kicks can be done in the air. Do front. extend your kick and hold it out as long as possible. Tree exercise Modelled after the your balance and builds strength and core stability. Hold out 52 . try going from outside crush to front kick and then inside crush to kick. Do this daily after a brief warm up and some simple single kicks. with snap kicks. back and side kicks slowly but without putting the foot down. Both types of kicks can be done over chairs or obstacles to build strength and the ability to put them where you want them to go. or alternate. Secondly. Once you can do this then add snap For advanced students.Hold outs Firstly. coming round and crushing with the opposite leg. Either repeat on one leg until you feel slightly dizzy.

just use the hand position to let you keep the same distance. makes you vulnerable to being spiked by your opponent’s elbows and it’s easier for him to block. Use a simple direct knee driven forwards into the opponent’s body – you can also go for the legs. instead lifting the knee upwards. no matter how closed down you are on the high level with little room to strike. how good your other tools are. In a self-defence situation. Long knee This is a great technique to use against boxers. Raise the knee and drive forwards in as horizontal direction as possible: think of driving a spear forwards. if you want to be a good kicker you have to love to kick and make it a central part of your game. Often used to counter tackles. Just as with footwork. there is always room to attack at low levels. You keep your head at a less dangerous distance and attack your opponent’s ribs as he attacks. you may have to tuck your body and raise and then roll your pelvis so that the knee still goes in a forward direction. Don’t grab. Long knee to the body Short knee This is the opposite of the long knee. Work your close range boxing or clinch work as much as your kicks so that you don’t 53 . Lightly hand-wrestle at long guard then put in the long knee. Grab and knee In conjunction with the head control. the knee is raised quickly to hit the opponent in the head if he’s dropped his guard. Failing to knee horizontally. Counter with a check to the chest or hip (right). Training methods Put your hands on your opponent’s shoulders and trade long knees. At close range.Knees The knees are some of the best leg tools available to you. you can use a variety of knees.

23 Roundkicks: technique 07: Simple Combinations
In this chapter we’ll deal with learning and training simple combinations. Later, in Part 4, we’ll move on to show more advanced combinations. Combinations can be used both for proactive attack and reactively as a follow-up after a defensive move. Combinations also let you have an overlap in your distance. For instance, your front kick may fall short but the punch that follows it may go eighteen inches deeper toward your opponent. The following kick may then go a further metre. This overlap is important and keeps your opponent under constant pressure if he retreats.

Often when I am teaching I use the analogy of boxes. If your opponent was in the closest box to you (the punching box for instance) but now he’s no longer there you know he’s probably in the next kicking but it should give you a better, more visual idea of distances. Sometimes your opponent’s body may have moved into another box but his legs are left in place to be tackled or kicked, or the feet to be trapped. There are three main ways to practise: on focus pads, solo training in the form of shadow-boxing, and training with your partner.

How to hold the pads
The standard V position is good for most alternate blows. Notice that the angle isn’t too sharp so that the puncher doesn’t injure his wrist. For the jab and to check the guard whilst he does the jab, you can hold the pads in the L shape.

Focus pads
V position

Good pad holding is essential. The holder can’t be passive, but must direct the training, and should have a good knowledge of positioning and footwork himself. He can have themes which he works through when training you. There are simple ones, like checking your guard, and making you work your footwork. Then you can move on to defending against his mock attack and then doing your combination. Training can become even more interesting when he tries games, like trying to keep you in the corner, or moving you back and forwards or side to side to cut you off so you are trapped. Another way, as we will see, is when he attempts to tackle you and tries to take you to the ground.
L position

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Holding the pads for a shovel hook

Holding the pads for right and left hooks

Holding the pads single for high kick

Holding the pads, single for low inside leg

Holding the pads for uppercut

Holding the pads for light kicks

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When holding the pads, remember that you need to give the striker some resistance. Push the pad slightly towards him on contact. It reduces the chances of receiving damage to your arm and shoulder from a heavy-hitter. Take the strain through the whole of your body so that you don’t end up with injured shoulder and elbow joints like many professional instructors. Keep an eye on the angle of your pads and most importantly observe your opponent. This is a great time to watch his attack at closequarter without being hit. Notice everything: how he prepares, how he moves afterwards and before, and log it into your computer. Work on strategies that will take advantage of his mistakes. Pretty soon Jab – cross / straight right with all your training partners, not only on focus pads but in your sparring as well. Initially, do the combinations on the spot, just learning the moves. Then do them while moving your position between combos. This can be either as directed by your pad-holder or from one of the lists given in this book. This is where most students need to spend time: learning the mechanics and getting the combinations down with good form and power, then working on moving the feet between each combination. After a while you can work in a more random way as directed by your pad holder. Interact with them; work on your measure, your power and on always having your feet in the right position so that you are waiting for your opponent, not the other way round. Cross – hook – cross Don’t prepare or wind-up for the cross; let your Jab – cross – hook Make sure that you rotate from the ankles and that you keep the elbow behind the hand for all blows. On the hook, the elbow should be at the same height as the punching hand on contact. can feel the power in them then that’s where it is – it needs to be in your target. Keep blows snappy and relaxed with the hands clenched hard on contact. Line your body up so that you hit with the support of your bones. Remember to hit by rotating the body. The head should move so it’s not in the same place for both Make sure that you get your energy for the second punch from your ankles and legs and not from your arm. Punching from the top of your body or arm will mean that you telegraph the blow. Double jab Jab as described on page 34. Jab: snap it back so that you can throw more blows.

Core essentials
These are the bedrock of your boxing technique. First, do these on the spot so that you get the hand and leg skills down. Concentrate here so that you can hear the right sound when you strike. Once you’ve got a resounding noise on the focus pad then you can start working through all the varieties of training that I have illustrated. It’s really important to keep that tone throughout because it means that you’re able to maintain your energy throughout a

body follow your hand. Then use your ankles and legs to rotate between the blows. Performed in a continuous fashion, this is a good way to train the mechanics of your hook and turn it into a devastating close-quarter weapon.

Hook – cross – hook Keep your wind-up to a minimum. If you have to do one, do it very tight and make sure you close your body in the process. You can sometimes lunge

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round kick his lead leg.hook. Jab – cross – rear round kick Jab (off-line) – rear round kick Jab at an angle. Do lots of repetition so that it’s coded into your muscles. Once he gives away his choice you can hit the other target. Lead round kick – rear round kick Here you can either use minimal footwork. Then round kick it. then follow with the rear round kick to the leg he’s left behind. Most of the really good combative moves are the simple ones. or blind him to your real intention by aiming at his eye-line. combination. he has to choose. Pay attention to this in your training. Remember to make the kick forceful and snappy. sparring context. One-step front kick – round kick A simple way of joining these two kicks together. then deliver the front kick. The kick brings your opponent’s guard down and you attack over the top. Finish with the cross and hook. If your opponent is slightly closer when you drive him back. which only pushes your opponent out of distance of your punches. not just as a preamble to the second kick. but you should train to be able to do it without. Jab – cross – one-step front kick Think about the box analogy when practising this Jab – rear front kick Open with the jab to get your opponent’s attention directed to the upper quarters. Front kick – round kick Thai hook – rear round kick Use a wide hook whilst keeping your body fairly square. if striking the lead leg. centred after the kick. Tip: Timing Once you’ve got used to striking on the beat then practise playing with the timing of the strikes by sometimes delaying one of the blows. that’s where his weight is if he is jabbing. to force the opponent to shift his weight to his lead leg. Next. or do a pendulum step to snap kick the groin. If you are in a shorter Thai stance and slightly closer then you can just kick without moving the rear leg. You try to hit the opponent with your moves into the next box and into the range of your one-step or lead front kick. then move forward with the jab and cross. You can always cover the one-step with a high line fake to lower the chances of being stop-hit. killing your opponent’s jab response. Don’t fall inward as you front kick – keep your balance Basic hand-leg combinations Let’s look at ways of joining simple strikes and kicks you’ve got to be able to execute simple links to the distance and the opening. intent. 57 . even though your opponent knows you are going to attack one of two targets. A simple combo for longer range. Thai-style. not a push. One-step front kick – jab – cross Initially you should do this lead kick with a step.

Don’t lurch with big steps as this leaves your legs grounded and vulnerable to kicks. They work on the simple body rotation that we’ll practise later in rhythm drills. That’s all for the simple combos. Don’t attempt to force anything. just playing. Above all. at this level you need to build a base and extend your possibilities and the of all of these is a simple body rotation starting with the cross-hook-cross and then just varying height. Put it in and let your body sort it out. in pair-work glove drills. Five count: series one without a plan. when doing them. However. These are the ones that work all the time in combat.Lead round kick – cross – hook – cross Use either the pendulum movement or Thai-style twist depending on the target. Later on you can preface the combos with different starting Training with a partner All of the above simple combos can be done with a partner. On other days do them all. feeling where your body wants to move. These drills help you to learn to cover and move to the best position. Above all you have to go with your instincts. Choose a variety of footwork techniques and do them methodically. What you end up doing is stringing lots of short ones together. combinations of more than two or three moves don’t happen in sparring – or if they do it’s with a break. practise moving slightly off-line where appropriate. End your sessions Jab – cross – hook – rear round kick Here you overlap with the kick when the hand blows haven’t connected with your opponent. Later on I’ll show the drills with a partner so that you get a clearer idea of how to use them. or alternatively just dance and jive around. Play and joke around at times. Be careful about over-extending or putting your head in front of the attack. there’s nothing like working with a partner at a realistic range: you learn on the job. You can use either a lead front or round kick in these combinations and can also change the height of the initial kick. rather. In truth. if it’s not fun you won’t do it. doing what comes naturally. The pendulum brings the hands into play faster. Though drilling in the air or on focus pads is good. just choose from the list and make them yours one at a time. Not only are they great for building balance and integration but they also work every day when you have an opponent who retreats and you need to chase. keep on your toes. Pretend to be hit and come back strong. Don’t do too many. Relax and let your body do the thinking. Solo training You should practise these combinations on the spot before integrating them into your shadow-boxing. This makes it much harder for your opponent. 58 . Once you’ve done them on the spot it’s time to move. even though you have to work hard at it. target and angle on subsequent variations. pause or manipulation in the middle. Remember: combinations are important but don’t overlook working the basics too. one after the other.

Jab Cross Hook Lead kick Five count drills 1 Lead kick Lead kick Lead kick Lead kick Lead kick 2 Cross Cross Cross 3 Hook Body hook Uppercut Uppercut Horizonatal elbow 4 Cross Cross Cross 5 Lead round kick Lead round kick Lead round kick Round kick Knee – Lead round kick 59 .

By working on the head and neck. Play gentle these positions. you are attacking a vulnerable part of your opponent which affords good choke and the head and arm control with ease. All of the head control and choke positions form a framework of positions that you can change between as the opponent’s energy directs. or do gentle sparring using clinches in conjunction with elbows and knees. half-clinch and side control. a great place to start your standing grappling because of its integration of knee and elbow strikes. however. There are a Half-clinch number of methods you can apply here but the one I prefer is to put both of your hands on the back of Side clinch Side clinch and knee 60 . Play both not to depend too much on the knee and elbow knowledge. Similarly. Neck wrestling This is basic neck wrestling as used in Thai boxing. from the full clinch. Let’s look at the head control clinch. The neck wrestling puts you in a position to either use these strikes or defend more effectively against them.23 Roundkicks: technique 08: Head control / plumm of the body to grab so it’s essential that you have some knowledge of head control and defence against head grabs. later they should be used freely.

Keep your head up and the head over the hips so that your back and hips support your head. In this way you neutralise his knee and can try to reverse the position. Keep your elbows pointed into his upper chest and shoulders so you can use these two points to steer him. This just covers the basics of this position but it’s a good place to start. It’s important to keep the knee close to his leg and it’s also crucial to keep your back in a convex shape so that he can’t easily break your structure. To reverse the position. Lever your elbow out whilst pulling in his waist: this lets you change his balance. you need to grab his back and pull him in. as he will want to knee you and he needs the room to do it. Head control. steering using the elbows 61 . For both sides in this position.your opponent’s head. keep one hand on his back and insert your other arm between his arms till it’s on his neck. Overlap the hands at the top of the head so you get good leverage and the your back convex – bent outwards – so that it’s hard for your opponent to body-hold and back-bend you and take you down. As a defender. The defender here attempts to bring his shoulders up to add support to the neck and makes sure that he has his body parts stacked directly under the head. and do it quickly. insert your hand between his arms and put it on the back of his head. open his grip. If your hips aren’t under you then you get pulled down to an easy kneeing position very easily. Bring the other hand to join it and the positions have been reversed. block a knee strike to the groin or higher by bringing your knee over to touch or cover his lead knee.

If the arm ends up on and you’ll be using his energy against him. This approach is very hard to defend against. except by creating distance very quickly. it’s important to plan to control the head so that when he’s just Put your head down between your arms so it’s less of a target. Again. Start kneeing. you can kill his rear hand with your extended lead and pull him in before he can re-apply the rear hand on a different line. Let’s look at the simple ones which work well from guards and defences. When you do the rear parry against the jab. dangerous to grab the head.Block right hand blow to plumm Block left hook to plumm Ways into head control There are a number of ways into the plumm or head control.82) to outwardly block a right hand blow from him. because any mistake on his part means you’ve got his head. then attach and knee. Sometimes he resists or his arm is stiff. It’s a bit further from the backhand but still easy to do. If your hand ends up behind his head then pull him in (to into other standing grappling. The rear is very similar. Normally this is done in threes: you push or nudge him twice and-arm. lean or lunge in. Lean slightly forwards and attach with the left arm and bring him into double head control. Head control doesn’t only have to be applied defensively: it can be achieved when you do a left or right hook which goes too far or which your opponent bobs and weaves against. clinch or side clinch. when and on the third beat pull or scoop him and he’s working for you. 62 . From outside you can go directly for the head but sometimes the arm gets in the way. If you plan to gain head control whatever happens then you’re halfway there. Use your long guard or shield block (p. If this is the case. scoop the arm out of the way and gain head control. or half. Block a left hook or slap from him and use the same blocking hand or your lead hand to attach to the head.

As he’s stronger. with a grappling follow-up. rotated your right leg then follow the twist with a knee with the left leg and vice versa.) Scoop the attacking knee inwards with one arm and under-hook with the other. Drop him to hold of your head.From outside to plumm From unattached to plumm In head control you often come up against a stronger opponent so it’s important to have ways to deal with this. Twist his head slightly sideways to reduce his strength and then rotate body and head using the elbow as a pivot point. Step inwards a little and either sweep the ankle of the supporting leg or knee-bump his hips upwards (see picture below). Drive your head forwards and up and push his head backwards whilst you lift the held leg. Make sure you are using your weight and not your arms to pull his head downwards. Countering the plumm There are a number of ways to counter the head control in a standing position. attack his base with knees or body manipulation and keep him unbalanced so he can’t bring his strength to bear. Keep your elbow in your opponent’s shoulder. If you can’t attach. then use your arms to block easy knees and wait for one to come that you can deal with. twist your foot round to the side. try to keep your structure strong and attach to his back by clasping your hands behind him. > If you are being pulled about. (If the opponent is really good at kneeing the to block or catch. Knee bump 63 . From the basic clinch.

and then kicks as he goes backwards. you can nullify some knees just by moving in the same direction that the knee is coming. once the elbow structure has collapsed. Imagine that you have his head at nine o’clock. > Put both of your arms on his face with the palms overlapped and tighten your elbows so in effect it locks his arms up. to keep you tied to him. push his elbow inwards with your thumb. > Whilst keeping one hand on his back. Leave one hand covering his eyes whilst you start your counter-attack with a rear punch.Pin your opponent’s arms Move to nullify knee attack > If he’s not dragging your head around. Use this same arm to reach round and grab nerve points underneath his ear and swing him around. Push. In essence his head should describe a semi-circle. You have to be careful as you are very Face push to attack 64 . and his grip will normally break. > A simple plan is to go with the energy and tackle his legs. Then. His head has to go through twelve o’clock and then around to three o’clock. go forwards to jam his elbow against his body with your arm. There’s a point near the elbow which seems to work well for this. This often puts him off balance and you get a chance to reverse the position.

Tackle vulnerable to knee attacks so it’s important to have some sort of attachment to one leg as you drop and tackle. so you can counter the grab or just counter-attack. though you have to go with from foot pins to double leg attacks. The single leg tackle often works best in this instance. Generally. > Sometimes you just raise your shoulders to pin your opponent’s arms. Elbow push in to head neck throw 65 . which you can add to your skillset as you progress. he either loses his grip. or loses his position and balance. and use this pin to swing him round.

The opponent always takes his head away to protect it but leaves the arm behind for you to break. and the other where you pivot on the spot and stretch his arm out. and walking through across his front. Therefore you have easy targets that he brings to you and that you don’t part of the limb moves and the easier it is to lock. it’s very hard for him to be strong in a circle. as all of your body weight is on his elbow joint. Basically there are two ways of doing this: one where you walk through and give him a less severe landing.23 Roundkicks: technique 09: Arm breaks & wrenches Arm breaks and your opponent has to use his arms. Remember to not think of elongating his arm and pulling or pointing it away from the body centre. which works because often you’ll have shoulderrolled his cross. unless and drag your opponent. Rotate the arm Outside / armpit armbar over / waki gatame This is a very powerful arm break and hard to counter once it’s begun. Assisted arm bar with lapel grab Here’s a slightly harder variation to pull off. You can do it when his arm is straight but it often works better when the arm is a little bent. The other way is to draw him in with your other hand. You can adapt this. Rather. spreading him out across upwards (in a circular pattern if he is strong) and then pull down. This is the best way to do the lock. It’s important to roll inwards. Use the same punching hand to envelop the upper arm under your arm pit. Put the hand of the same arm that’s pinching on the opponent’s thumb. whilst dropping the fulcrum (where your quick as turning on a light. Outside / under Use the shoulder or upper arm to wrench or break the arm. if your opponent tries to escape. If he feels you pulling him then he’ll pull out. guide him inwards. Outside / middle This is more of a drag-down or a pull-down. Other times he pushes: let him do the work. by moving his arm upwards to break it across your shoulder. pinching it with your arm so it’s hard to get out. There are two types. Let’s look at building a repertoire of standing locks that work. This is one of the fastest ways to wrench or break and requires very little time or effort. The best way to do this is to grab the wrist and strike at the head. whilst putting your ribs as a fulcrum down on the elbow. circling. bringing your shoulder behind his elbow. Once you’ve broken his balance and he’s 66 .

I go four lock.he’s more compliant as a result of you hitting him. Do this if your opponent resists. so changes the axis on which you are breaking or moves his body. Here I start with an slightly on the hand. This denies him any chance of countering the 67 . under-arm wrench but change it to a pull-down. Often your opponent feels you trying to lock his arm and realizes it’s going to get broken. Then as he changes the hinge axis of his arm and tries to bring the arm back closer to his body. For best effect make sure that you have your grasp at the wrist where it meets the hand. Elbow him to the head then wrap his arm and grab your lapel or shoulder. or Overleaf I show a way of linking arm bars together in a very combative way.

Under to middle to 68 .

You then have a head and arm position where you can redirect him into hard objects or walls. Then you’ve still got both arms free and fewer.Inside wrap to wrench The inside wrap is done when you use any of the internal blocks like the shield or biceps stop. or sometimes as you under-hook his arms as he goes to tackle you. or wrench his elbow. Normally if his thumb is pointing downwards this is done with a downwards double slap but if he turns his arm so the thumb is horizontal then link the hands and twist the body as if you were swinging a baseball bat and the arm will break or be severely wrenched. This works against both the cross and the hook. An even better idea is to wrench the arm so it’s unusable. Insert your arm as you elbow his head and pivot out of his way. Inside wrap to wrench 69 . Head and arm control to break Overleaf I show a way of breaking or wrenching the arm from the outside. If he tackles. his arms are often out in front of him like the blades on a fork-lift truck. when you follow-up to an outside parry. It’s sometimes a good idea to wrap the arm with his attack and can go into standing grappling.

Arm wrap to break 70 .

In Part Two we’ve looked at attacks using hand and leg tools. and we’ve seen how head control and arm breaks and wrenches can enhance your game. 71 . In Part Three we’ll look at how to defend from these attacks.

Part 3: Defence .

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which gives him energy to come back at you with. your fortress we’re talking about defence. Covering needs very little timing skill. he seems to decrease in size and power in quite wait and take advantage of weaknesses in his defence or probe with attacks of your own to stop them. It’s all about learning how to ride a punch or kick and to dictated by your arms. then have a small Improvise the rest based on sensitivity. you just hunker down within your arm cover and learn to ride the blow using both body and legs to absorb some of the power. Aim to build up your toughness and durability over time. and > Evade Initially. But that’s what you want. Start slowly and not too hard. so it’s the place to start if you’ve never been hit before. defence is the place to start. Thus. let me restate that the best defence is still offensive in nature. Simply blocking blows might work in theory. intent and your experience. instead of moving the arm up and down to cover high and low blows and opening up other lines of attack. Sometimes it changes the whole character of the move. simple skills that you own. learn the core skills. the opponent seems to get larger. but in reality what happens is that your opponent just tries harder. you will probably train these as they are taught either in this book or by your instructor. it would be too complex. Defence is your home. were you to try to write them all down. Covering from a body hook 74 .23 Roundkicks: technique 10: Punch defences you only have an attacking style. concentrate on keeping the hands up and the arms close to your body. However. The six basic defences are: > Cover > Crush > Parry / scoop > Stop-hit > Grab or catch. particularly if you block hard. it’s important to realise that you can radically change the basic technique by putting it 4). To cover. Each time you do a big blocking move. Rather. whereas each time you hit him. but if you want to be able to talk about your successes in later years without sounding punch-drunk or showing lots of scars. either Your defensive game comes down to only six options. that have so many uses that. These six can be mixed and matched and too many possible combinations to learn one by one. Let’s quickly look at the six forms of defence in the Cover beginners. if you are new to this.

However. In some cases you can use a block or parry after the blow or kick to cover the line so that he can’t repeat his attack. We’ll go into more detail on the theme of parries later in this chapter when we look at jab and cross defences. if you are dependent on crushing. so remember to practise your footwork. This can be done with either Parrying a cross Crushing a cross 75 . By blocking and hitting simultaneously. it leads to bad footwork and evasion. You take the venom out of his blows by letting him strike these hard bits of your body. or towards the end of. The resultant pain or breaking of bones deters them. during. Crushing is where you use your elbows. make the use of your time. but are used more often Stop-hit takes the attacker out as he prepares or builds up power to attack you. A simple plan and aggressive intentions will make this an integral part of your game. If you are just starting out. It’s important to have a good position with forward intent so that you are ready to counter-attack. knees or shins as a defence against your opponent’s blows. snake’ and that’s what it’s like. Parries & blocks Now let’s move on to parrying or blocking blows.Crush The crush is one of the easiest forms of defence to learn and you don’t have to have great timing to pull it off. Parries and blocks can be done at the start of the attack to jam or trap. Learning to crush is crucial if you are to work quickly. It’s actually very much like trapping. you gain a beat of time and it’s harder for him to re-counter. the attack. Simultaneous blocking and hitting then following up with a counter-punch. but it is a good way for beginners to learn basic skills. It’s important to understand here that if you aren’t going to counter-punch either during or after the parry then you are better off just moving out of distance or evading left or right.

76 . which are the most common. to foiling the opponent’s attack with footwork. you can evade until another opportunity Grab / catch / immobilise Then we have grabbing. to close-quarter grappling where you close his options down. or keeping him off balance. however. you can be vulnerable to chokes. so take precautions. therefore train it hard and often. there are lots of variations here. Most importantly. so let’s cover its principles. if he recovers.attack before he gets going and is thus a great opponent. and how to train them. It needs a lot of work. Body evasion works better the closer you are to your opponent. or capturing or trapping the opponent’s hand so that you restrict his body movement whilst you attack. missing makes your opponent feel vulnerable and psychologically weaker. Sometimes. Combatively. to simply moving your head so that the blow goes by you. Good evasion is the mark of the expert. in more detail. Evasion can mean everything from running away. Outside bob Use your body’s big muscle groups and move your head towards your opponent (see picture overleaf). so let that be you. Whether grabbing at the end of his blow’s duration so that he is unable to retreat from your counter-attack. this is one of the best places to be. This can mean catching a kick. What makes evasion so powerful is that missed strikes use up your opponent’s energy. Stop-hit Evade learn and put into action. You strike before he starts and then. Grabs and traps work well in that they eliminate many of his evasive options and increase the number of hits you get on-target. You can accompany the bob with a punch to the body or head. Evasion is quite possibly the most important and skilful form of defence. You can also strike whilst evading which uses your opponent’s power against him. from simple grabs at the wrist. as it’s hard for him to get you back. Body evasion Learning body we’ll cover the standard ways of moving your body.

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to do quickly. say at the end of an attack or combination. If done against the jab. You should repeat this against the right hook. As with ducking and slipping. Duck Change your level to make your opponent miss. Throw the hips to one side and the head moves to the other. but it is very quick if you just want to get your head out of the way. and then drop and come under. usually when he is closing the distance anyway. Sometimes you can even use your head to trap his rear hand whilst you move in. A better way is to use the hips as a counter-weight. if you have a constant bounce in your knees these moves are always easy Snapback Make sure your stance is long. to draw his counter. Don’t worry about how you spell it. this enables you to return instantly to your start position – often with a counter-attack. you can be vulnerable to his cross so you need to get close where you cancel out the mechanics of any blow. when you have experience it’s even better when done pro-actively. however. Slip to the outside Bobbing to the outside Bob and weave On the opposite page is a simple bob and weave against a left hook. the head leads the legs. Slipping overlap. Slipping can be done with just a brief sideways bend. As you get more skilled. You can do this at a very low level of competence and as it uses the big muscles in the legs and hips it’s not particularly tiring.Inside bob Bob or slip his cross and reply with your own cross. If done incorrectly this uses small muscles and therefore it’s tiring on your body. When teaching this in classes we often start out with a fairly large movement: the student is urged to use his legs and think of his head disappearing down one hole and coming up another. they are often used to describe the same thing. but most students need to work all their body bobbing and weaving can be done reactively. Slipping doesn’t close the distance but it does make your opponent miss. Often best used as part of an attack where you fake high. much like you may have seen boxers such as Mike Tyson do. the basic bounce simply needs to be 78 . just make sure you know how to do it. Bounce backwards on the rear foot.

as he’s done most of the distance change for you. Simple drills like the jab-catch drill featured below focus on this element and produce good fundamental skill. Snapback can also be done without moving the back leg. This makes your strikes stronger as your opponent charges onto them. Think of hit. Snapback – jab catch drill 79 . the ankle without letting the heel touch the ground. Don’t move your lead foot backwards as this will permanently change your distance: instead. Alternatively.Bob and weave It’s important to use the rear foot to do all the work. If you don’t move the back foot it’s about half a metre. Then you can slip and counter easily. if hang time’ leaves him open to counter-attack. moving the back foot gives you about a metre in distance but you can still instantly bounce back to your original distance. snapback is an essential part of your defensive attack by drawing’ format you can make your opponent think he’s falling short so that he over-extends. only bend your back in an emergency.

You evade with whatever technique you like and try to move to behind his back. jab entering’ drill is the same but you keep your jab extended and in your partner’s face as he attempts to slip. Then hit the pads with simple hits. you can pro-actively evade. Partner First. Both partners gain from this drill. Then.Training body evasion Body evasion can be trained in numerous ways: jab. sending out a pulsing jab. train against simple slow punches with a beat between them. Pads against wide single and double blows. You adjust your footwork to keep him on the end of the Remember to go at a pace where you succeed and then build on that. Start with bobbing. do single and double bob and weaves in both directions after you’ve hit the pads with single strikes and simple combos. Remember whether there’s a strike coming or not. moving to make it hard for you to achieve control over his back. You’re taking the initiative and being a moving target. where the focus is on your upper body. where you Moving in: Pulsing jab & extended jab entering Use evasion to enter or get near to an opponent. He adjusts and keeps slowly pulsing the jabs. and body knowledge. change of distance and height. Your partner walks towards you slowly. after which your opponent gives you large easy swings. then move on to slipping. add slipping and bobbing and weaving. to train at the next level. Use any method to get to his back as this will make you less orthodox. who used to box out of the Kronk Gym in Chicago. Lastly. Make sure you go at a slow pace to maximise the chances of success. Start with bobbing. Come up to deliver more blows. Moving long and Chair In conjunction with parries you can do chair training. Lance Lewis. this rhythmically as a way of retaining it as muscle memory. Secondly. These are two very similar drills I learned from my friend. move and get your back. It’s about body feel. or move to his back or to a safe distance using footwork. bob and weave under these swings which get progressively tighter. 80 . train statically against a partner’s extended arm.

letting the rear heel come up. Start with the left shoulder forwards and come up after the weave replacement and beating the hell out of my training partners who never moved their upper bodies. They were so used to moving their feet, they were only using half of their potential. The secret with all evasion is to isolate the area you are working on and become good at that, then put it back into the mix. Find out the potential of every type of movement and make it part of your game. Let’s take a look at the six counters in use against the main punches: jab, cross and hook. Train these defence techniques on the pads with a partner and in drills; you can then start to incorporate them into your arsenal to defend against actual punches. Slipping drill Here your training partner gives you a jab and then a cross, with a beat in between the two blows. Think of it as a rhythm of jab BEAT cross BEAT like that. If it’s too fast initially you won’t get the skill down. Slip the jab and jab to the body; return to your normal position; slip the cross and cross to the body. If you hold your elbows slightly out from your body so that your arm has a dog-leg shape you will hit the solar plexus more often. go by, diverting it just enough so it doesn’t hit you. In this way you can use your opponent’s energy against him. Let’s look at these in detail. Bob and weave drill Here you’re learning simple bob and weave skills against slightly wider blows. Again, it’s just a drill to learn the basics which you will adapt later to a more combative format. Your partner throws a wide slow cross, and you bob and weave under it, doing the minimum drop. Rotate your body from the feet, send the blow over your left shoulder. Make sure that you don’t use a big movement from the arm, or take it to where you want it to go: this will leave you open to the hook. Just do enough to make it miss and then see if you can do even less. The parry can be accompanied by moving your head or slipping.
Parry

with the right shoulder forwards. You can minimise this later but for now do a big body rotation.

Jab counters
Having a good jab defence is one of the key points of your defensive structure. There are three basic methods that I teach: the parry, the scoop and the

Parry

Scoop
The scoop takes the blow to the other side of your body. It’s a great move for changing your opponent’s balance and for opening him up. Sometimes it has the effect of asking him for the cross, so it’s easier to time your cross counter this way than with the parry. Important: to make this effective you have to use snapback to create the room for his blow to deviate off-line.

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Catch
Often used in boxing, the catch is easy to do. Just make sure to use snapback with it to cushion the force of your opponent’s blow, as the punch will break through just a simple catch with the hand alone. Think of it as a brake on a vehicle that needs some distance to work. Used aggressively before his attack it can be seen as trapping. Alternatively, cling after the blow as he returns his hand, and trap to stymie any follow-up moves or to start your attack.

Training drill: isolation
In a sideways stance put your lead hand down or behind you. Now your training partner attacks with jabs at random intervals. Start fairly slowly and as you get better he can increase the tempo. By the end of a round of three minutes he should be throwing jabs fairly rapidly. You use only parry, scoop and catch to keep from being hit. Snapback is essential to take the pressure off. Use slipping to help you. Sometimes because of where your hand is you may have to do a salute-type parry. Keep movements small. Keep the lead shoulder raised and close to the parrying hand; this way you’ll have less work to do.

Scoop

Keep your chin tucked in and use the hand to catch the blow. Let the shoulder deviate the blow off-line. Important: Don’t turn too much and make sure that at your maximum rearwards movement your body shape forms an equal triangle with the ground, not a rearwards triangle. This way you can still move your rear foot and retreat if need be.

Inside stop / shield
Against a wide blow, the stop or shield works well. The bicep stop and shoulder stop really work best if used pro-actively before he gets up a head of steam, whereas the shield can be used even

Cross counters
The cross and straight right are two of the most powerful blows you’re likely to get hit with, so it’s important to have a good defence. If using the standard guard, keep it high and choose if you want to go into half guard. Don’t just drift: be mindful.

Shoulder roll
Using the castle analogy, let’s start with the keep. The shoulder roll can be used from either guard, and covers both wide and direct shots. Use the shoulder roll even when you use other leading hand parries, just in case the blow gets through. That way you’ve got a back-up, should your parry fail.
Shoulder roll from cross

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Shield stop and bicep stop

Simultaneous parry, riposte

when he’s at full power. Make sure that they are all supported with a raised shoulder, as you would with a shoulder roll, and by a good base from the feet. Variations from the shield are numerous and it’s one of the best positions from which to gain control of his head or upset his balance, as shown.

Simultaneous parry, riposte Alternatively, parry and at the same time reply or riposte with your counter. Remember that doing this while he is attacking is the best method. Another method is to use the closest tool, your parrying half-beat strike’ which either chops between your parry and your big follow-up. Done

Outside parry
The outside parry can be done in three basic ways: this way he often doesn’t see the big hit coming. Long guard Short parry Keeping the parry long is one of its most effective Initially it’s used short, just to support an outside slip to make sure that the cross isn’t going to come into your line of evasion. Follow with a strike. uses; using it from a long open guard invites him in, thus allowing you to attack by drawing. In this method you close him down and thumb him in the eye if need be. Keep the elbow down and hand open. The long guard should have a forward energy whilst also closing down the opponent. Make sure to close at your centre, rather than only out where the He is coming towards you on the same side, but hand to catch, then secondly using only the shoulder with no hand to support. See how little movement you can make and how the shoulder attack. Practise coming back with your counter earlier. you are making him move over to the other side of the road whilst you stay on this side. Rotate the hips slightly and push with the back leg.

Tip
You can play with the shoulder roll so that

Scoop
The scoop is used to drag the opponent in a little, to put him off balance before scooping the hand

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or it can be a punch to either the head or body. fold your face into the crook of your elbow. The elbow crushes can be used together in combination. This can be a spearhand to the throat. to stop a follow-up blow. However. with the elbow crush. If you’re using vertical elbows against hard blows make sure that your hand is anchored on your head. Mix this in with your Horizontal Vertial half-guard and long guard and you have a great defensive structure. Move forward and use the elbow crush much like a carapace or shell that allows you to go forwards your opponent’s position or balance. Keep the hands high. it’s for all purposes the same position as the cross guard. sometimes doubling them up. If blows are landing on your arms then you either have to fold further inwards or use snapback to make it land on the important part. using your body and back foot as the power source for this. cover your eyes with the elbow so that you can’t see. The best method. Alternatively. you can use your scooping hand to either control the head or to do a bicep or shoulder stop. In particular. Once you’ve got both elbows up. mask his face with your hand so that he can’t see your follow-up blow. he can hit you. If done properly his head pops out like a tortoise’s and he is easy to hit. to make sure that the attack lands on the point of your elbow. It’s important to remember. Often if you scoop the preceding jab timing of the cross and know 84 . that if you can see your opponent really well. is to hold the elbow with one eye only able to see his body. Active cross counters Split entry In the split entry you cover with an outside parry whilst thrusting a strike into the gap between his two arms. Learn to do the crush so that only one of your eyes can see your opponent. don’t let fear hold you there. as I say. From a long or high guard. Once you’ve scooped. as shown here. Sometimes you can lean back slightly. Elbow crush Here I’ve shown four possible ways of using the elbow crush. for the instant that he connects. Sometimes you can attempt to close your opponent down with your long guard and then when he reacts you use his energy to make it easier to scoop. from the diagonal and horizontal crush you can move to a grab or control with ease. it’s just for an instant.in a clockwise direction. Alternatively.

Just a slight rotation makes it much safer and means that your cover defends more of your body. then follow-up with either a cross (if you’re twisted a little) or a hook (if you’re twisted a lot). As with the slipping drill. make sure you have your arm a bit bent in a dogleg shape so that you connect with the plexus easier. You can also do the stop to defend from the jab. Then you cling. If jabbing. The rear hand is normally open so that it’s able to catch defensively whilst remaining live and able to hit. Hook counters The hook comes from outside your range of vision so it’s important to have a good guard from the start. as you won’t use it to Split entry lots of clues as to your mindset. Don’t just keep it clenched. and similarly can be used to stop a blow at its inception.when it’s coming. In addition to striking high. remember to cover with your rear hand on the diagonal so that you can cover both the jab and the hook easily. the shield against the hook needs a low level of timing skill and Shield from the hook 85 . The opponent’s turning and forward energy only adds to your punch. you can strike to the solar plexus. Cover It’s important to know how to twist the body so that your cover works more effectively. passively covering your jaw. This works best after scooping the hand out. but this needs more skill than a parry as it’s harder to maintain close contact as he changes to the hook. and stop him at the bicep or shoulder. you use his energy against him. keeping in touch with your opponent’s hand. Stop to the hook Stop The stop is applied to the hook the same way as the cross. Shield Just like the shield against the cross.

It’s good for moving into the plumm or head control. Simultaneous cover and hit Crush on hand Crush The elbow crush can be used in three ways against the hook: to the hand. The only way you are going to ensure that you will have it when you need it will be if you are doing it all the time. Cover with the hand held palm-forwards in a shield position. to the biceps and to the chest. Bob and weave even if you don’t need to. and also for moving into the arm wrench. meaning that the knees are always bending and the head is moving slightly all the time. which is the strongest defence. Learn to love to move. This way you just have to amplify what you are already doing on a micro level to have a fully functional bob and weave. Bobbing and weaving should be pro-active. and strike with a vertical punch which needs less room than a palm-down punch. To make the bob and weave more workable make sure that it’s happening in a controlled way all the time. This is like moving your castle just as your opponent is planning his attack. This normally depends on how deep your opponent attacks but you can also choose where you want to crush. Simultaneous cover and hit This is a more active way of defending against the hook. Then continue with follow- Bob and weave Bobbing and weaving is a great way to evade the hook. not reactive in nature.is great for either attacking the arm by wrapping. Crush on bicep 86 . or as a lead-in to throwing or head control.

Crush to chest to silat take down 87 .

so that. The second is when you move to simply get out of the way and then choose whether to leave it at that or to reply more active and more offensive in nature and uses fewer beats of time. as is the importance of having a simple plan. he is going to be harder to check out his close range skills or to counter-kick. Once again they are: > Evade > Crush > Parry or scoop > Stop-hit or stop-kick > Grab or catch. Passive covering doesn’t work because the kick penetrates your centre line so directly. in closing one area. An effective defence is one where the same techniques work against as many blows or strikes as possible. First you should understand your guard and stance. Front kick You can use four of the six ways of defending against the front kick. As I said in Chapter 6. Have a small number of skills that you know well. Next you should focus on blocking methods. and > Cover You can do these singly or in combination. there are only six basic defensive things that you can do against any attack. A sound knowledge of the basic skills and ways to train them is important. Of all the major kicks the front kick is the hardest to defend skilfully against. and then adapt them with distance. whilst you are being attacked at another point where you are less prepared. If used by your opponent in conjunction with hand attacks. It’s easy and direct. It’s your job to challenge this. and fast for your opponent to do. timing and position against all the other kicks. kicks can draw your hands or legs to one area or line. If your footwork is good then the second type of evasion happens without should concentrate on. terms of courage.23 Roundkicks: technique 11: Kick defences Kicks are powerful. if your opponent knows his basics well and is really good at kicking. A good knowledge of defence will give you a much better chance to do this. timing and 88 . It doesn’t place him in too much danger and there is little preparation if he has his hips raised. Evasion Evasion techniques against the front kick largely is moving to make his blow miss. long-range attacks. As we saw with punch defences. Let’s take each type of kicking attack in turn and look at a range of suitable defences to them. you don’t open another and expose your centre line or major targets. keeping things close and tight and with good alignment. and instantly or simultaneously counter-attacking. It’s important to recognise that sometimes good kickers are good at kicks because they are weak at closer ranges and have developed their kicks to keep people away. This means not doing any movement too large. The second gives the kicker more time or more beats to recover and to possibly counter your counter.

rear punch 89 . This counter can be done against both kicks but is harder and requires better timing and more courage against the rear. Step directly and then twist to evade the kick whilst punching. is the time to move. This can be done without a supporting outside scooping parry or with it.through this chapter how many of the counters are very similar and just have to be adapted slightly for differing attacks. If you hedge your bets and side step too much then you will be too far away and the kick will get you. where the foot is. Body evasion. enter and lead punch This is most effective against a lead kick. Evade this and you’re hitting him with his own power and yours. evade too much and it doesn’t work. when he lifts his knee. lead punch Body evasion. Foot placement and timing are important here. as the intention is to be close enough so you can deliver your punch rapidly. Step directly in. Most people worry too much about the incoming kick. Be prepared to slip and counter-punch. You use attack by drawing and lure your opponent in by offering a juicy target. but move it marginally off-line. Practise parry if needed. Step in and twist so that you evade the kick. Warning: be careful of follow-up punches or fake kicks as this technique will leave your head open. However. but if it’s used early enough it works against a front kick from either leg. Body evasion and rear punch This is an advanced technique which takes quite a bit of courage and intent. Don’t try to block it. Support your counter-attack if needed with a low block which just deviates the kick. The preparatory part of his kick. Don’t do too much. Let it scrape by you. timing and courage are good attributes to acquire! Body evasion. Do the math and see that the only part of his kick that’s dangerous is the point. Simply twist your hips and side step a little as you twist.

Simply step with the rear leg either way. Move early so that you don’t have to react at the last moment. going to kick with your lead leg. It’s important in both of these to have forward momentum. Use footwork to draw the opponent in. then counter-kick with a rear front kick. to stretch his blow just that little bit further. Then use one of the aggressive counters. For all the other passive evasion use the footwork patterns that we covered in chapter 3. depending on the kick. Don’t be heavy on your feet and have a bounce in your knees. he attacks with less vigour. and legs. in the hope of getting you. you can just raise your leg and skip inwards towards your opponent. If you really want to drop him then this has to be in your armoury. move your leg to the side and kick with the other leg. regardless of which leg your opponent kicks with. Evade and groin kick Retreat and counter-attack but if your opponent attacks deeply then you can more aggressive counters. If your opponent thinks you’re going to punch him in the face. In the second method. His hang time’ or counter-kick. Crush 90 . Alternatively. A mix of drawing him by retreating and counter-punching works great. then rotate your body out of the way and kick to the groin with your instep. Retreat and counter-attack Crush The crush is very simple and can be used passively by just raising your leg and closing your guard so there are no holes. In this example you retreat by moving your stance as a whole to the rear. Both methods work with amazing ease.Evade and groin-kick This is so simple that many people don’t ever use it.

Then. It can be done using both elbows. then onto the ones that require a better sense of timing or which carry greater risks. effective. move it back towards the opponent. though it’s best if you use the one on the opposite side to his kick: if he kicks with the left you use your left hand to scoop. to overstretch him. If you do it the other way. whilst slightly curving or tucking the body. and initially towards you. Let’s go through the safest and easiest to do. Just push your elbow forwards into his kick. so that the kick goes by. Make sure that you move the arm in a circular fashion so that you don’t kick. There are two scoop methods: Scoop and throw Scoop and retain Scoop the ankle of the kicking leg and throw your opponent’s leg as you move your own body. it still works but you enhance your opponent’s ability to follow with a round kick. Your opponent could be faking you low. attacking his balance. attack his standing leg. When his balance Is broken. Important: In pair training and shadow boxing make sure that you instantly bring the hand back up to the high line. You can also throw the leg in the air and attack his supporting leg.Parry There are a number of parries that you can use against the front kick. Kick the leg as it lands on the ground because at this point the weight is transferred to it. Scoop and throw 91 . Scoop and retain Tuck your body and scoop the leg upwards. which has the weight on it. Scoop parry Use this against a kick from either leg of your opponent. It means his body is closed and it’s less easy for him to follow with another kick or hand attack. to draw your hand down.

this is best if you follow-up is a back kick or spinning hand attack. Only do this when you see the opponent is fully committed or when your intuition tells you it’s the right thing to do. you can scoop the ankle at longer range and just lift the leg to once again threaten his balance or throw the leg to open up his body for your counter. Outside parry The outside parry is great as it really turns your opponent. leg. 92 . Follow-up with hand. Use it with the earlier evasion to guarantee you don’t get hit. Move your head out of the way as soon as the parry has changed the path of the kick and hit with your rear hand.chance of success. Alternatively. The weakness of this is that you leave yourself open to a hand follow-up as your lead hand is low. Don’t linger too long with the block or you’ll get hit. Follow up with a rear stomping throw. or grappling attacks. Important: use the minimum of movement. Keep hands high to protect against spinning hand attacks if you close in. which has to come a longer route. Don’t go too far off-line but try to keep your hand tools pointing at him. Like the scoop.

However. like all things it’s about how. Bump takedown Low block Grabbing / catching Because the front kick is a direct kick. when and where you do it. the catches that work well are the ones where you are going to go on and throw. If used to support jamming counter-punches.Low block Combatively. a parry and a grab combined. Use it as a way in to grab and throw. this will only get you a short way before you are being faked low and hit high repeatedly. From here if you are close enough you can do the bump takedown against the knee. dealing with the kick. Lead punch counter to inside reap takedown 93 . In reality this is a stop-hit. Use a low block. supporting a high level attack to keep your opponent distracted. Everything works in the right place. it works great. the low block is not the best block to do: your hands are low. Whilst it can be used in a basic parry and counter-attack format. and the top of your body is open to attack. Psychologically a hard block gives your opponent positive feedback and he tries harder. as shown in the next chapter.

This way he only gets one chance to kick. Fold Fold your leg back either a small amount if your opponent’s kick is aimed low at the shin or swing it more from the hip if it’s aimed at the knee. Don’t use the arm. raise your leg and front kick. Use this as the beginning of an attacking combination. what you do is highly effective. elbow won’t do the job. Here you tempt the opponent to kick.Folded leg Side kick The low-line sidekick is highly effective for your opponent to do both in attack and defence. by keeping your arm slightly raised. and Mid and high level side kicks The counters to the front kick can be used against the mid-line sidekick because they share the same covers all eventualities. Meanwhile continue with an attack or entering strategy on the high line. instantly switch to the scoop 94 . Sidekick to his knee. tuck your body and push the Fold and re-kick If your body is more side-on. Just as you did before. use the body drop instead. You don’t do much. The sidekick occasionally angles in under your lead elbow so you have to be accurate in your counters. Change your body axis by leaning slightly forwards and drop your body weight so that your opponent’s kick is spiked on your elbow. Also the sidekick is the opponent’s longest kick so his body is further away. Elbow drop Raise and re-counter Alternatively withdraw. Some of the counters shown now are the same as those for the front kick. then drop the elbow. but Oblique The oblique to the groin works against all lead side kicks at low and middle height. you can retreat your leg until his leg drops at the end of the kick. Any entry that you do has to make allowances for this.

change the body angle for a moment so that you use your body weight to parry the kick. either to hit or to fake. with your hand weapons poised for action (see picture overleaf). Don’t look down but keep your eye contact on his chest or eyes. Double pillar If it’s thrown at the right distance. Then you’re off and moving. This is one of the few times a cover will work.Elbow drop Drop palm Snap your body back a bit and. Think of drawing it slightly backwards towards you. so you can groin kick low. You’ll either have to move backwards using this or alternatively use it in a jamming motion. Just raise your leg and hop inwards. as in the picture (right). Double pillar 95 . The best follow-up here is one where you use the same jab high. Standing where you are often just gives you whiplash as the kick hits your arms and upper body. your defences against the lead high side kick are very limited. Drop the palm or the forearm on his sidekick. Drop palm Crush The sidekick is weak at its start so it’s a great kick to jam.

Evade and scoop to spearhand groin kick combo If you want to keep your skill set to a minimum for maximum combat effectiveness just evade and groin kick as before. Use it in conjunction with a low block or parry like the scoop and you have more time and are on to a winning formula. you need to be athletic if you attempt this without a supporting block or parry.Crush Evade and scoop to rear groin kick Evade and parry combination Evade and side kick Here you evade to the left and kick to his supporting leg with your side kick. Though these are good defences. move in with hands. Just use the scooping block to throw the leg to the side and then. depending on how much you’ve turned your opponent. 96 . If it’s done to your right then evade and rear groin kick. legs or grappling.

The oblique can be used to the shin. groin and stomach as it arcs upwards. 97 . knee. Where you strike again depends on how much time and space you have. Finally.Stop-hit Sometimes you can see the preparation for a lead side kick quite early so it’s a great opportunity to just stop-hit your opponent. raise your leg to begin a kick but turn this shape into a leg crush. if you have the time. It’s all based on how much time you have available. Stop-hitting strategies determined by where you balance is. Alternatively. there’s the oblique kick. First is the so that you don’t jam your toes. and side stomp kick to the knee. If that doesn’t work. how much time you have available and what feels the easiest to do. adapt it to a raised leg jamming technique and hop in and close with your opponent.

Important: keep your balance neutral. Let’s go through the progression of defences that we use at my Academy. not you. Think of curving the ribs closer together by lifting the hips and curving the back so that the ribs are more like one. Let him have the problem. and less easy to break. This is useful for students who don’t yet have the timing perfected. If you’ve got good timing then under-hook the kick as soon as it hits your protective cover. Cover and under-hook Do the same as with the cover and near hand scoop. you move and cover but use the furthest hand to pin the opponent’s foot against your arm. Don’t fold over towards the kick. Cover and near hand scoop You can still retain the foot against your arm if you need to. It’s easy to throw and easy to block. or turn your back.Round kick The round kick is a very common attack. Keep the low arm slightly bent so it acts as a brake or speed bump to Cover and scoop Cover and near hand scoop 98 . If you need more time or reassurance then use the furthest hand to retain it for a moment till you can do the Cover Move away from the kick. Rather. offering him the three target jackpot of two kidneys and a spine. Cover and scoop variation Here you throw the leg in the air and attack the rear supporting leg where the weight is. By following this method. Once you’ve got some of the basics down you can start using variations which require a better sense of timing and are faster. Then use this furthest hand to scoop and throw the leg. curve your body into the size of your arm. Double block to under-hook throw Use the double block as another way into the underhook. This really works and gives you a safe and effective means of learning. you’ll make it hard for him to kick you in the head. Then use the nearest hand the hand of the arm you’re covering with to scoop and throw the leg to the side. You angle and attack the leg just as the leg lands on timing is better you can just do the scoop on its own. Cover and scoop: basic Here.

then step in and inside reap his supporting leg. Keep your back straight and apply the leg lock. Then step through and reap his leg. step in and twist so that you are throwing in the same direction as the kick and be sure to reap the standing leg into the air. For best effect. Just continue by stepping in the direction he is twisted. Keep your back straight so that you aren’t pulled down and your opponent doesn’t end up half-twisted. Make sure that you turn in the direction he is kicking – it’s much harder for him to counter and the throw is much harder. punch him in the head with your rear hand and stop his forwards motion. as soon as you’ve over-hooked. Boston crab 99 .100 for pictures. or use in combination with a hip/back stretching lock. Twist your body so that you are the maximum distance from his punch. Over-hook to reaping throw to Boston crab In this example.a high line kick. attack the knee using either a lying knee bar or a standing knee wrench. Check the thigh with your lead arm and under-hook. See p.

don’t worry: just continue doing what comes naturally. Theory is smooth. Above all. This stretch also sets up any following throw you might execute. Double block to under-hook 100 . vulnerable to a jumping knee. Make sure to check his nearest shoulder and twist your body so that you are the furthest distance possible from his punching hand.and under-hook strategy This means that if your opponent kicks you as you are punching him. If something’s working. Obviously if in other. however. using what happens and going with it. so it’s essential to do. it’s about instinct and intention. You are.Over. close the ribs and absorb as much of the the blade of the forearm to pressure the shin as this makes it harder for him to do a number of kneeing or closing to plumm head control. whereas reality is rough. you can analyse and maybe train the other method more so it’s a more instinctive part of your technique toolbox. There is no absolute way of doing things that guarantees success. triangle choke or arm bar. This is a stronger position and you successfully block your opponent’s attack.

the opponent can fake the kick high and then drop it to attack your supporting leg. wear shin pads to protect. block with the portion of bone just below the knee. If you don’t turn the leg out enough. For training. Follow up with a right round kick. Firstly.Crush When you’re learning the crush. Tie it in with the arms and a curve of your body and you have a good defence. If you lift it. Crush and standing leg kick Here you crush and then re-kick with your standing leg. keep it quick and only go as high as needed. Never show him that it hurts you. Use the force of stomping the crushing leg down to add power to the kick. Ensure you keep strong eye contact with the opponent so that you show him that it didn’t hurt you – even if it did! It’s all about breaking his spirit. Don’t drop the leg but engage the hips strongly and front kick with the same leg. Keep your eyes strong. You can use it with follow-up round kicks or on its own as a destructive defence as shown below. In real situations it’s probably a one-off pain. The crush can be used for all kicks up to the mid level. Any kick landing on it meets your shin with your thigh bone pointing outwards. to get that part to hit every time needs lots of practise. Crush to lead leg kick Use a lead leg crush. The other method is where you turn your leg out so that it’s at a sharp angle to your body. There are two primary ways to crush. which means the force of the kick is met head on. it’s important that you don’t build bad habits which can lead to simple counters. block with the part of the leg below the knee. The cross crush can be used if your weight distribution is wrong and you can’t easily crush with the nearest leg. where the head of the shin bone is. This Cross crush 101 . If you constantly lift your crush high. Cross crush to rear round kick will disrupt your opponent’s balance. If possible. Note: the crush is painful to do. but it’s not essential. This is the least painful method. Crush to same leg kick Crush to same leg kick Crush the attack and then step to the right and kick with the same leg. However. your crush will often fold against a strong kick. You can condition your shins by hitting Thai pads and hard bags.

In training. It can also be used in a slightly upwards direction if you are short of time. Be careful of your training partner’s knee by kicking with control.Evade Evade and cut kick Evade with a triangle step and round kick to the supporting leg of the kicker. this is best if it angles slightly downwards so it breaks the stability of the supporting leg. Evade and side kick Evade and side kick the cut kick but even more effective as it goes accurate contact as you have a smaller target area than the round kick. Cut kick 102 . Enter strongly. Sometimes called a cut kick. be careful to not overdo this with your training partner as repeated blows to the back of the knee can aggravate this sensitive area. Bend your supporting leg to make it its most effective. This needs to be practised diligently to have the greatest effect.

103

Time line
On this page is a time line of sorts, showing your opponent’s attack at various stages and some counters that could be used at each stage. This isn’t a rigid time line: you can both attack and defend at any point along it in a variety of ways. However, it is a useful idea to hold in your head whilst training.

Early stages of attack

The only trouble with these kicks is that they don’t

opponent is more fearful and under your control. Alternatively, mix with high line kicks to stretch your opponent’s defence. As you can see I’ve only outlined a few kicks, but because they are easy to remember and to use they are more likely to work,
Lead leg low and high line kick

Lead hand stop-hit

104

Later stage of attack

Very late stage of attack

Catch over and under

Double block

Crush and attack

Under-hook

105

Occasionally scoop. then change to working on with crushing. Ring the changes in your training program so that drills. However. Be the puppet 106 . If you haven’t got much time. work have a balanced body structure. It’s all about how much time you have. Most people don’t. if you only focus on this quick footwork and evasion and parrying will suffer and when you haven’t got pads you may be at a disadvantage. but if you do. with all your tools pointing at the opponent and keep strong eye contact. Strong eyes! Time management: If you have lots of time. Once you’ve got that down. you’re coming at your opponent from a side he isn’t used to. Alternatively play with him by appearing agitated when you aren’t and calm when you’re not. If you have time work the weak side even more. keep it simple and just concentrate on mastering one side. The only way he knows what is going on in your mind is by what you show on your face. Don’t show him anything. Start by having a basic dependent on psychological aspects. If you haven’t got the time or the skill down then go slower or cover to give you time to think. so if you way to go. or with one person feeding alternate legs. even when mixed up with other attacks.Training methods you don’t become dependent on any one way. Become the other options in. Then practise either in an alternate kick-for-kick pattern where you each take turns. work the stop-hits in. This is the place to do lots of reps and put them into your combinations so that though it starts differently you learn to see the shape of the attack you’re working on. Crushing is the easiest to learn and to do.

107 .

he gasps.23 Roundkicks: technique 12: Throws Throws are a great way to defeat an opponent. often you can step over and land on your opponent in a mounted position. trip with your right leg. This is one of the most common defences and also one of the least risky. Throws differ from style to style and system to system depending on what they are designed to achieve and the culture from which they come. Firstly. Counters to the jab In this chapter we are going to start looking at throws from the standpoint of the techniques and basic positions that we have already covered. keeping stable with your hips low and near his. dynamic throws where often you land on top of your opponent power of the throw – by grappling and ground to which you can put each throw. Grasp the waist. your opponent’s attack is such that you are already quite deep. dynamically use your forward momentum. Grip your opponent’s waist as shown and pull in tightly so that For both methods. If this isn’t enough. Let’s start from the slip against the jab. Punch and body grasp 108 . and push your hips forward so that Body tackle series Slip the jab and go deep so your head is near his armpit. An opponent may feel defeated just by being put on the ground. Don’t be too nice: your aim is to fold him in the middle. The other way takes longer but is surer. if the throw doesn’t seem to be working. Some are big. Push your head to the left and take him down whilst bending his body in half. You can do this in two ways. Alternatively.

There are two ways to do the double. drop from the body tackle position and pull both your opponent’s knees together. changing levels so that in turn you become harder to tackle yourself. then drop down (with your guard up) and tackle your opponent at the waist. the leg tackles concrete can injure you as much as your opponent. and in particular will make you less averse to Secondly. Single leg tackle 109 . Alternatively. Remember that attacking the opponent at one of the three key points – the top. ready to strike. with your hands clasped behind him. Step forwards and lift his legs as you twist to the left and be controlled and slow for training purposes. the bottom and at the hips where the body hinges – is the main concept. This stops your opponent using a sprawling defence. If the body tackle isn’t working. On the street. do a foot pin and throw. use a double leg tackle (pictured overleaf). go lower – and use your sensitivity skills to recognise early on if it isn’t working. Keep his leg as straight as possible. using your head as an extra lever. twist towards the left.Leg tackle series Slip and parry the jab. You can drop and attack the legs in a variety of you can hold it just above and behind the knee and near the ankle. You can either continue as shown for the other two or perform a rolling leg break which brings you on top of your opponent. Step forwards with your right leg and then. Learning the basic concepts will make your leg tackling much easier. Thirdly. You can dynamically attach to the lead leg whilst threading your other hand behind the rear leg and driving forwards. or the position isn’t strong enough to throw him. Good conditioning will make all tackles easier to do.

Double leg tackle Variation: foot pin Leg lock 110 .

You are the striker: take control. He will often turn his head Head and arm windmill throw 111 . Make sure that the hard edge of your arm is biting into his leg so that he is unable to bend his leg to knee you. From the side control. There are two ways to throw your opponent with the greatest ease. Once you’re up on your toes. your balance is compromised as you counter the swing round kick. elbow to slow your opponent’s forward motion. particularly if the attacking leg lingers. Unskilled tackles Head and arm windmill throw This throw. either cover and under-hook. if you attach properly you can use the Catch over When you catch over. also known as puta kapala.105). weakness of the head and the leverage of the arm to throw the opponent to the ground. momentum from this attempted strike. and have moved to the side to avoid a tackle attempt. The alternative method is to use your Inner reaping against a kick Catch under To start this drill. as you have less time to play with. uses the need on your opponent’s part to get closer and to stop you hitting him. knee him. redirecting your opponent’s forward energy to throw him. push back towards him. moving back so that he can’t attach in turn. line your Secondly. elbow him then use the throw to dispose of his body in a way which is strategically sound for you. or come closer so that he can strike you. This is the easiest kick to catch and throw from. Concentrate on the striking if you are on the side and have the head and arm position. When you have achieved head and arm control in some way. it is important to lift his leg by rising up on your toes. or use the double block to check his kick and then underhook as you did against the round kick (p. Take control of his body.Counters to the round kick If you kick. Attach and throw. Concentrate on redirecting if you are directly in front of him and he is coming towards you.

and take lots of care of your partner. For this reason.. when training go very slowly. Many times his eyes will be closed or averted. it goes without saying that it’s important at all times to take care of your training partners. Once you’ve thrown your opponent you can stomp alternatively I’ve also shown how to counter if he manages to grab your leg using an octopus head wrench. Don’t slam him into the wall but simulate this..re-direct and introduce to hard object 112 . Go to the right if he grasps your left leg and to the left if he grasps the right. Unskilled tackle… . Be careful when doing this that you are applying all of your body’s force against one of the most sensitive parts of his body: his neck.away whilst reaching out with his hands. Take advantage of this to introduce him to a hard object if you are towards the wall so that you get to practise thinking in this manner.

.. like a rear choke. so as a result it’s a place to be prepared to move from.Head lock throws The basic front headlock works well. It tends to cause pain but doesn’t affect your opponent’s consciousness. Guillotine. Because it’s painful. you get a range of reactions from your opponent which you can use to help to throw him to the ground. Throw 113 .

Guillotine to stocks Rolling head lock Head and arm 114 .

Ways to the back There are a number of ways of gaining control of your opponent’s back. Then stomp and choke using one arm to encircle the neck and the other to facilitate the choke and to add power. enter and if the head isn’t available. In the second method.on page 98. so you don’t have to learn new skills but just go a step further with the ones that you know already. step to the rear as you will have only moved him off-line. check his rear or furthest hip. Kick scoops We saw the two methods to scoop kicks . Watch out for rear head butts.one using the nearest hand. To keep him from rotating the same way as you. You can slip and attack the rear on the you vulnerable to the knee if he’s facing you. low groin strikes and spinning elbows plus rolling leg locks. one the furthest . Although these require vigilance. Use this only when he is off-line and you can see the opportunity. Slip and hip check to get the back 115 . they are about all you have to watch for by way of easy and fast counters to the rear position. Pivot on your leading leg and rotate the rear leg behind your opponent. Here I’ve just tagged them onto some of the basic skills that we’ve already covered. Therefore. Attack the nerve there whilst Slipping the jab Slip the jab and either punch or body tackle. drag your opponent down. when his feet are to one knee and use your forearm against his hip bone to drag that hip to the rear. as it often isn’t. and to the ground.Rear throws When moving to the rear. then pin him against your leg and push your thumb into the neck notch. When using the nearest hand. Working on the nerve there disrupts his balance. where you pitch him up in the air on your hips and then. It doesn’t work for everyone but is usually highly effective and When using the furthest hand. raise your head (as shown Attacking the rear is safer for you as your opponent’s limbs don’t work particularly well there. grab the waist and can use the bump takedown. attacking the back gives you a huge strategic advantage. in the guillotine choked.

Then repeat on the other side. Make sure that your hips are underneath your head so that your body shape is strong. You can also do this from wrist wrestling or other clinch positions. with the furthest hand. Then repeat on the other side. Arm drag Arm drag 116 . so that you are at his rear. Be careful in moving in as it’s very common to get knocked out by a spinning blow. or at least part way. dropping as you go under and then looking upwards towards the ceiling. under-hook with your arm and drag him.The best thing about scooping kicks is that it instantly gives you your opponent’s back. Keep your head down to avoid getting hit by rear head butts. on that side. Training pattern and you step under his arm with the leg Arm drags You can move to the back easily by arm-dragging your opponent. Your opponent throws a wide blow. Keep your hands high until your head is on his back. you stop it and.

Clavicle drag 117 .

Part 4: Putting it all .

together 119 .

or conversely subtract one. to get to your starting position. stophit. Finish hook – cross – lead round kick > Evade with bob and weave – hook – cross – round kick Crush Inside shield 120 . or cross – hook – cross > Inside > Bong sau parry – arm wrench. Some of the combination elements are given as a refresher on the following page.23 Round kicks:combinations 13: Advanced technique In chapter 7 we looked at some of the fundamental combinations of strikes. > Outside parry before his punch from a long > Outside parry during his punch – right cross to types of defence that you can do are: cover. evade. crush. Long range You can increase the usefulness of the simple combinations we looked at earlier by putting one of > Crush – horizontal hammer which acts as have to add another strike or kick. parry. > Opponent attacks with a cross or feigns a cross You defend with: > Stop-hit with lead front kick to body. In this chapter I’ll introduce more ways to make the most of these in defence. and also introduce combinations for use at closer range. but refer back to the relevant earlier sections of the book for full details. grab (or clinch).

cut kick Evade and grab Cover and scoop Jab Cross Hook Uppercut Shovel hook Stop to bicep 121 .Lead front kick stop kick Lead round kick Crush Evade.

Similarly. the crush (using both the arm and the leg) is very easy and doesn’t require expert timing. then put it back into your list.) > Rear uppercut – lead uppercut – right cross low – high hook Though here I’ve only shown how to use the four or > Rear uppercut – lead uppercut – overhand > Rear uppercut – lead hook – cross do the cross and the cross and other combinations shown in chapter 7. Focus on one initial defence and get that response down by doing lots of repetitions. it’s time to work on shorter-range tools. Then. Finish with a cross and high hook. do it for as many attacks as possible. Many students attempt to use these too early and don’t develop a Opponent attacks with a lead round kick > > Here I’ve shown the use of combinations which integrate the use of the uppercut. > Lead uppercut – rear uppercut – tight or wide hook > Lead uppercut – rear body hook – rear high hook body hook and high hook > Lead shovel hook – rear shovel hook – tight or wide hook (Use when you are head to head with your opponent and he has a tight guard.) range into medium range. However. Work out where the preparation is > Crush – round kick to his standing leg on your attack and learn to hide it. > > Evade and grab – cut kick – knee and leg throw away – combination > Cover and scoop – throw away – simple combination At medium and close range you get more chance to use the uppercut and shovel hook. the stop kick and stop-hit can be done in the same way for almost every attack. moving from long > Evade by retracting your lead leg (toy gerk) and reply using a lead kick from the > Jab – lead hook – rear uppercut – hook > Jab – lead hook – step with rear count or other combinations into your training. because the crush is so easy (though sometimes painful) make sure that you work > Lead uppercut – cross – high hook (slip to the inside and uppercut up the middle. Slip to the inside and shovel hook. For instance. Medium and close range 122 .Opponent attacks with a round kick > > Stop kick with oblique kick to groin – round kick Tip: Focus on one thing If training any combination. good enough jab and when your opponents are consistently getting past them. then hook. spend a long time on just one attack and get that down. if possible.

Follow-up with lead body or head hooks and Bump Elbow lift 123 . From the half guard: > Bump him to make the minimum of space. Follow with cross – body hook – cross. with the hand down and the lead knuckles biting. Alternatively. you can start your counter-attack or combination from close-quarter positions. then cross – body or head hook and cross or rear elbow – lead elbow – rear elbow and knee > Kidney slap: Pivot on your lead foot so you’re no longer directly in front of him. as often it makes him think that you are backed up against ropes or the wall and have no backwards options. Repeat the right hook to the head and continue as targets present themselves > Rear pick up: Pick his elbow up with your rear hand whilst stepping in and pivoting to the left. Go into cross – body hook – cross or any other applicable combination > Bump. Keep your back leg strong.Close-quarter combinations Just as with the trapping entries into combinations (p. clinch position you both re-group and have a rest of sorts. untied. and hook to the head (make sure to keep the hook very tight so it just goes around his guard). giving room for your tools to work. just enough to get your punch through. use this approach when your jab has missed and your opponent has slipped to that position. 125). Follow with appropriate uppercut or cross-led combinations > Lead elbow pick up: Using the hand from either on top or underneath. you can just snap-back to a slightly longer range. and slap to the kidney area to bring his head up. using your horizontal arm to bar his options. when you choose. or go back to clinching where you can’t be hit > Snap-back instead of bumping and repeat the combination above > Elbow lift: Snap your elbow upwards quickly to bring his head up from its hiding place near your armpit. What often happens is that in this loose. open his body up and right hook to the body. Rear uppercut to lead hook. Start once you have slipped or bobbed to a position close to your opponent’s armpit. Then.

do the same 124 . so your game has to develop. In sparring. opponent with the agreed combination and he parries. new ways of attacking. There are three main ways and pro-actively. or evades as defence. The way to do this is through repping new combinations or approaches. Defensively Fixed combinations After practising the above. as these small gloves make you work your technical skills better than a larger 12 or 14oz glove. Regardless of your level. the training partners with whom you spar will eventually get to know your game.Kidney slap with follow-ups Lead elbow pick-up Training combinations: partner Combination work is intended to build your ability to this in mind when working with an opponent. there is work of this type for you to do explore new combinations. covers. Both of you should wear bag gloves.

This makes you pro-active even in your defence. or hit you with his rear hand. or hook you. you throw a jab – which often elicits the same or similar response from your opponent – then you parry or evade and do your idea of what his response will be. He strikes with the cross as soon as you trap his jab. and you block or parry and then go into your combination counter- Tip: Don’t telegraph Get your body position right so that you don’t have to do a preparation. Bounce the hand from > Cross – salute > Jab – catch > Jab – cross – failed hook – bong sau – follow-up Take note: you can’t do these in a backward and forward style as easily as the simpler combinations. because the necessary tension is already there within your blows. > Jab – cross – hook. then slap and follow with cross – hook and round kick 125 . for example. It means you are just tagging the combo onto the end of a parry or block. You defend with your lead arm and then strike back > Stop on jab. giving the response you want and then practise in slow By doing things pro-actively you steal time from your opponent. Important: Cut down the time between the defence and the counter-attack when doing this sort of training. whereas more complex traps depend on sensitivity There are three ways of doing this. stance or position. as opponents often respond with the same thing you’ve thrown and this puts you ahead on the timing. As I have said before you can do these on your own. Research in front of his jab to stop his countdown then go directly into your combination > Bong sau / rolling arm defence (against the cross) – cross – hook – cross. Pro-actively Finally you should do combinations pro-actively. Learn the shape and you can make up your own combos. He attacks you with a cross. with a partner. Train them with your partner. which works really well in sparring. Here are a few of my favourites which work really well in sparring. work well as a route to combinations.blow which your training partner throws at you. This is complicated if you want to do a back-and-forward training drill with your partner. or on the pads. Stop the jab (overleaf) This is just a light touch on his lead hand. Trapping to combinations Simple traps. Almost see the parry (or slip or block) as the and moving forwards or at least having a forwards intent when doing this sort of work. This is much like an athlete on his marks at a race: good position will cut down any dead time at the beginning of your attack. It’s simple and effective. where you trap your opponent’s attack against him. much as we did on the focus pads. Decide how many you are going to do and get him to attack you in the way you want. This is where you ask a question: for instance. It stops the countdown and he has to go back to his mental start line. Here we’ll show them with a partner as this is where it works best. what happens to you in sparring so that you can be ahead of the game.

Start with the standard combos. then jab cross hook. so that even though your opponent knows broadly what you are going to do he still has to be able to read Lop sao 126 .Stop the jab. This is very simple: you throw any three-count combination at your opponent and he responds with any three-count that comes to his mind. alternatively bong sau Single slap trap / pak sao. you can change between them at random. to: Pak sao > Cross – body hook – head hook > Cross – round kick – rear round kick Three-for-three One of my favourite exercises to do with a partner is three-for-three or four-for-four. to: > Cross – wide hook or slap – rear low round kick > Cross – hook – cross – lead round kick > Cross – round kick – round kick Grab / lop sao. You have have that then you are off and moving. This makes you mentally sharp and also teaches you how to cover. You should work at making them penetrate the holes in your opponent’s guard. Once you’ve got three or so of these down.

Probe his defence and think out of the ordinary. or. Depending on left uppercut – right uppercut – hook > From right body punch: cover with elbow and then respond with left or right uppercut (depending on where you are) – cross – hook High right hook High left hook Left body punch Right body punch 127 . Go slower listed. as long as they are within certain boundaries. repeating blows and hitting where he’s open. If you have problems and are getting hit a lot when you’re attacked. rear uppercut – lead uppercut and cross > Against left body punch. body hook or slap: cover with elbow then respond with Four corners This is a way of integrating the combinations that you know with a simple defensive cover. after all. if closer lead uppercut – rear uppercut – hook – cross > Against high right hook: cover with tight cover or shield and then respond with cross – hook – cross.don’t) then you can go on to being more random in your attacks. but you can break the patterns by changing target. then go back a step. You then respond with the following: > Against high left hook: cover with tight cover and respond with hook – cross – hook. or. if closer. You don’t have to repeat just the standard combos. not only for you but for your training partner who is practising defence. is to build on success. Aim at holes in his guard and interrogate his defences. The aim. These are useful for teaching you the basic patterns. In this drill the pad holder tests your defence with a hook or slap.

Just move out of the way and perform the follow-up combination. or > Charges with head down and both hands extended (also known as a bear hug attempt) Sprawl making a tackle attempt. Don’t overreact to his attacks. To simulate a tackle. Pivot out of the way. > > Charges with hands behind back. Tip: mix ranges range strikes and then move out. Use your imagination but drill the basics.Start slow but ask your training partner to increase the speed of his attack so that it happens at the end of your combination and there’s less of a pause between moves. use your imagination but make sure you move enough. Pivot Sprawl 128 . knees or elbows. the pad holder does one of the following: The attacker can come in for a tackle attempt in one of two ways: with his arms out. making sure you don’t retreat in a straight line. You sprawl. and correctly. Any combination can be used using hands. hands and legs. Point your body towards your opponent to ensure your energy is focused in the right direction. If done with focus pads. Tackle attempt combinations Pivot When your opponent attempts a leg tackle you can use these four simple ways to counter. then go back to a slower pace. Make sure you keep your head up. to be used alongside your striking. Get back up quickly and punch. This is very similar to what a matador does with a bull. which should put you on top of his body with the ability to choke or reposition so that you control his back. which allows you to wrench. and perform the redirect on the other side. keep your feet pointing at your opponent as much as possible. If the skill level gets worse or disintegrates. either on your lead foot or by withdrawing your lead foot. or with his pads held behind him and his head exposed. If you do this on your own in shadow-boxing. When you are defending. Go back to using your jab or straight kicks to ‘stick and move’ again.

pivot and control his head. Finish with a combo as above. or a side head control (often called the side clinch) again with knee attacks. rather than bringing the knees straight up. You can add any of the previous combos that will take you to this reference point. just adding these simple tackle defences to the combinations that you already have gives you a formidable defence. followed by a standard combination or one sided combination.Head and arm Use the same footwork as the pivot. or a hand combination. switch to half-head control to counter his tackle or grapple attempt. It allows you to direct his head easily to the left or right. Once you can do standard knees you can vary the type of knee attack and also change heights. with slight spiral energy towards the top of his head which makes it harder for him to oppose your energy and counter the position. pull him in and give three knees to the stomach. you should drive them in so that they are hard to block. make sure that the elbow is down inside your opponent’s shoulder. With the full head control. Alternatively. Short knee to combination or cross and round kick Use a short knee to stall your opponent’s tackle or to bring his head up. Tip: hand position When putting your hands on top of your opponent’s head. Double knee and then either deliver a straight shin to the head or push away and round kick to his legs. When applying the arm wrench. Side clinch 129 . and redirect the head – in a real With the side head control. as your opponent slips to the outside. remember to overlap the hands (don’t the head tightly. use the same body mechanics as if you were doing a right or left hook As you can see. with the arm in a potential arm lock. Lead front kick – jab – cross – side clinch Arm wrench or throw to combo Jab and cross and. The hands should be overlapped again. if he is close enough. then push away Combinations with a head control or clinch ending In these combinations we will focus on either doing a full head control (sometimes called the plumm) with knee attacks. and kick. Lead round kick – cross – hook – plumm If the hook goes wide and your opponent’s head is within the circle created by your arm. remember that. or hold it in one place. but pick up the opponent’s head and arm. For the sake of space we will just focus on the attachment and ending. much like we did in the three-for-three and four-for-four training earlier in this chapter.

Instead of wasting those spare moments. If the emphasis on good body mechanics. as in all training. As on the tackle attempt series. Five different combinations in a workout should do for most students. you get to build muscle memory through repetition. Drive in the knees if your opponent’s energy is backwards and upwards (he’s trying to lift his head). cautious and aware when Here your opponent grabs your round kick. you can add more depending on how much time you have. doing partner work. If you’re practising with an opponent. to build muscle memory you have to repeat things over and over. don’t rush in. do the combination. In solo training. Slide and step doesn’t work so well with this format as it primarily works on 130 . Once you’ve got the beat then break the beat or play with it. hardest things to practise: when your training partner backs up too much. which is a great training method. For instance. Get your shoulders moving and your head. This is one of the one of your favourite combinations. Let’s look at ways of Kick grab counter – plumm with knees – leg pick up – knee ride doing all this on your own. then gain the plumm position by whatever means you like.Jab – cross – hook – side clinch Key points Sometimes your hook misses and your opponent has the opportunity to come in behind it. This can be done with almost all the footwork drills we’ve previously shown. low round kick or tackle / single leg pick-up. pull back the side under attack. Training combinations: solo On the spot First. on the spot. pivot as you retreat and pull him into side the emphasis on good body mechanics. Footwork-based Next. Remember that lots of quality work can be done on your own. Don’t do too Tip: making music Your body learns best when all of its senses are working for you. Don’t go further till you’ve got this. Be careful. Take him down and throw the leg to one side. Grab his kick and punch to the face or focus pad. Get your shoulders and your head moving. You crash in and push the leg downwards whilst controlling the head strongly. It’s important to learn with rhythm and sound as some of your key helpers. you Kick grab counter – plumm and raised. This is a common mistake: keep your body behind the punches or kicks so that you don’t telegraph. do the same combinations but with simple footwork drills. do your combination training and see the results after just a short while. If working on focus pads or Thai pads concentrate on the noise that the strike or kick makes. curve right. In the start. then let go and perform the single leg pick up. curve left. many different types at one workout. start by just going through the combinations that you’ve outlined. anywhere. you don’t need to coordinate with a partner so it can be done any time. Follow this up with knees then with a combination. repeat the combination. work on making this a resounding and sharp bang on all blows of the combination. Knee ride and strike the face area or focus pads if he has them. as they often do in a drill.

and use one or two simple ways of moving. and try putting the combination at either end of it. work both long distance and close work. If you don’t know what to do. Breaking the mould Finally. Pretend to totally dominate your opponent. use elbows and knees in the same format as the punches that you’ve learnt already. balance and body feel. Your mind and body can’t tell the difference between reality and an imagined experience if done with ‘emotional intensity. Shadow-boxing is an excellent way to build skill. Keep your feet active and use a jab to get you out of distance so that you can start once more on training your routine. make noises. sometimes on the beat. but if you link footwork and solid combinations you are onto a at the end of your combination and die on your feet. or any two numbers that a forward to backwards axis. You need imagination. Don’t stand still. Free shadow-boxing Thirdly. For instance. but good shadow-boxing will internalise all your techniques and give you warrior skills without being hit.’ Have fun. 131 . See yourself as a winner at all times. pretend to be hit and then come back stronger. Similarly. be a constantly moving target. Keep a bounce in the knees and change your body height to mix the height of your blows. train the combinations by putting them into free shadow-boxing using slipping and other body evasion and evading footwork. sometimes missing a beat. Mix the combinations that you’re drilling with single direct attacks. Once you have some sparring experience then you can bring this experience to bear to update your game. just concentrate on one or two combinations and intersperse them with a jab or double jab. even when moving back. break the combinations by only doing them in a partial format. only strike two and three of a four-count combination and add this to your shadow-boxing. Relax and play with the timing and footwork. Make your combinations and your footwork like a dance. Change the rhythm of the combinations. use it during the combination to break ground. Have forward intent at all times.you should go back to your shadow-boxing and add what you have learned to the format. but practise using this great footwork to break in and out. To work at different ranges. This sort of training can be seen as footwork training. enjoy moving through your body. concentrating on body mechanics.

When routines and patterns.23 Round kicks: technique 14: Rhythm To be combatively effective you have to have a simple plan which is also profound in its implications. snapback twice to a pulse. The beat pulse In pop music. Now play all of these together. and improvise around intuition. just move until your sense of rhythm so don’t get stressed about it. The body rotation that you need to develop to effectively punch can be likened to a wheel being turned. Strikes can be performed in a variety of ways and from a variety of angles but when reduced down to their essence they tend to follow simple body patterns. Once you own the beat you 132 . or one per second. On a metronome (a timing pulse machine available from music shops) you’d set it to about 40-60 beats per minute. Uppercut and overhand blows would be like holding the wheel at more importantly. If you see all the various techniques as separate then this is a lot for your mind to work on and won’t lead to functionality. the air. A standard jab and cross would be like holding the wheel horizontally. Go slower if you need to. a way of taking the power generated at the core to the target. Whether you are using punches or elbow strikes. Multiple blows with the same hand. Rhythm drills Rhythm drills are carried out using the all of the punching methods we’ve covered plus the body evasion skills. then on the other side. the beat pulse is the big beat on the drum that you tap your foot to. so it’s much harder for your opponent to counter. is guided by the angle that your body is at. Simplifying everything down to its core essence is the way to go. up and down in the middle. Hitting from the core of your body. four or eight to the pulse. Next. Then. except one beat of the double isn’t delivered and instead is used to build the power to deliver the second blow. or choose a tune which you like and work out to this. Your choice of combinations of blows. If you miss it. then twice per pulse. the essential movement is the same. This means that not only is your body learning how to move but you are learning timing. Play with the pulse. It’s important to see it as a dance and let it get into your body. This means that the body’s core is the essential region if you are changing punches. still have to use the same body mechanics. Next it’s three or four punches to each pulse. Then mix any two. If you work through this chapter and seek to blows then you’re well on your way to looking and. such as uppercut and overhead or jab and cross. often done on the angle. Then do the three or four punches on the angle. bob and weave once per pulse. Uppercut very short. Enjoy moving. A good way to train your ability to put these together and to work your core is through practising rhythm drills. Most multiple combinations are based around simple body rotation. you can change very quickly if you keep your blows tight. It also gives you the ability to change your intended blow late. and the arms are just an addition. body feel and intent. hitting like a pro. sensitivity. then slip each way two to a pulse.

Two punches to a pulse Three or four punches to a pulse Three or four punches on the angle Bob and weave once per pulse Slip two to a pulse Snapback twice to a pulse Mix any two Uppercut very short 133 .

Every now and again go back and go over the basics like slipping or bobbing and weaving. Once you can do the rhythm drills on the spot then you can start to move around and use footwork. Obviously. It’s like jazz: be discordant and then be in the beat. Relax. I initially learned to punch on the beat at an angle across my body Once I had this then I would do it for two or three to the beat.can play at losing the beat or striking just before or just after. Because this type of training goes into your body through the route of music. but your body is still working. ducking and snapback. 134 . dropping in and out of the rhythm. It showed when he fought. There should be a loose bouncy evasion skills like slipping and bobbing and weaving. Then you have a sort of improvised dance which can focus on just one aspect. Do all of these on the beat or in relation to the beat. if you are going faster the blows have to be abbreviated. or mix it up into a type of shadow-boxing – but concentrating on rhythm. Both are valuable. When I originally studied boxing. Get your shoulders to be loose and moving. Do this on the spot. let the rhythm take you I remember seeing dancer Gene Kelly and boxer Sugar Ray Robinson tap dancing together and Robinson was by far the better mover. like the punching or the evasion. it goes much deeper.

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if you know what to look for. as a gleam in the pro-actively. These constants are what I will try to explain in this chapter. Not getting in the way is something that should be cherished when it happens. Fighting time line Telegraphing which tend to happen all the time. However. when he’s just started to plan his attack. if not then the time line may help. Often this isn’t simply a raising of an elbow or like this. It should also make you realise that any technique works only so long as it’s functional. This is the aptlynamed stop-hit or stop-kick we covered in Part 3. Pre-empt has a certain rhythm that he falls into when he is going to launch an attack. Therefore you have to adapt. reactively. the moment he starts to attack you. Then you have a simple plan but lots of built-in variation. Understanding the time line gives you a better understanding of how things work. This that he does and on his dance that leads to an attack. This gives you a way to understand how you can change the nature of a move depending upon its position along the time line. You hit him when he’s just getting started. If you’re being successful then keep on doing what you are doing. or by witnesses sparring session then this 2. This is highly effective and is an essential part of your game. so don’t get too obsessed with it. It’s important to keep observing in all your training. and he’ll repeat this before he gets started on attacking you. you could attack on his preparation. When you’re during his attack or after his attack.23 Round kicks: technique 15: Timing To help you to understand one aspect of timing and to emphasise the importance of being pro-active I’m going to explain the combat time line. Once you’ve understood the time line you can see a Telegraphing is something that you should concentrate on eliminating from your own attacks. 136 . which should make you more adaptable. in the reality of combat you don’t always get to choose the ground or time where you will have to attack or defend. Stopping your opponent before he gets started is the best tactic as you limit his choices and take control of the situation. Most opponents telegraph their blows in some way or other. the gleam in his eye and attack before he does. at the other. This is some sort of movement on his part that lets you know the attack is coming. but sometimes it is just that your opponent 1. Often it’s just a matter of observing and noting the small routine things that he does when he attacks. alongside further work to being guided by your intuition. eye can’t be picked up on CCTV. The time line is just a tool which you can use to improve your training. can be hard to explain legally. Stop-hit Secondly. You see the intention.

If you don’t take this pre-emptive approach then you are into the interactive. in training. You Close-quarter counter-punch If you are attacked with moves that penetrate deeper into your circle then you have a third option. This is now a job that you don’t have to do. Counter-punching like this is the most effective way of hitting hard. or evade. Footwork You can use footwork to stay at a suitable distance from your attackers’ limbs. Often I will tell students that the two things to strike him and second to imbalance him. 3. though you do often have to show some courage to do the minimal amount of movement and stand your ground. 137 . these blocks and parries are practised so that you do them during or at the end of his attack. Play with his balance. Make sure in your practice that you don’t over-block as this can leave you vulnerable to trapping. or evade using slipping and body evasion. Block & parry Blocking or parrying is your fourth recourse. but is a stop-parry or block. This is a very effective way of closing him down and is much like a stop-hit. blocks and parries can be moved in both directions along the time line. He has done all the work of covering the distance between you. The use the block to trap him. your structure is good. before your opponent gets started. this isn’t the most effective way to use them. If you are not going to counter-attack then move. Use the parry or block to do this. techniques that I’ve shown in this book are at their most useful and this is what much of your training is about. These can be done in three ways: before. either just out of range or off his line of attack. Slip. By evading and counter-punching like this. 4. It’s important not to stop his forward momentum but to redirect it. Evasion Evasion and counter-punching are the next things to do in your hierarchy of tactics. at a distance. all you have to do is make sure that you are off the line of attack. trading type of combat closer you are. and move into close range with your opponent doing most of the work to close the distance. or move to your opponent’s back where he is in an inferior position. throw. Once you are here at close range you can strike. The way to train this is by doing lots of repetition and understanding the science and effectiveness of this approach. Normally. It’s at middle range that the hand defence Snapback Secondly. Often. What makes this most effective is good footwork and body movement. and pointing at your opponent. the harder it is for your opponent to hit you and the more skilful your attacker needs to be. Doing blocks and parries during your opponent’s attack is effective mainly if you are going to counter-punch. or strike and then throw. You should try to be constantly moving so that his big guns can’t get a good line on you whilst all of your own big attacks are there. you can stay at a medium-to-close distance and either snap in and out of range using snapback. One is to use the block or parry before his attack gets started. during or after your opponent’s action. however. Many trapping techniques can be used like this. You don’t have to be fast. Like the striking.

you can sometimes block at the end of the attack and follow your opponent back. or as a shield which enables you to strike and enter behind. Let me explain. it then has what we call a closing line and an opening line. hit into the opening line. or just as a way to spike his attack. whether it’s as a stop-hit or after your opponent’s attack. Use it early to jam. Application of the time line So how do you go about learning where and when to apply your time line tactics? The best way to build the stop-hit. then you’ve either blocked and counter-attacked with a kick or punch. This will make you better at applying that technique. The closing line is the diminishing gap in front of his blow. Have one or two stop-hits like the jab or front kick that you focus on doing all the time. into your game is to use it all along the time line. after’ to your training and sparring practice will but hugely powerful. The crush can be used almost anywhere on the time line. The reason that you block or parry is to keep you at a range or position where you can deliver attacks. This can be done just to keep the line closed as you counterattack. or you’ve counter-attacked after the attack has missed. the opening line is the increasing gap behind the blow. or to trap or jam him so that he can’t defend as well. Then if you are successful and get your chosen attack in as your opponent attacks. 138 . or any other action. If possible. Blows normally miss because the distance is too great or because the blow or strike is slightly curved. That is. On the other hand. so why take chances if you aren’t going to strike? Lastly. it’s a stop-hit.don’t block. Bruce Lee If you attack after. and you’ll also that you are stop-hitting much more often. Even blocking can be dangerous. jab all the time or front kick all the time. but are not under time pressure and you’ll realise that it can be used all along the time line. if it’s a bit late then it’s a simultaneous block or evade and hit.

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Don’t over-reach. good footwork is essential. As you can see in these examples. Even if you. understanding the basic In this chapter I’ll show some common scenarios that happen in combat and ways to use the techniques covered in this book to deal with them. Judge the point at which you’ve got some advantage and then decide either to continue your attack until your opponent drops. Often people turn their back or don’t pay attention at the end of drills and build in bad habits that will get them hurt in real Scenario 2: He is stopped but re-groups and comes again Sometimes an opponent is stopped by your blow but re-groups and then comes again. Here you get the chance to do all the former stuff again. he may still do some or all of them. don’t panic. Act like a pro and keep a cool head.23 Round kicks: technique 16: Scenarios What happens when you hit them? Fighting is complicated and there are no simple rules that guarantee success. or he. and you can follow him back with kicks or the combinations which we have covered earlier. If your opponent has been hit. 140 . Above all. he tends to do a number of things which you can prepare for and deal with more effectively when they happen. You’ll get further this way. Work only where you are evenly balanced and don’t get too greedy. It’s important to do this when doing training drills. Don’t leave an active Zanshin’ (awareness) where Scenario 1: He retreats. Sometimes you can let your opponent expend some again when he runs out of steam. he will spring back at you. or chase a retreating opponent too hard. or you can jabbing him hard as he attempts to advance and then using footwork to keep out of trouble. if your intuition you keep alert to the dropped opponent and treat him as a threat at all times. If you’ve hit your opponent effectively he may fall careful to make sure that he is totally down. has missed. or. either before he got started or by some defensive gambit on your part. Keep attack and then hit him again at the end of this. people are often knocked out as a result of being too persistent in their counterattacks. If you compress him too much. he may retreat. Think of your opponent as a spring. In street like a knee drop or round kick to a seated opponent him on the end of this stiff jab until he loses heart. you follow If your opponent has been struck. Use your sparring in the dojo to get into good habits. shadow-boxing style in the air. In experience. You are ahead and just need to keep your cool and repeat what you’ve already been successful doing. to make sure he doesn’t bounce back up whilst you deal with the next opponent. However.

you can achieve some control over your opponent’s body. This is a huge area that warrants its own book. be active. Grappling is a much bigger area and beyond the scope of this book but you should make Scenario 4: Clinch Another scenario is when you fall into a clinch or tie up position after your blows. not the hunted. Above all. However. Even if you are moving backwards. divert your opponent’s clinch or attack attempt much like a matador does to a bull.Scenario 3: He advances If an opponent crashes in towards you this normally occurs in one of two ways. This will give you as a fundamental part of your art. One is more passive in nature. as in most things. From the clinch the are better off having a small number of throwing techniques that you can master. to him. it’s essential to keep a good base so you are harder to move or throw. The head is a huge target and you should have escapes from basic head controls as part of 141 . In the simplest example you can short knee your opponent to deny him the tackle. for example with a head and arm control. Above all. with his arms outstretched to make contact. This is where you’ve hit him hard and his instinct is to get closer and smother your blows. be the hunter. and slam him into hard objects. though you have to perform to a higher standard against a more active and aggressive opponent or a trained wrestler. Nevertheless. you can treat both these ways as one. ensure that you have forwards intent. as this denies many of the grapplers’ advantages. The second is a more active style where your opponent wants to close and tackle or throw you. then chase him back or drop him with combinations of strikes. Alternatively. the four directions that you can move in. strike. When clinching. If possible. we have covered a number of the simple options here and this should give you a good place to start. In this book we have concentrated on some high percentage throws that are easy to do and that happen often. not passive. The head and arm throw is often a good place to start and can be adapted to be a pure hip throw if needed. and train so that you have some sort of technical skill in all four directions. Sometimes this is done with his head up but most often your opponent comes in with his head down or turned slightly from your attack.

23 Round kicks: technique Conclusion
Fighting is complex but you can enhance your study of it by learning the fundamentals well and welding esoteric techniques to the mix. I see many students with lots of knowledge yet with no framework within which to work. The aim of this book has been to give you some of the keys to integrating your knowledge and to see where all the diverse approaches can be used as part of your game. I have, of course, focused on basic skills. reason I haven’t focused on the complexities of close-quarter work, trapping and locking. Within this book there are many techniques and concepts that, if you take the trouble and time to master, will make you into a truly

There are a number of things you need to guarantee success. Most important is a good teacher or instructor. Be prepared to travel for the right input, though if you have an open and inquiring mind and a friendly disposition it’s amazing how many incredible people live near you and from whom you can learn. A good instructor may not be of the

To be successful, you need to be consistent in your practice. This doesn’t mean training every day; this will lead to over-training and injury. Three or four good sessions per week with a bit of other study from books or DVDs, plus conditioning training, is easily enough. You learn more when you rest; your body grows after the stimulus of training and your brain has the time to sort things out which it can’t do when you are constantly training.

system they teach. Realise that some of the best teachers may not be the most well-known. Judge a teacher by his students. Are they respectful, friendly and skilful? Tough, swaggering people are often found on the outside of the ring, telling those inside what they should be doing, whereas the ones inside tend to be a bit humbler and more in the real world. You’ll be spending lots of time with these people, so choose well. You in turn have to be a good student. What does this mean? To me, it means a person who turns up and does his work, whose focus is on quality. As comedian Woody Allen said, student doesn’t complain, but shows his interest by his actions, not his words. Over the years I’ve met numerous students who like to talk about how or masters they’ve learnt from. Then they move, and you can see instantly exactly what they’ve been doing and at what level they are. Don’t waste your time talking when you could be training.

If you are going to be serious in your study it’s important to have a support structure. This could include physical therapists who can help if you get injured and most importantly good training partners who share some of your goals. If you want a good support structure you have to be one to others. Give advice when needed, be supportive and keep them real. Martial arts is full of wild dreams and theories, lots of them based on hope. Keep a base in reality but be prepared to think the unorthodox. Use this book as it’s intended: as a base from which to work. Realise that you’re more important than any style or system. Learn the rules and then break them; own experience. Where do you end up all the time? Then research that position or area, become expert, and take it from there. Martial arts is vast and will lead you on a voyage of discovery, not only on your own inwards

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journey learning about fear, trust, determination, diligence and self-discipline but also by awakening your senses. Through that it will lead you to an appreciation of different cultures, different rhythms and music, and hopefully a feeling of increasing training.

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Drills and work-outs

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You can do this with a length of chain or a long stick like a Japanese Bo.Triangle footwork Triangle footwork is used a lot in Filipino and Indonesian martial arts where each point of the triangle could be the start of another triangle so that you have a huge range of ways of moving. Aim for the same target regardless of which leg is forward > Forwards triangle and long knee > Forwards triangle and jab and cross (different leads each side). Punch to the stomach. Hit the same targets whichever leg is forward > Forwards triangle and side kick to the knee or stomach > Triangle away from round kick and cut kick to the standing leg > Triangle away from the round kick and side kick to the knee > Reverse triangle and spinning side kick to static opponent 146 . Here I’ve just done simple triangle steps to build leg strength and a double-sided approach to body development. dropping under the strike to make sure you drop low enough. Do rounds of two or three minutes or until your legs get tired. Builds courage and entering skills > Forwards triangle and punch. This is mainly for dealing with multiple opponents. Use these attributes for tackling or evading or as a challenging warm-up. > Forwards triangle.

Have it at the right angle and don’t let it fold. hips up. Then slowly mix together. then inside crush for one to two minutes without putting the foot down. to build core strength and ability. Then change the follow-up kick to a round kick as in the last couple of examples. Don’t look at the kick. Builds balance. 1. raised hips and strong eyes focused on the opponent. 2. Tree drill Outside crush slowly. Start by just isolating the crush and getting that right. strength and proprioception. look at the opponent’s chest. working on keeping a central balance. Then go on to combination crushing with the same leg. or knee. back strong. Once you’ve got that idea. Then use one leg after the other for combination kicks. 147 . It’s not as simple combatively but your balance improves as you have to be central and not have the weight on one leg or the other. Partner drills Attacker Defender Jab – rear round kick Cross – lead round kick Jab – cross – lead round kick Jab – rear round kick – lead round kick Jab – cross – lead round kick – rear round kick Jab – cross – hook – rear round kick Then add counter kicks Jab – rear round kick Jab – cross – lead round kick Jab – cross – lead and rear round kick Cross – lead round kick Parry – lead outside crush Parry – lead cross crush Parry – parry – rear leg crush Parry – lead leg outside crush – same leg cross crush Parry – parry – rear outside crush – same leg cross crush Parry – parry – cover – crush Parry – outside crush to same leg front kick Parry – parry – cross crush – lead front kick Parry – parry – rear outside crush – cross crush – same leg front kick Parry – crush either leg – rear round kick This is just a sample way to work. follow up with a front kick without putting your foot down. hands or even plumm. Think body structure.Crush drills with a partner Do the following in sets of ten or until you’ve got them down.

if you’re with a partner. Long knee Remember to turn the hip a little so the back doesn’t take all the strain. use the defences shown below. to keep the range only. Do one three-minute round using both legs equally. Combinations Do this on the Thai pads or. It should go inwards. Attacker Defender Jab – long knee Jab – long knee Jab – cross – long knee Jab – cross – lead long knee Jab – cross – lead long knee Jab – cross Jab – cross Jab Parry – chest check Parry – opposite hip check Parry – parry – chest check Parry – parry – opposite hip check Parry – parry – same side hip check Parry – double parry – long knee Parry – rear elbow crush / high cover – long knee Rear parry – lead low round kick – middle rear round kick – lead knee 148 . Put your hands on each other’s shoulders.Knee workout Do this with a partner. not for support. not upwards.

making them heavy. more importantly. but.Power workout: Thai pads In this very simple four-minute workout the emphasis isn’t on doing the relevant techniques quickly. feel empty and let the weight drop through. Do each of the following for 30 seconds: > Jab and cross > Grab and knee > Left round kick > Right round kick > Left and right horizontal elbows > Front kick – round kick > Lead front kick – round kick > Finish with push-ups or plank or burpees 149 . Let it go. Go at the pace that will allow you to put your body weight behind the blow or can feel it in the arms then it’s in the arms.

drills. Lead uppercut – rear uppercut – hook – cross – jab away – move right. Come up with hook – cross – hook or variant (double body or body – head hook – cross – hook – cross. but a good place to start is by doing 20 of each or until you get a constant sound off the pads. Slip opponent’s straight right. mix against a standard V hold or get your pad-holder to call the shots. Use your footwork. Push opponent if he’s too close and move right. Round four: Slip opponent’s jab and rear uppercut – hook. This round is focused on the bob and weave and the slip. Move left and right or snapback between each combo. imagine you’re with an opponent who refuses to back off and you’re having a bit of a war.Punching workout Static straight-blast punching Slowly. Focus pads Round one: 3 mins. Keep movement to a minimum. Jab. Come up with either cross – hook – cross or hook – cross – hook-based combos. Come up and cross – hook – cross or variant. Let the opponent’s arm scrape the top of your head. Uppercut – cross – left Round three: hook and move away. Slip opponent’s quick jab with rear uppercut – lead uppercut – cross. and jab – cross – hook. one arm sliding over the other. Slip opponent’s straight right. Single bob and weave against a hook. Last half a minute: straight blast. do cross – hook – cross variations. Single bob and weave against a wide cross. Finish with push-ups for 30 seconds. Slip opponent’s straight right – lead uppercut – rear uppercut – cross (same hand) – left hook – move away to the right. Finish in the last halfminute with straight blast punches against pads. You can do them in any order. Double-bob and weave against double-left and right (or right and left) blows. Use a combination of head movement and feet movement to bob and weave. Don’t charge in too much. Moving side horse stance Slowly. Finish with half a minute straight blast on Round two: pads. double jab. 150 . Eventually. Left hook – jab away and move right. Basically. in a continuous manner. jab – cross.

‘If you use it it’s yours. 151 . Two legs going forwards is faster than two going backwards. Forwards and backwards > Attack. Move left (step and slide > Repeat to the right > Jab – move with L step to the right or around in a curve > Jab – cross – move with L step and > Step back (step and slide) two steps – jab – cross > Attack with jab – cross > Step back (step and slide) two steps and jab – jab walk to the right or around in a curve. It will mean that there’s no dead time before you launch either an attack or counter-attack. you’ll have the right body position. moving straight back isn’t that desirable. And so on. under pressure. Never going back? I’ve coached lots of people who always concentrated on going forwards and who weren’t interested in the idea of rearwards competition and spent most of the time going backwards they worked the rearwards and curving > Jab – curve left – double jab – curve right – jab and cross – curve left – jab – cross – hook – curve right. with jab – jab > Step back (step and slide) two steps – jab – cross > Attack with jab – cross Sideways and curving > Jab – cross. you get the idea. stepping forwards. so that it gets into your bones. with jab – jab > Step back (step and slide) two steps and jab – jab > Attack. Once you’ve got the forwards and backwards idea. Re-insert lead leg – jab – cross > to the other end of your training space Combatively.Simple footwork and punching drills Use these simple footwork patterns with basic punches so that you know that. then use the footwork and associated strikes in sparring.move off his line of attack. stepping forwards. if you don’t it’s still mine!’ Do each group or just one from each group for a three minute round. work on being less rigid in your lines and once you’ve gained distance . Re-insert lead leg – jab – cross > Double jab – move with L step and walk to the right.

He continued as coach in 1992 with a very successful team. Bob competed internationally in Karate on a number of occasions. In 2000 Bob founded Jeet Kune Do-Kali International. 152 . including Dan Inosanto. He has captained his country in international competition in two differing martial arts and has been at the forefront of martial arts development throughout his career. an organisation dedicated to expanding the high quality teaching of Jeet Kune Do and Kali throughout Europe. He continued to study Karate and associated arts. Instructors. a student of JKD and Kali concepts. Bob began martial arts training in 1966 and from early 1967 began studying Wado Ryu under Tatsuo Suzuki. as being superb at closequarter and one of the world’s knife defence experts. However. moving to Japan in 1974 where he trained under a variety of Senior Masters. He was the founder member of the World Eskrima Kali Arnis Federation in 1987 and founder of the the Philippines in 1989. he is still in training. stick and knife work. He is regarded by many. Bob then moved into boxing and groundwork and was one of the pioneers of in the UK. passing his second degree in 1972. teaches a synthesis of empty hand. a period of health problems led him to have a double hip replacement and he continues to suffer from severe food allergies. To many. He continued in Wado Karate for a number of years and passed his black belt in 1970. He was captain of the Amateur Martial Arts Association (AMA) team which beat the Japanese in 1974 – a new thing then. Bob Breen is renowned for his teaching abilities and his knowledge. Since this inspirational look at Jeet Kune Do and Filipino martial arts. as well as being team coach. using integrated principles for all three areas. producing many of the top instructors in the UK today. Bob is an inspiration. he has been a disciple of Guru Dan Inosanto.About the author Probably one of the most unique individuals in the martial arts world. What sets Bob apart is his reputation as a teacher. and their use in Bob is regarded as the father of JKD and the Filipino martial arts in Europe.

Carl. Joe and Owen are available as private tutors and can be contacted via Bob Breen Academy 16 Hoxton Square London N1 6NT 0207 729 5789 153 .Acknowledgements Sincere thanks to the excellent models featured throughout this book: Joe Kerr Stephanie de Howes Peter Newton Austin Plunkett Owen Ogbourne Carl Greenbridge Judy Breen Julian Gilmour Stephanie. Peter.

122. 82. 22. 57-58. 50. 92. 99. 79. 46-47. 84. 34-35. 137. 98. 88 checks 29. 89 cover 74. 36. 129. 61. 131. 62-63 120. 83. 125 boxes analogy 54 D distance 75. 49. 75 37 60 foot placement 89 154 . 31. 57. 52. 85. 79. 81. 98 B back-bend 61 balance 16-18. 82. 74. 26. 115. 83. 106. 90. 21-22. 148 clinch 17. 86. 88. 38. 83-84. 60. 88. 140 close-quarter 9. 76 F fake 35. 80. 88. 131. 83. 105. 85.Index A arm breaks 66 attack by drawing 22. 78. 95. 68 Filipino martial arts 18. 79-80. 95. 51-52. 30. 78. 49. 53. 42-43. 48-49 biceps stop 69 block 62. 78. 101 67. 84. 134. 76-77. 130. 26. 54. 6466. 81. 21. 86. 130-132 Bong sau 120. 37. 90. 101-111. 96. 56. 138. 89. 92. 111 centre line 17. 76. 93. 100 dog-leg shape 85 drag-down 66 E elbow crush 39. 76. 53. 101. 120. 89 close range 21 convex shape 61 courage 88. 122. 88. 89. 26. 77. 147. 29 115 crush 24. 148 cut kick 102 ball of the foot 46. 81. 97. 43. 111. 132. 29. 91. 129. 77. 75. 137 bob and weave 28. 88. 137 C castle analogy 82 catch 74. 37. 100. 134 body-check 29 body-hold 61 body alignment 35 body axis 94 body mechanics 34. 148 elbow crushes 84 evasion 27. 80. 147 cross guard 28. 115.

115 I inside wrap 69 long guard 17. 51. 131. 92. 62. 77. 149 > snap 35. 138. 58. 39. 85. 49. 129. 79. 76. 52. 98. 60. 76. 141 guillotine 115 > front kick vs. 83. 140. 108. 131. 76. 88 grappling 18. 37. 53. 62. 46. 62. 150. 91. 54. 147. 50. 21. 100. 93-94. 111 kicks forward momentum 90. 96. 51. 148. 57. 86. 120 155 . 91. 49. 129. 90. 137. 151 K Karate 8. 66. 57. 101. 129. 10. 109. 49. 80. 137 > spinning side kick 51. 30. 46. 102. 47-48. 140. 84. 83. 69. 64. 58. 146. 48 forward energy 83. round kick 46 > round kick 46. 111 liver 50-51 locks 22. 146 > swing 38. 52. boxing 124 grab 74. 126. 12. 29 Kronk Gym 80 hand-wrestle 53 hand tool 38. 149 G gloves. 108 > back kick 51 full clinch 60 > front kick 46. 60. 57. 53. 42 26. 88. 63. 63. 75. 43. 39 half guard 28. 77. 52. 130. 54. 48. 26. 111. 111. 120. 46. 9. 130. 116. 60. 146. 122. 61. 94 kick shield 48 knee-bump 63 H half-beat strike 83 knifehand 40 half-clinch 60 knuckles 34. 56. 90 head control 60. 106. 48. 134. 53. 24. 34 hip twist 49 L Lance Lewis 80 lapel grab 66 lateral stance 18 level change 30 leverage 46. 69. 64.footwork 18. 52. 65. 88. 147. 120. 97. 120 long range 20. 129 heavy kicking 49 heel position 16. 50. 29.

126. 138. 57. 130. 44. 100. 126. 84. 50. 76. 80. 35. 47. 75. 129. 101. 36. 81. 81.lop sao 126 punches > 38. 58. preparation 122. 69. 136 pull-down 66 > stiff jab 35. 109. 148 pendulum step 47. 50. 137. 83. 84. 115. 150. 108. 125. 56 > medium range 21 > hook 28. 85. 86. 84. 35. 30. 129. 63. 126. 37. 83. 85. 115. 122. 147. 125. 66. 66. 28. 75. 49. 125. 125. 130 power 22. 81. 62. 75. 108. 127 puta kapala 111 R range 20 reap 93. 151 O > octopus wrench 112 > 35 35 P pad holding 54 pak sao 126 parry 17. 38 N > forward hook 37 neck wrestling 60 > shovel hook 38 nerve points 64 > jab 21. 147. 98. 130 plumm 62. 125. 122. 147. 62. 39 M mask 84 matador 128 > cross 8. 150. 132 156 . 40. 151. 78. 34. 36. 100. 53. 29. 57. 95. 38. 58. 29. 74. 38. 131 measure 20. 89. 140 > palm heel strike 39 > slap 62. 34. 146. 49. 78. 57. 150. 132. 82. 81. 129. 75. 30. 147. 101. 85. 21. 100 rotation 48. 57 pivot 25. 84. 25. 120. 83. 99 106 ribs 29. 132. 35. 34. 151 > double jab 34. 86. 69. 76. 58. 56. 81. 78. 148. 63. 69. 131. 69. 56. 39. 29. 82. 69. 120. 96. 42. 49. 30. 82. 127. 75. 132. 85. 74.

37. 89. 42. 131. 77. 132. 150 solar plexus 22. 75. 92. 94. 62. 85. 82. 134. 37. 62. 91. 53 Wing Chun 18 split entry 42. 21. 136 tortoise 84 shin pads 101 toughness 74 shoulder roll 28. 127. 50. 74. 125. 81. 34. 56. 82. 76. 84. 85 solo training 58 southpaw 13. 82 side clinch 60. 57 thumb gouge 29 timing 20. 81. 88 20 U underhook 63. 75. 54. 84 trapping 75. 76. 29. 49. 18. 136 Thai Boxing 29 Zanshin 140 157 . 60 Thai stance 17. 85. 38. 44. 84. 78. 51. 122. 131. 83 Toy Gerk 25 shoulder stop 82. 125 spear 20. 130. 37. 88. 47. 69. 39. 149 Y yoga 52 Z T telegraph 17. 83. 57. 36. 85. 94. 106. 81. 120.S salute-type parry 82 scoop 74. 136. 125. 91. 122. 12. 112. 82. 137. 66. 44. 60. 125 shield 48. 84 wrenches 66 stances 16. 84. 116. 81. 56. 125. 36. 116 W weight distribution 16. 51. 132. 109. 31 wrenching 69 standard guard 28 stomp 97. 99. 86. 150 snapback 16. 151 wind-up 36. 96. 138 Thai boxing 17. 36. 61. 20. 100. 98. 124. 140. 98. 82. 10. 100. 106 shape 12. 98. 26 sparring 11. 83. 130 tree exercise 52 slip 38. 95. 115 Stop-hit 74. 81. 49. 77.

158 .

Visit www. including seminars and classes. 159 .uk for up to date information about the Bob Breen Academy.co.bobbreen.

23 Roundkicks: technique 160 .

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