Yang Long Set - Intemediate and Advanced

Companion to Learning Yang Style Tai Chi 1
Copyright 2014 by Tony Hanslin For study and research by physically and medically fit students under direction of a qualified
teacher. Last modified Tuesday, July 01, 2014. Photography by Holly Ostrander. Illustrations by Xu Yu Cheng

Companion to Learning Yang
Style Tai Chi
Yang Long Set

Second
Edition

Syllabus, Study and Research Guide

For Intermediate and Advanced Players

By Tony Hanslin

tony.hanslin@gmail.com

www.facebook.com/taichiwithTony

INSPIRED BY THE WORK OF XU YU CHENG AS TRANSLATED BY PAUL BRENNAN

Weighted right foot.


Imagine standing on the center of a clock looking out over 6:00 oclock.

LIST OF METHODS (with ending oclock direction facing from center)

1.0 WU JI FACING OCLOCK FROM CENTER OF CLOCK 6:00
2.0 BEGINNING FORM - FOUR HANDS 6:00
2.1 TRANSITION - CIRCLE HANDS TO HOLD BALL CENTER 6:00
2.2 TRANSITION - TO SINGLE WEIGHT RIGHT 7:30
3.0 GRASP SPARROW TAIL .
3.1 WARD OFF LEFT 9:00
3.2 WARD OFF RIGHT 9:00
3.3 ROLL BACK 9:00
3.4 PRESS 9:00
3.5 PUSH - DOWN TO UP 9:00
3.6 TRANSITION - FOUR COUNT TOWARD OPPONENT AT BACK 4:30
4.0 SINGLE WHIP 3:00
5.0 LIFT HANDS UPWARD - RAISE HANDS .
5.1 TRANSITION ELBOW STRIKE 4:30
5.2 TRANSITION SPRING WRIST 3:00
6.0 WHITE CRANE DISPAYS WINGS 3:00
6.1 CRANE SPREADS WINGS 3:00
6.2 CRANE DRIES BOTH WINGS 3:00
7.0 LEFT BRUSH KNEE 3:00
8.0 HANDS STRUM PIPA 3:00
9.0 LEFT (2) AND RIGHT (1) BRUSH KNEE STEP 3:00
10.0 HANDS STRUM PIPA 3:00
11.0 LEFT BRUSH KNEE TWIST STEP 3:00
12.0 ADVANCE STEP, DEFLECT, PARRY AND PUNCH .
12.1 DEFLECT LEFT 45 and DOWNWARD 1:30
12.2 ADVANCE RIGHT TO 45, DEFLECT RIGHT 4:30
12.3 STEP, DEFLECT, PARRY, AND PUNCH 3:00
13.0 LIKE SEALING AS IF CLOSING - WITHDRAW AND PUSH 3:00

14.0 CROSS HANDS GATHER 6:00
15.0 EMBRACE TIGER RETURN TO THE MOUNTAIN 6:00
15.1 RIGHT BRUSH KNEE STEP - TURN RIGHT TO CORNER 10:30
15.2 ROLL BACK 10:30
15.3 PRESS 10:30
15.4 PUSH 10:30
15.5 TRANSITION - FOUR COUNT TOWARD REVERSE DIRECTION 7:30
15.6 TRANSITION - SHIFT WEIGHT TO LEFT LEG 6:00
15.7 TRANSITION - TWO HAND UP, RIGHT TOE IN, TURN LEFT 4:30
16.0 FIST UNDER ELBOW 3:00
17.0 LEFT AND RIGHT STEP BACK TO REPULSE MONKEY .
17.1 TRANSITION - FOOT BACK TO REPULSE MONKEY RIGHT 3:00
17.2 TRANSITION - FOOT BACK TO REPULSE MONKEY LEFT 3:00
17.3 TRANSITION - FOOT BACK TO REPULSE MONKEY RIGHT 1:30
18.0 FLYING OBLIQUELY 7:30
19.0 LIFT HANDS UPWARDS 6:00
20.0 WHITE CRANE DISPLAYS WINGS 3:00
22.0 NEEDLE AT BOTTOM SEA BOTTOM ..
22.1 TRANSITION - SHIFT WEIGHT TO LEFT, RAISING RIGHT HEEL 3:00
22.2 TRANSITION - SHIFT WEIGHT BACK ONTO RIGHT FOOT RESETTING 3:00
22.3 SINK FOLD WAIST FORWARD ROUND AND LOWER BACK 3:00
23.0 FAN THROUGH THE BACK 3:00
24.0 TURN BODY AND STRIKE 9:00
25.0 ADVANCE STEP, DEFLECT PARRY AND PUNCH 9:00
26.0 STEP UP, GRASP SPARROW'S TAIL 9:00
28.0 CLOUD HANDS - FIRST 6:00
30.0 HIGH PAT ON HORSE 3:00
31.0 LEFT AND RIGHT SEPARATE FEET 2 KICKS ..
31.2 PRESS, LEFT, KICK RIGHT HEEL 4:30
31.3 PRESS, RIGHT, KICK (WITH) LEFT HEEL 1:30
32.0 TURN BODY KICK WITH HEEL LEFT 9:00
33.0 LEFT AND RIGHT BRUSH KNEE STEP 9:00
34.0 ADVANCE STEP AND PLANT PUNCH - SINKING DOWNWARD, 9:00
35.0 TURN BODY AND STRIKE - TURN AROUND AND CHOP 3:00
36.0 ADVANCE STEP, DEFLECT, PARRY AND PUNCH 3:00
37.0 RIGHT KICK WITH HEEL 3:00
37.1 TRANSITION - TO HOLD BALL ON RGHT 4:30
38.0 LEFT HIT TIGER - TURN LEFT, HOLD BALL RIGHT, AND BOX EAR LEFT 10:30
38.1 TRANSITION - HOLD BALL RIGHT 1:30
38.2 HIT LEFT EAR 10:30
39.0 RIGHT HIT TIGER - TURN RIGHT AND BOX EAR ON RIGHT 1:30
40.0 TURN BODY, KICK WITH RIGHT HEEL 3:00
40.1 GRIND RIGHT ON LEFT HEEL 9:00
40.2 COMPLETE TURN RIGHT WITH RT BACKHAND, SPREAD ARMS AND KICK 3:00
41.0 TWIN PEAKS STRIKE THE EARS - QUARTER TURN TO BOX BOTH EARS 1:30
42.0 KICK WITH LEFT HEEL 3:00
43.0 TURN BODY, KICK WITH RIGHT HEEL - BODY ROTATES RIGHT 3:00

44.0 ADVANCE STEP, DEFLECT, PARRY, PUNCH 3:00
45.0 LIKE SEALING, AS IF CLOSING - WITHDRAW AND PUSH 3:00
46.0 CROSS HANDS 6:00
47.0 EMBRACE TIGER RETURN TO MOUNTAIN 10:30
48.0 OBLIQUE SINGLE WHIP 4:30
49.0 WILD HORSE PARTS MANE ..
49.1 PART RIGHT 10:30
49.2 PART LEFT 7:30
49.3 PART RIGHT 10:30
50.0 GRASP SPARROW'S TAIL 9:00
51.2 TRANSITION REVERSE DIRECTION RIGHT PALM EXTENDED AND UP 9:00
52.0 JADE MAIDEN THREADS SHUTTLE ..
52.1 LEFT THREAD 7:30
52.2 RIGHT THREAD 10:30
52.3 LEFT THREAD 7:30
52.4 RIGHT THREAD 10:30
53.0 GRASP SPARROW'S TAIL 9:00
55.0 CLOUD HANDS SECOND 6:00
57.0 SQUATTING SINGLE WHIP 3:00
58.0 GOLDEN BIRD STANDS ON ONE LEG - BIRD LEG ..
58.1 RIGHT BIRD LEG 3:00
58.2 LEFT BIRD LEG 3:00
59.0 LEFT AND RIGHT DISPATCH MONKEYS 3:00
60.0 FLYING OBLIQUELY 7:30
61.0 LIFT HANDS UPWARDS 6:00
62.0 WHITE CRANE DISPLAYS WINGS 3:00
64.0 NEEDLE AT BOTTOM OF SEA 3:00
65.0 FAN THOUGH BACK 3:00
66.2 TURN BODY WHITE SNAKE DARTS TONGUE - TURN, BACKHAND STRIKE 9:00
67.0 DEFLECT, PARRY AND PUNCH 9:00
68.0 GRASP SPARROW TAIL 9:00
70.0 CLOUD HANDS THIRD 6:00
72.0 HIGH PAT ON HORSE WITH PIERCING PALM ..
72.1 HIGH PAT HORSE 3:00
72.2 LEFT PIERCING PALM - SNAKE BITE 3:00
72.3 TRANSITION TURN RIGHT TO REVERSE DIRECTION 9:00
74.0 ADVANCE STEP, PUNCH TOWARD GROIN NO LEFT DEFLECT 9:00
73.0 CROSS SHAPED LEGS - RIGHT HEEL KICK (OR LOTUS KICK) 9:00
75.0 ADVANCE STEP, SPARROW TAIL 9:00
77.0 SQUATTING SINGLE WHIP 3:00
78.0 STEP UP SEVEN STARS 3:00
79.0 RETREAT ASTRIDE TIGER 3:00
81.0 DRAW BOW AND SHOOT TIGER 3:00

80.0 TURN BODY SWEEP LOTUS 3:00
82.0 ADVANCE STEP, DEFLECT, PARRY AND PUNCH 3:00
83.0 LIKE SEALING AS IF CLOSING - WITHDRAW AND PUSH 3:00
83.3 TRANSITION RIGHT QUARTER TURN 6:00
84.0 CROSS HANDS 6:00
85.0 CLOSING POSTURE 6:00

*the above list is based on Fu Zhongwen Mastering Yang Style Tai Chiquan 1963 -
translated by Louis Swain. Numbers ending in .0 match the Fu Zhongwen numbering.
Numbers not ending in 0 are Transitions (parts). There are 85 Methods and 16 Transitions
for a total of 101.

Tai Chi is like learning a language, only it is the language of body
and space in motion." ~J an Diepersloot


PREFACE

The purpose of this document is educational and it is intended for intermediate and
advanced players of Yang Style Tai Chi.

The Tai Chi sets are choreographed sequences through which the health, martial,
and meditative benefits of Tai Chi can be developed, tested, trained, and expressed.
The Yang Long Set takes about twenty minutes (or more) to perform.

Take lots of time! This is not a read through document.

Fu Zhongwen, Robert Tandora and Jan Diepersloot have proved most useful here.

SIX PRECEPTS

1. WU JI. The Wu Ji character is drawn with a single brush stroke. Wu Ji
represents the idea of infinity, of no differentiation, of no movement, of
oneness, of no Beginning. Wu Ji is sometimes indicated below as Wu Ji
(Beginning).

In material terms, you might think of the Wu Ji stance as like a bowl of jelly:
it is the same throughout in terms of structure and tension, it is connected
throughout and will vibrate as a whole from a light touch.

Wu Ji Symbol

2. TAI JI DIAGRAM: The below diagrams represents polarities, such as
full/empty, hard/soft, heavy/light, active/passive, move/still, feel/think,
advance/retreat, raise/lower, open/close, contract/expand, and untold
number of others. This idea of polarity is often referred to as Yin and Yang.
The Long Set continuously moves through successive iterations of Yin and
Yang.

3. Yin/Yang transforms into four forms of energy called the Four Phenomena or
Powers. For the purpose of Tai Chi, these can be called HANDS.

4. MINDFULNESS: Often is associated with meditation. Mindfulness is essentially
an awareness of one's thoughts, feelings and body. In Tai Chi we are also
aware of the flow of our movements, our stillness as well as of our opponent
or imaginary opponent.

5. IS TAI CHI A MARTIAL ART? As a practical matter, Yang Style Tai Chi is
effective as a martial or fighting art only to rare, high level practitioners. The
Yang Long Set potentiates strikes, blocks, and kicks which are artifacts from
earlier, overtly forceful martial traditions. As a matter of interest and fun,
these "APPLICATIONS" are noted with each Method. However, the ultimate
realization of Yang Style is more subtle than the story-line of blocks, kicks
and strikes. Tai Chi is perhaps better understood as an Experiential Art.

Tai Chi
Diagram

DEFINITIONS

Although Tai Chi is not a spoken language, we need a number of terms in relation
to the various movements in order to communicate. Some particular definitions are
treated in the below six paragraphs.

1. SET: Set is also called the Form in Tai Chi and many other eastern martial
arts. The Set for Yang Style Tai Chi, according to author Paul H Crompton,
was incorporated into the training around the year 1912.

2. THE YANG LONG SET: The Yang Long Set takes fifteen to twenty-five minutes
to perform and includes eighty five Methods. All of the Methods of the Yang
Long Set are analyzed here by MOVEMENT, DESCRIPTION, and APPLICATION,
as well as ADVANCED concepts. The Yang Long Set has roots in 16
th
century
Chen Village of China.

3. METHODS: Methods are often called Postures in Tai Chi. However, since
most Methods include considerable body movement and position shifts, I
prefer Methods, as did some Tai Chi players before the 1900s.

4. CENTERLINE - Zhong Ding: As beginners, we are taught that in correct
stance a point drawn from the top of your head to the ground should touch
down in the channel distance between our feet, and with your knees behind
your toes. Later we learn that the line should intercept the Dantien, a point in
the pelvis a couple of inches below and behind the navel, but ahead of the
spine. As our back relaxes and the spine softens, the coccyx may drop down
a bit forward to intercept the Center-line. According to Robert Tangora, the
Centerline and the spine may someday merge in your training.

In Yang style, we think of this stance as upright. It depends though, a taller
stance is more upright while lower stance the back will tend to round and
bend forward - here called the C stance. The stance used will depend on
style, posture, method, and the route of power to be made available. The
skill and age of the Tai Chi player is also a factor. Lowness of stance does not

necessarily indicate the level of Tai Chi skill.

Notice the Centerline passes from the top of the head through the ear, hip
(qua) and then into the Channel (ground) between the feet. The forward, or
Yang leg, can be close to vertical. During the Set your knee will not pass
forward of your foot.

Although our upright stance and its relationship to the Center-line is optimal,
it is not always held throughout the form, depending somewhat on the height
of the stance. In some stances the back is rounded substantially and this is
called C Stance.

Centerline
Needle at Sea
Bottom

C STANCE

5.0 BEGINNING DIRECTION: The Beginning Direction is noted to the right
of the Methods outlined below.

Imagine a clock underfoot. You are standing in the middle turning to look out
and across six, three (to your left), and nine o'clock (to your right). These
hours are references for the primary Directions. (Although there are four
Primary directions, the twelve o'clock direction is not faced frontally within
the set.)


6.0 Falling between the Four Primary Directions, the Four Corners hours
(10:30, 1:30, and 7:30,) on the face of your clock are shown below.

ADVANCED MATERIAL

1. PRIMARY HANDS. There are four Primary HANDS which are present to
some degree in each method.

Primary HANDS are associated with the idea of Yin and Yang having four
primary manifestations, or Four Phenomena as noted in the discussion of
Five Precepts above. The Chinese terms are: Peng, Lu, Ji, and An.

PRIMARY HANDS
HAND NOTES
Peng /Rebound
Rise, bounce, expand,

Lu /Draw In /Deflect
Round spine, contract, or turn waist
Ji /Press
Focus to a point
An /Push
Push down to up

The HANDS do not apply to punches and kicks in the Yang Long Set. There are only
six punches and five kicks in the set.

See: The Four Energies of Tai Chi - YouTube
www.youtube.com/watch?v=Wk0PCIAxD1c
1. By Energy Arts

2. SPIKES. Imagine SPIKES as wood SPIKES that fasten painlessly through your
feet into the ground. These SPIKES serve as the bottom of our center of
gravity and anchor our movements and stillness. The SPIKES are imagined
as either under the Center of the foot - Center, just behind the ball of the
foot -Front, in the Heel. Fourthly, in the Ji / Press Hand the SPIKES is Front
and driven aimed deeper into the ground. The SPIKES can be thought of
as the target to which we aim gravity and other force f through our bodies, in
particular we aim the bottom of the spine toward the target. Except in WU JI,
the SPIKES are created in the Yang foot while the Yin foot is expected to rest
lightly on the ground.

3. PRIMARY HAND AND SPIKES PATTERNS

FOUR PRIMARY HANDS
PRIMARY HAND YANG FOOT SPIKES
Peng /Rebound Front
Lu /Draw In /Deflect Heel
Ji /Press, Front/Deeper
An /Push Down to Up Center

4. THE WORK. In your writers thinking the work in Tai Chi, is to connect the sky
and ground. It is the quality of connection (you) that matters.

5. Where there is an up, there is a down. Where there is a right there is a left.
Where there is a forward there is a back. (Tai Chi Classics)


METHODS

There are eighty-five Methods outlined below. All Methods include a beginning
direction which is the same direction as the end of the previous Method. The
beginning direction is shown by the clock on the left and the end direction is shown
by the clock to the right.

1.0 PREPARATORY POSTURE - WU JI STAND LIKE TREE

MOVEMENT DESCRIPTION: Stand in Wu Ji. You are facing across six o'clock in front
of you. Three o'clock is to your left and nine o'clock is to your right. You begin and
end facing 6:00.

APPLICATION: Relaxing your mind and body to align with gravity. Settle breath
toward pelvis.

ADVANCED: This method also serves as a solo, repeating routine (Qi Gong) known
as Stand like Post or Stand like Tree.

WU JI
STATE FOOT SPIKES(s)
Yin Center
Stillness Double Weighted

As beginners, we are likely to maintain our balance by raising the toes a bit with a
tightening of the tendon counterpart to the Achilles heel. Later, we return to
balance by sinking. Much later, our balance can be held by dropping the tail bone
over a spot on the ground between the feet where our Center-line enters the earth
and keeping it there: effectively this aiming of the tailbone will aim the whole spine
toward the targeted spike. Ultimately, all of you targets the Spike.

2.0 BEGINNING FORM

2.1 PREPARATION - FOUR HANDS

MOVEMENT DESCRIPTION:

From Wu Ji, Raise arms to shoulder height: Peng (Expand)
Extend arms a bit from the spine, spreading shoulder blades: Ji (Press)
Roll arms up and back: Lu (Withdraw)
Push down: An (Sink to Rise)

ADVANCED:
In Wu Ji and Push, Spike is felt going through top of arch down into ground. In
Peng and Press, Spike is thus ball of foot. In press, Spike is pressed down further.
In Rollback Spike is in heel.

2.2 TRANSITION - CIRCLE HANDS TO HOLD BALL CENTER


From the lower part of Push, circle rising arms right to left (counter-clockwise) and
hold ball center.

APPLICATION:
Distinguish left and right side.

ADVANCED: Break grip of opponent.

2.3 TRANSITION TWO - TO SINGLE WEIGHT RIGHT

From hold ball right, open foot to right still holding the ball with right hand on top.

The clock on the left represents the end orientation of the prior move
The clock on the right represents the end orientation of this move
The Tai Chi symbol on the left represents by the Yang part (dark) the
weighted foot in the prior move.
The Tai Chi symbol on the right represents by the Yang part the weighted
foot in the end position.

ADVANCED: Ji /Press is noticeably introduced here.

TRANSITION TO SINGLE WEIGHTED LEG - PENG
HAND YANG FOOT SPIKE
Peng /Rebound Front

3.0 GRASP SPARROW TAIL Left Ward Off, Right Ward Off, Press, Rollback, Push,
and Reverse Direction. The Sparrow's Tail can be practiced to great effect as a solo,
repeating routine. Sparrow Tail teaches us to shift weight by turning the waist.
Ultimately, the initial impetus for turning comes from the push/pull of the legs


3.1 WARD OFF LEFT

MOVEMENT DESCRIPTION. ADVANCE with left foot, Left Ward Off. The right hand
can follow touching the left wrist or the right hand settle toward right side, palm
down.

APPLICATION. Deflect your opponent left, forward, up and away. In stepping we
place the empty leg forward then turn from the waist and let the move flow with
the resulting transfer of weight.

ADVANCED.

WARD OFF LEFT - PENG
Peng /Rebound Front

In this first step of the Long Set, we need to turn our bodies like an upright
cylinder. We turn our body from the legs and spine and the movement at its most
obvious level is the orientation of the waist in front. For example, when we go to
single weight right with right foot at 45 degrees, the waist or pelvis should be
turned maybe thirty degrees with the right qua slightly closed and the left qua fully
open. Before, making the empty step forward, we begin to turn the waist halfway
back toward 7:30 o'clock. As the foot is in place, we continue the turn to the front
(6:00) with the filling of the front leg. The right hip at the bathing suit line (qua) is
fairly open and the left qua is almost closed with the left groin feeling some of the

weight. This may be thought of as final phase in this move, though prior to any
release of power (Fa Jin).

3.2 WARD OFF RIGHT

Move waist forward and right.

APPLICATION:
Deflect your opponent right, forward, up and away.

ADVANCED:
Relax. Roll the imaginary ball between moving hands. Right side is Peng /Rebound.

WARD OFF RIGHT - PENG
Peng /Rebound Front

3.3 ROLL BACK


Shift weight toward rear foot and turn waist to left, arms sinking

APPLICATION:
Join opponent's incoming force to move him/her down or away.

ADVANCED:
Sink the sternum and pull up (Pluck) the back; relax.

ROLL BACK - LU

3.4 Ji / Press

Turn torso back to right Ji /Press lightly on right wrist and shift forward hands
trajectory at single, distant points popping hands at end flourish.


APPLICATION:
Join opponent to Press his boundary. Attack or press against a single point on
opponent.

ADVANCED: Ji / Press

Ji / Press
Ji /Press Front/Deeper

3.5 PUSH

Shift weight to rear heel. Then shift weight to front letting the hands move down,
forward and up.


APPLICATION:
Push opponent down to set up releasing him up and away.

ADVANCED:
The power loops from the feet up the Centerline and then back down to the feet.
Peng can be included toward the end to release your opponents compressed legs.

PUSH - AN
An /Push - Down to Up Center

The difference between Lu and An stumped me. When does Lu become An?

In the second part of the Bird Trail, the difference is apparent in that in Rollback/Lu
the waist turns and there is little downward movement of the arms while in Push/An
you shift back without turning the waist and there is considerable downward
movement. These are large differences.

In the Bird Tail, the hands we are shifting directly back without turning the waist in
the Push/An movement. This shifting back looked like the drawing in as in Lu to
me. Why is this not Lu? The answer is that from the get go, PUSH/ An expresses a
downward pressure or movement, which then through a circular bottoming out
becomes upward or Peng.

3.6 TRANSITION - FOUR COUNT TO BIRDS BEAK
Shift back to left foot touching left fingertips to right elbow. Turn on left foot and
keep weight on left heel to face 6:00 with right fingertips touching left elbow. The
beat or count here is somewhat unique because weighted leg stays same through
two beats or counts. You might try one on back to right, two on shift to left, three
on turn on left heel, and four on shift right forming beak with right hand.

APPLICATION:
Change direction a quarter turn while maintaining alignments. The elbows are set
up to strike in several directions during this transition.

ADVANCED:
Relax more and coast through count. Initiate movement from the spine, later from
the center-line, and even later from the center line and spine as joined. Internal
energy can be thought of as subtle alignments, releasing tension through-out the
body, energy and mind. The above transitions require only moderate bio-
mechanical action and hence a good chance to sense internal energy.

TRANSITION

FOUR COUNT YANG FOOT SPIKES
One Right Heel
Two Left Heel
Three Left Heel
Four Right Heel

This transition includes a Corner Hand at 7:30.

COMBINATION HAND
CORNER HAND PRIMARY HAND YANG FOOT SPIKE
Elbow/Zhou Lu /Draw In /Deflect Heel(s)

4.0 SINGLE WHIP

Head high! Gather the fingers of your right hand into a beak. Shift back onto right
leg. Hinge your left side turning your left arm to facing 4:00 o'clock and slightly
raise left foot. ADVANCE, quarter turn, and shift forward to 3:00.

APPLICATION: A short distance probe to 3:00 0'clock contact.

ADVANCED:

Single Whip means with one hand. The whip is not in the swinging arm to the left,
but has to do with the connection of the beaked right hand linked through the
backbone to the contacting/striking left hand (Push) and both connecting to your
feet. Peng (Rising). The Whip can also be created with snapped rotations of the
spine. The Single Whip may imply that there is a double whip action in Tai Chi. Say
Push/An?

SINGLE WHIP - AN

5.0 LIFT HANDS UPWARD - RAISE HANDS

MOVEMENT DESCRIPTION
One quarter right turn with weight on left foot, bring your hands toward each other
with palms forward.


APPLICATION:
Collect the opponents attacking energy.

ADVANCED:
Called RAISE the HANDS or LIFT HANDS UPWARDS

RAISE HANDS - LU

5.1 TRANSITION FOUR ELBOW STIKE

Shift forward with right toe at 45 degrees, sinking, then strike through elbow.


APPLICATION:
Hard attack on opponent chest from close in position.

ADVANCED:

ELBOW SRIKE - Ji / Press
Ji /Press Front/Deeper

5.2 TRANSITION FIVE - SPRING WRIST

Drop your right wrist, then lift it up, passing your left palm to the inside, until at
about chin level.


APPLICATION: Strike opponent face with rising wrist backhand.

ADVANCED:
This Method is seen in second generation Yang stylists but disappears by the time
of the fourth generation stylists. As you turn the move may start as a Corner hand
and end in Peng.

CORNER HANDS
CORNER HAND NOTES
Lie /Twist, Split Split, twist, torque, two directions.

SPRING WRIST
HAND YANG FOOT SPIKE UPPER JOINTS LOWER JOINTS
Peng / Rebound Front Open Closed

6.0 WHITE CRANE DISPLAYS WINGS

6.1 WHITE CRANE SPREADS WINGS


Up and down, expanding. Extend your arms like a wild goose with weight on right
foot. Left foot empty and down. Starts in a Corner Hand.

APPLICATION:
Confirm right and left side distinction in well aligned posture. Develop expansion.
Scatter incoming fists or kick.

ADVANCED: Lieh (Split).

Lie /Split
HAND CORNER HAND YANG FOOT
SPIKE
UPPER JOINTS LOWER JOINTS
Peng /Rebound Lieh /Twist,
Split
Front Open Closed


6.2 CRANE DRIES BOTH WINGS

Above Afgan statue is Atlas holding Buddhist monument at about 100 CE. As done in Tai
Chi, this would be characterized as pure Yang.

MOVEMENT DESCRIPTION: Shifting left onto brief double weight and raise arms,
but do not raise shoulders.

APPLICATION: Not clear what the martial application is. However, the hand position
is somewhat similar to the Muy Tai en guarde position. It is a considerable challenge
to keep sternum soft while under the pressure of this position.

ADVANCED: This Method is seen in second generation Yang stylists but disappears
by the time of the fourth generation stylists. Source of the power is in the back and

legs. The physical challenge here is to relax the chest (sternum) with hands above
shoulders. The pay-off is a fine tuning of your upright axis.

CRANE DRIES WINGS
Peng /Expand Front Open Closed

7.0 LEFT BRUSH KNEE TWIST STEP

MOVEMENT DESCRIPTION: Forward and Up. Brush over left, filling knee and
ADVANCE forward. Follow through is a palm strike. The right leg may be raised
momentarily at end-point.

APPLICATION: Strike.

ADVANCED:

BRUSH KNEE -PENG

Peng /Rebound Front Open Closed

8.0 STRUM PIPA (LIFT HANDS LEFT)
MOVEMENT DESCRIPTION: Settle onto Yang foot in withdrawing but nimble stance.

APPLICATION: Receive attack.

ADVANCED: Touch and join opponent.

STRUM PIPA
Lu /Draw In
/Deflect
Heel Closed Closed

9.0 LEFT AND RIGHT BRUSH KNEE STEP

See #7.0

BRUSH KNEE

MOVEMENT DESCRIPTION: Brush knee left, then right, then left again.

10.0 STRUM PIPA - Lift hands Left
See #8.0

LU LIFT HANDS


11.0 LEFT BRUSH KNEE TWIST STEP
See #7.0

BRUSH KNEE - PENG
Peng /Rebound Front

12.0 ADVANCE STEP, DEFLECT, PARRY, AND PUNCH

12.1 DEFLECT LEFT 45 and DOWN (sink)


MOVEMENT DESCRIPTION: Open foot left 45 degrees and block with right hand
down toward lowered left hand palm. Use 1:30 Corner.

APPLICATION: Block or deflect.

ADVANCED: Sets up for a right block. Sink into left foot.

BLOCK LEFT - LU

12.2 ADVANCE RIGHT TO 45, DEFLECT RIGHT


MOVEMENT DESCRIPTION: Open right foot to 45 degrees and shift weight to right
foot.

APPLICATION: Block

ADVANCED: Loosen the waist and hip (Kua: think crease joining hip and pelvis).

BLOCK RIGHT - LU
Lu /Draw In /Deflect/ Heel

12.3 STEP, DEFLECT, PARRY, AND PUNCH

MOVEMENT DESCRIPTION: Step, shift forward to left foot with power available to
punch.

APPLICATION: Strike opponent solar plexus.

ADVANCED: Potential Power comes up through the legs to turn the torso to drive
the arm.

PARRY - Ji
Ji / Press Front/Deeper Open Open

12.4 AND PUNCH


13.0 LIKE SEALING, AS IF CLOSING (Withdraw and Push)

Withdraw. Cross your hands. Spread your hands apart. Push forward.


APPLICATION: Like Sealing like Closing means to stop the opponents hands either
with sticking (adhering) or double hand push.


ADVANCED: When center stops, arms glide forward. Use mind intent, not strength;
relax.

PUSH - AN

14.0 CROSS HANDS (Gather / Lu)
Traditional name:

MOVEMENT DESCRIPTION: Turn right 90 degrees then cross HANDS. Crossed
HANDS means your wrists cross each other to make X shape.

APPLICATION: Block downward strike or kick.

ADVANCED: Seek stillness in movement; calmness close to what is meant by
stillness


CROSS HANDS - LU

15.0 EMBRACE TIGER, RETURN TO THE MOUNTAIN

15.1 RIGHT BRUSH KNEE STEP (TURNING RIGHT TO 10:30 CORNER)

MOVEMENT DESCRIPTION: Unfolding the crossed arms, you turn on your left heel
stepping right contacting/striking into the 10:30 o'clock corner.

APPLICATION: Fend off or strike with left hand

ADVANCED: What or who is the Tiger?

BRUSH KNEE - PENG


MOVEMENT DESCRIPTION: You turn right on left leg into a Right Bush Knee. See

15.2 ROLL BACK See 3.0.
Rolling the right hand over the left, with draw and turn waist same as in in Sparrow Tail.

ROLL BACK - LU

15.3 Ji / Press See 3.0.
Same as in in Sparrow Tail.


15.4 PUSH See 3.0
Same as in in Sparrow Tail.

PUSH - Peng

5.5 TRANSITION - FOUR COUNT TO REVERSE DIRECTION TO TWO RAISED PALMS


First Count: Shift back to weight to left foot
Second Count: Turn left leaving weight on left foot.
Third Count: Shift weight right while still turning left.
Fourth Count: Step forward with left into two palm push, with right toe turned in.

Application: Turn to face new opponent.

ADVANCED: Keep spine over same spot of ground while rotating.

16.0 FIST UNDER ELBOW

MOVEMENT DESCRIPTION: Transition to 3:00 with left foot forward and empty heel
down.


APPLICATION: the traditional name Guarding Punch under the Elbow confirms that
this is basically an on guard posture.

ADVANCED:

FIST UNDER ELBOW - LU

17.0 LEFT AND RIGHT STEP BACK TO REPULSE MONKEY
Retreat and unwind arms three times. Lu (Collect)

17.1 FOOT BACK TO REPULSE MONKEY (WITH RIGHT HAND)


17.2 FOOT BACK TO REPULSE MONKEY (WITH LEFT HAND)

17.3 FOOT BACK TO REPULSE MONKEY (WITH RIGHT HAND).


MOVEMENT DESCRIPTION: Retreat with one foot sticking to opponent arm with
opposite hand.

APPLICATION: When an opponent drives or strikes toward you.

ADVANCED: What do the traditional name(s) suggest to you? Retreat, Driving Away
the Monkey, and /or Repulse Monkeys

REPULSE MONKEYS - LU

18.0 FLYING OBLIQUELY

ADVANCED:
Uses 7:30 Corner.

FLYING OBLIQUE - CORNER
SPIKE
An / Push
Down to Up
Lie /Twist Center Closed Open

19.0 LIFT HANDS UPWARDS FOURTH

See 5.0.

19.1 SHOULDER STRIKE


Shift forward, stop at hips and shoulder/elbow drift forward.

APPLICATION: Whole body lined up and behind contacting/striking shoulder.

ADVANCED: As a HAND, Khou can manifest in either the shoulder or knee.

19.2 SPRING WRIST

Sometimes called nose-breaker. The body turns left with the flat of right hand rising
and the palm of left hand focusing the downward focus.


APPLICATION: Line up whole body behind whipping flat of wrist.

ADVANCED:
SPRING WRIST JI
Ji / Press Front/Deeper Open Open

20.0 WHITE CRANE SPREADS WINGS

See 6.1.


CRANE LIEH -SPLIT
Lu / Draw In Heel Closed Closed

21.0 LEFT BRUSH KNEE TWIST

See 7.0.


BRUSH KNEE

22.0 NEEDLE AT SEA BOTTOM

22.1 TRANSITION - SHIFT WEIGHT TO LEFT, RAISING RIGHT FOOT

22.2 TRANSITION - SHIFT WEIGHT BACK ONTO RIGHT FOOT RESETTING LEFT
22.3 SINK THEN FOLD WAIST FORWARD ROUND AND LOWER BACK

From Raised HANDS raise right arm to eye level. . Squat first, then bend forward
with piercing down hand (or Hands). Bend from hips and tailbone. Keep head up!

APPLICATION: Raise hand to remove or tighten opponent's grasp. Pull opponent
down. If opponent springs back follow him with strike to groin.
ADVANCED:


NEEDLE AT SEA BOTTOM - AN
An / Push Down
to Up
Center Closed Open

The back remains lined up like in Wu Ji and the eyes look forward, which helps
reconcile this method with the idea of being upright.

23.0 FAN THROUGH BACK (FANBACK)

The arms spread like a cloth fan. The contacting/strike point being left hand or right
elbow.


APPLICATION: Strike left or back strike with elbow.

ADVANCED: Back and feet as source of strike

FAN BACK (FORWARD STRIKE) - PENG


24.0 TURN BODY and STRIKE (WITH CLOSED BACKHAND)
Traditional name(s): Flinging Body Punch or Turn Body and Strike.

You turn right while crossing wrists below ribs and continue torso turn with back-fist
moving out then withdrawing down. Contact/strike with right palm.
?????

APPLICATION: from FANBACK Method chop opponent at your back

ADVANCED:
Once left leg fully Yang, rotate upright center-line and then lower right foot forward.

TURN BODY AND WITHDRAW DOWN - LU

25.0 ADVANCE STEP, DEFLECT, PARRY AND PUNCH
See 12.3.


APPLICATION: Move up to contact/strike opponent.

25.1 DEFLECT LEFT 45 and DOWN
Traditional name(s): Withdraw (shift left), Advance, Parry, Block, Punch.

MOVEMENT DESCRIPTION: Shift to Yang left foot turning slightly left. Reset (up and
then down) right foot.

APPLICATION: Intercept kick or low punch.

ADVANCED:

DEFLECT LEFT - LU

25.2 ADVANCE RIGHT TO FORWARD 45, PARRY and GUARD LEFT



APPLICATION:

ADVANCED:
PARRY LEFT - LU

25.3 STEP, PARRY

See 12.3.

Shift to left foot with power available to punch.

APPLICATION:
Strike to solar plexus.

ADVANCED:

PARRY - PENG

25.4 AND PUNCH


26.0 STEP UP, GRASP SPARROW SPARROW'S TAIL

See 3.0

Move arms to left to hold ball and ADVANCE forward with right foot. Then Sparrow's
Tail ending toward reverse direction.

27.0 SINGLE WHIP (second time)

See 4.0.

28.0 CLOUD HANDS (First)

The legs side ADVANCE to open and then close toward left. The arms move in a
gentle oblong. Done six times per Yang Sau Chang 1980 film and nine times with
others. The HANDS here can simply swap up and down at the transition between
turns.

MOVEMENT DESCRIPTION: Cloud HANDS means your HANDS move like the swirling
of clouds. The HANDS and turning and stepping are all closely coordinated. As a
beginner, you can focus on swapping hands from up to down and then moving
hands side to side from waist.


APPLICATION: Disrupt attack from front and slip behind opponent.

ADVANCED: In Yang Cloud HANDS, we do not move sideways by driving off a leg;
we transfer our weight by placing left the empty leg, turning the waist and letting
the move flow as your weight transfer.

The below table summarizes the actions of the Qua in CLOUD HANDS:
CLOUD HANDS - QUA
Weighted Leg Empty or Side Stepping Leg
Yang Qua Yin Qua
Closing Open

29.0 SINGLE WHIP

See #4.0.

SINGLE WHIP - AN

30.0 HIGH PAT ON HORSE (TALL SCOUT LEFT)


MOVEMENT DESCRIPTION: Sink right to strike with right hand. Shift forward left
with crossed HANDS then spreading HANDS to set up kick right.

APPLICATION:
Palm strike to face.

ADVANCED:
Seat the wrist. Stretch the body uprightly. Traditional Name(s): Left Tall Mounted
Scout or High Pat the Horse or Testing the Height of the Horse.

HIGH PAT ON HORSE - LU

31.0 LEFT AND RIGHT SEPARATE FEET

31.1 TRANSITION - SEPARATE FEET RIGHT (KICK TO RIGHT SIDE)


MOVEMENT DESCRIPTION: Lower center of gravity squatting on right leg. Step
obliquely to left and kick to right corner while arms spread for balance and right leg
rising.

APPLICATION: Toe turned and strikes groin or strike by front palm.

ADVANCED:
Traditional Name(s): Separate Feet to Right, Kick to the Right Side. Weight steady
in left leg.

31.2 TRANSITION - LEFT TALL SCOUT


LEFT TALL SCOUT - LU

31.3 TRANSITION - LEFT SEPARATE FEET - KICK LEFT
See 31.1

32.0 TURN BODY KICK WITH HEEL (left)


Turn to around to the rear using right heel for axis point, and then you kick with Ji /
Press forward using your heel.

APPLICATION: Meet surprise attack from rear

ADVANCED: Rotate the upright center the feeling and axis of rotation is in front of
or in the spine. Note, your spine is thicker and more centered in our bodies than
the spinal processes felt at our backs lead us to think.

33.0 LEFT AND RIGHT BRUSH KNEE TWIST STEP

33.1 Right Brush Knee


33.2 Left Brush Knee

See 9.0.

34.0 ADVANCE STEP, PLANT, PUNCH

Sink into left leg lowering torso. Torso drops forward to plant the punch.

APPLICATION: A waist turning and weight lowering driven punch.

ADVANCED:
Where is Center?

35.0 TURN BODY AND STRIKE (turn and chop)
SEE 24.0


TURN AND CHOP - LU


36.1 TRANSITION - ROLL LEFT, LEFT 45, DEFLECT LEFT and DOWN

DEFLECT LEFT AND WITHDRAW DOWN - LU


36.2 Parry
See 25.0.
PARRY - PENG

36.3 TRANSITION - ADVANCE LEFT WITH LEFT BLOCK,
See 12.3.


36.4 THEN PUNCH SHIFTING FORWARD

37.0 RIGHT KICK HEEL
MOVEMENT DESCRIPTION: Movement description: advance forward, cross wrists
and single right kick. The wrists un-cross synchronously with kick, (or earlier if
balance is an issue).

APPLICATION: Front heel kick.

ADVANCED:
Note: In Xu diagrams, player executes two kicks, one right and one left, not the
advance and wrist cross.

38.0 LEFT HIT TIGER

38.1 TRANSITION - HOLD BALL RIGHT

Quarter turn right and hold ball with right hand on top.

38.2 LEFT HIT TIGER


39.0 RIGHT HIT TIGER (BOX EAR WITH RIGHT FIST)

40.0 TURN BODY, KICK WITH RIGHT HEEL

40.1 GRIND (Right) ON LEFT HEEL

MOVEMENT DESCRIPTION: Shift back and turn left on left heel blocking with right
fist toward left.

APPLICATION:

ADVANCED:

GRIND LEFT - LU

40.2 TURN RIGHT WITH RIGHT BACKHAND AND SPREAD ARMS AND KICK

MOVEMENT DESCRIPTION: Turn on left heel and spread arms front and rearward
for balance.

APPLICATION: right heel kick to opponents knee or waist.

ADVANCED:
Focus energy through right heel.

41.0 TWIN PEAKS SRIKES EARS

41.1 TRANSITION: From Heel Kick, lower arms by either side of still raised knee
and place foot into 4:30 corner.

41.2 BOX BOTH EARS

MOVMENT DESCRIPTION:

APPLICATION:

ADVANCED: Traditional Names: Double Winds through the Ears or Twin Peaks Strike
Ears

42.0 LEFT KICK WITH HEEL

MOVEMENT DESCRIPTION: From Box Ear with both Fists turn and settle on left leg.
Then left front kick.


43.0 TURN BODY, KICK WITH RIGHT HEEL

MOVEMENT DESCRIPTION: Spin around to right to face 9:00 o'clock again and kick.

APPLICATION:
Just fancy?

ADVANCED:
Turn on ball of foot. Focus force through heel.

44.0 ADVANCE STEP, DEFECT, PARRY, AND PUNCH
See 44.0.


45.0 LIKE SEALING AS IF CLOSING (WITHDRAW and SEAL SHUT)

MOVEMENT DESCRIPTION: See #13.0

46.0 CROSS HANDS



CROSS HANDS - LU

47.0 EMBRACE TIGER RETURN TO MOUNTAIN (AND SPARROW TAIL)


48.0 OBLIQUE SINGLE WHIP

MOVEMENT DESCRIPTION: See #4. Note: Beginning Direction is 2:00 'clock per
Yang Sau Cheng circe 1980 film.

49.0 WILD HORSE PARTS MANE

MOVEMENT DESCRIPTION: Turning on left leg to 4:00 o'clock corner ADVANCE and
move arm forward and up.


Turning on right to corner. ADVANCE and move arm forward and up.

Turning on left leg to corner ADVANCE and move arm forward and up.



APPLICATION: Strike which combined with ADVANCE behind opponent

ADVANCED: Traditional name(s): Wild Horse Parts its Mane. The word drape
appears for the second time in Xu and can remind us of the draping feeling we Sink,
like a horses mane tossing draping side to side as it runs.

WILD HORSE PARTS MANE - COMBINATION - LIEH
CORNER HAND PRIMARY HAND YANG FOOT SPIKES
Lieh /Twist, Split Raised Front

50.0 GRASP SPARROW'S TAIL

50.1 LEFT WARD OFF


50.2 RIGHT WARD OFF

50.3 ROLLBACK


50.4 PRESS

50.4 PUSH

50.5 TRANSITION TURN TO BIRD BEAK

MOVEMENT DESCRIPTION: See # 3.0


51.0 SINGLE WHIP

MOVEMENT DESCRIPTION: See #4.0.

SINGLE WHIP - AN

52.0 JADE MAIDEN THREADS SHUTTLE

MOVEMENT DESCRIPTION: You begin with a transition which is addressed in #52.1
below. Then there are four turning strikes. The first turn is a quarter turn to the
left. The second turn is a three quarter turn to the right. The third is a half turn to
the left. The fourth turn is a three quarter turn to the right.

52.1 Transition from Single Whip to First Shuttle:


MOVEMENT DESCRIPTION: From Single whip, turn one half turn to reverse
direction with left hand going under extended right elbow. Then make ball

52.2 First Shuttle:

MOVEMENT DESCRIPTION: A quarter turn to the left contacting/striking opponent's
chest with lower hand and blocking with higher hand.

52.3 Second Shuttle:

MOVEMENT DESCRIPTION: A three quarter turn to the right contacting/striking
opponent's chest with lower hand and blocking with higher hand.

54.4 Third Shuttle:


MOVEMENT DESCRIPTION: A quarter turn to the left contacting/striking opponent's
chest with lower hand and blocking with higher hand.

52.4 Fourth Shuttle:

MOVEMENT DESCRIPTION: A three quarter turn to the left contacting/striking
opponent's chest with lower hand and blocking with higher hand.

ADVANCED: Traditional names: Maiden Works the Shuttle. The name is in
metaphor to a shuttle slipping in and out when weaving silk.

Four Jade Maiden Threads Shuttle - PENG
HAND YANG FOOT SPIKES
Peng /Rebound Front


53.0 GRASP SPARROW'S TAIL

See #4.0.

54.0 SINGLE WHIP


SINGLE WHIP - AN


55.0 CLOUD HANDS (second)

The legs side ADVANCE to open and then close toward left. The arms move in a
gentle oblong. Done three times per Yang Sau Chang 1980 film. Optionally, the
HANDS here can be kept equidistant with a ball rolling action at the transition
between turns.

MOVEMENT DESCRIPTION: Cloud HANDS means your HANDS move like the swirling
of clouds. The HANDS and turning and stepping are all closely coordinated.


ADVANCED: In Yang Cloud HANDS, we do not move sideways by driving off a leg;

we transfer our weight by placing left the empty leg, turning the waist and letting
the move flow as your weight transfer.

The focus of gravity alternates with left and right turns to heel and toe. The Yang
leg aims at heel SPIKES and the Yin leg adds a bit of pressure from the from right
front SPIKES

CLOUD HANDS TURNS AND SPIKES
LEFT TURN RIGHT TURN
Aim at left heel SPIKES Aim at right heel SPIKES
Pressure from right front SPIKES Pressure from left front SPIKES

56.0 SINGLE WHIP


ADVANCED
SINGLE WHIP - AN

57.0 SQUATTING SINGLE WHIP (LOW SINGLE WHIP)


MOVEMENT DESCRIPTION: Above is much too low for most players. Just relax and
sink a bit into right leg, the lean in a bit as come forward and rise.

APPLICATION: Disengage backwards and down then (if need) strike forward to
crotch.

ADVANCED: Open and closing around lower back axis. Your writers teacher, John
Toy, might challenge you to rest in low position. Traditional name(s): Low Posture.

LOW POSTURE - LU
HAND YANG FOOT SPIKES UPPER JOINTS LOWER JOINTS

58.0 GOLDEN COCK STANDS ON ONE LEG (BIRD ON ONE LEG)


APPLICATION: Block, knee, or kick strikes.

ADVANCED:

59.0 LEFT AND RIGHT STEP BACK DISPATCH MONKEYS (MONKEYS)


60.0 FLYING OBLIQUELY (DIAGONAL FLYING)

61.0 LIFT HANDS UPWARD (RAISE HANDS)



APPLICATION:

ADVANCED:
LIFT HANDS - LU

62.0 WHITE CRANE DISPLAYS WINGS (CRANE)

MOVEMENT DESCRIPTION: See # 6.0

APPLICATION:

ADVANCED:

63.0 LEFT BRUSH KNEE TWIST STEP (BRUSH KNEE LEFT)


64.0 NEEDLE AT SEA BOTTOM (SEA BOTTOM)

65.0 FAN THROUGH BACK
MOVEMENT DESCRIPTION: See #23.

66.0 TURN BODY, WHITE SNAKE DARTS TONGUE (TURN, BACKHAND,
STRIKE)
MOVEMENT DESCRIPTION summary: From FANBACK, turn right with torso
swinging a back hand. Withdraw then strike.

APPLICATION: Backhand Strike


ADVANCED: In Xu this Method is not listed or shown.

SNAKE DARTS TONGUE - PENG
Peng /Rebound Front

67.0 DEFLECT, PARRY, AND PUNCH


68.0 GRASP SPARROW'S TAIL (ADVANCE and SPARROW'S TAIL)

69.0 SINGLE WHIP

SINGLE WHIP - AN

70.0 CLOUD HANDS (Third)


MOVEMENT DESCRIPTION: See 28.0 or use Optional Four Hands technique. The
arms move in a gentle oblong. Done six times per Yang Sau Chang 1980 film.

MOVEMENT DESCRIPTION: The HANDS and turning and stepping are all closely
coordinated.


ADVANCED: In Yang Tai Chi, we do not move sideways (Cloud HANDS) by driving
off a leg; we transfer our weight by placing left the empty leg, turning the waist
and letting the move flow as your weight transfer.

"A complete expression of the harmony between Yin and Yang". ~ Michael J. Gelb

CLOUDING HANDS means your HANDS move like the swirling of clouds. The
movement of the HANDS to the left and right is the same as the left & right
climbing HANDS of Shaolin Boxing. This is the most important posture within Tai
Chi Boxing. This technique may be practiced as an outstanding stand-alone Qi
Gong.

The below table summarizes the actions of the right hand and the left in CLOUD
HANDS:

RIGHT HAND LEFT HAND
Peng (Expand) An (Push Down)
Lu (Collect) Ji (Ji / Press)
An (Push Down) Peng (Expand)
Ji (Ji / Press) Lu (Collect)
The focus of gravity alternates with left and right turns to heel and toe. The Yang
leg aims at heel SPIKES and the Yin leg adds a bit of pressure from the from right
front SPIKES

CLOUD HANDS TURNS AND SPIKES
LEFT TURN RIGHT TURN
Aim at left heel SPIKES Aim at right heel SPIKES
Pressure from right front SPIKES Pressure from left front SPIKES

71.0 SINGLE WHIP


72.0 HIGH PAT ON HORSE WITH PIERCING PALM (Snake Bite)

72.1 Transition: See # 30.0.

72.2 Piercing Palm

MOVEMENT DESCRIPTION: Withdraw left palm over right wrist by turning waist left.
Swap wrists uprightly. Move left arm forward with right turn of waist.

APPLICATION: Finger strike to throat.

ADVANCED: The finger strike would be implemented with a snap of the waist to the
right.


73.0 CROSS-SHAPED LEGS - RIGHT KICK WITH HEEL (or Lotus kick)


APPLICATION: Heel kick.

ADVANCED: Earlier in twentieth century a lotus kick or lateral kick was executed
here.

74.0 ADVANCE STEP PUNCH TOWARD GROIN



74.1 Transition Advance Step

74.2 Punch toward Groin

75.0 ADVANCE STEP GRASP SPARROW'S TAIL

75.1 Transition Advance

Straighten up turning left 45 degrees. Swap hands uprightly.

75.2 SPARROW'S TAIL (BEGINNING LEFT WARD OFF. ENDING BIRD BEAK)


76.0 SINGLE WHIP

Companion to Learning Yang Style Tai Chi
100

SINGLE WHIP - AN

77.0 SQUATTING SINGLE WHIP (LOW SINGLE WHIP)

See #57.0.

LOW SINGLE WHIP - AN

101

78.0 STEP UP SEVEN STARS


APPLICATION: Block.

ADVANCED: Forward with the Big Dipper. Advance, Make Bucket.

STEP UP SEVEN STARS - LU

79.0 RETREAT ASTRIDE TIGER

102

MOVEMENT DESCRIPTION: Flow down and forward.

APPLICATION: Deflect with left and descending strike with right

ADVANCED: Who is the Tiger?

RETREAT ASTRIDE TIGER LIEH
SPIKE
Peng /Rebound Lieh /Twist,
Split
Front Open Closed

80.0 TURN BODY SWEEP LOTUS (LOTUS KICK) 11:00

103

DESCRIPTION:
APPLICATION: Kick from unexpected angle.

ADVANCED:

81.0 DRAW BOW AND SHOOT THE TIGER (SHOOT THE TIGER) 9:00

MOVEMENT DESCRIPTION: In the first step we need to turn our bodies like an upright
cylinder. We turn our body from the spine and the movement at its most obvious level is the
orientation of the waist in front. For example, when we go to single weight right with right foot
at 45degrees, the waist or Dantien should be turned maybe thirty degrees left with the right qua
slightly closed and the left qua fully open. Before, making the empty step forward, we begin to
turn the waist halfway back toward.

APPLICATION: Corkscrew wrists as strike opponent

104

ADVANCED: Bend the Bow to Shoot the Tiger. In bend the bow, we might first
study from turning the cylinder to expanding the sphere upwards, in other words
adding a upright dimension. The top of the bow is the top of the head, the bottom
in the short bow is the coccyx or in the long (more powerful) bow the bottom of
your feet. An includes bending the bow and releasing. Near the very end of the
Set, This method focuses in on Bending the Back (bow) prior to releasing the arrow
(Fa Jin)



105

83.0 LIKE SEALING, AS IF CLOSING (WITHDRAW and SEAL SHUT)

84.0 CROSS HANDS


85.0 CLOSING POSTURE

106


CONCLUSION

his body has that combination of suppleness, emptiness, and immobility that is a
good clue to what he is doing with his mind. - John Burdette on Buddhist monk.

Practice!

If this writing were all that could be said about the Yang form, then it would not be
nearly done. The chance we have is far, far above these words and is posed in a
discussion of art by the poet Jeanette Winterson:

"What art does is to coax us away from the mechanical and towards the
miraculous."

CONCLUDING NOTES

107

In the end, the full martial and meditative potential reside in Wu Ji.
Responsiveness and awareness are the foundation of Tai Chi.

Energy can be understood as the Flow of movement through your body,
throughout the set, through your opponent.

Each Method can be practiced alone and the end point of each can serve as
the stance for standing meditation or simply isometric strengthening.

Although a Yang player need only do the Wu Ji Method(s), to do so is to risk
Yin without Yang and hence be incomplete.

ABOUT THE TONY HANSLIN

As a college student, Tony Hanslin coached the Dartmouth varsity rowing team,
which placed third in the nation under his tutelage. After Dartmouth, Tony went on
to participate in and later run the family business of developing Eastman and Olde
Farms in Grantham, N.H. Additionally Tony served as president of Yankee Barn
Homes for three decades. Tony earned a Master of Arts Degree from Antioch
University in Keene. N.H.

Beginning In 1990 Tony practiced a Korean martial art for five years and then
joined the pursuit of Tai Chi. Tony studied for a number of years under two
teachers. Dennis Fieury; who taught the meditative and graceful dimensions of the
art; and Master John Toy, who teaches the martial or fighting dimensions as well as
the meditative aspects. Tony also studied the Tai Chi sword in China with Li De Yin
and has attended numerous related workshops, including two with Moshe
Feldenkrais, one with YAANG YANG, and one with Bruce Frantzis.

Tony lives with his wife, Holly Ostrander, in Grantham, N.H. where he spends much
of his time teaching and performing Tai Chi in their gardens and tea house.

Yang Long Set - Intemediate and Advanced

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Companion to Learning Yang Style Tai Chi 1

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