Because the arips in submission sports, and because they are so important, Royler grappling are so different from veill show the prover techniques for the most jivjitsu and most other gi-based important ones. 1. Outside seis grip hele your fingers around the eppanent's wrist, with your tram on tie inside. Gram the wrist as close to tne hand as possible without actually encircling the hand. This gp it good for most tyes of hand and arr conto, as the opponent daes not have a way of grabbing your arm Dack. The weakness fs the thumb area, veith one finger only, which can be escaped by turning the wrst to the area where the fingers meet the thumb and prying out through there. 2, Double outs wrist ge ‘This isthe same as the outside wrist rip, But itn both oem 3. Toco handed wrist grin Both hands grab te vist, wlth the fine gers and the thumb circling it, Grab as near the hanc as possible. This provides great control of the opponent's arts 276 is good for crags or takedorns5. Neck enc Both hands cup the neck area, vith the elbows «lose together, This provides aveat contial of the head and the inside, You can direct the opponent, a5 Nis haely must follow his head, —a— 4 Wrist and elbow grip This is an outside wrist grip combined weith an inside elbow grip. Notice that the elbow grip it just above the elbow on the ‘widest area. This is good for arm drags, 6. Outside wrist grip aith single neck grip Gra tne outside of the wrist and the outside of the neck. Youstill have some advantage over the epponent, as you control his vsrist.7, Handsinterlaced This sa neutral grip, as both fighters hhave equal control, Be sure to keep a firm ‘wrist, becouse if the oppenent is able te bend your varst back, you will be freed +40 g0 wherever he wants 1. Collar sul elbow linet Another neutral aria, this is very ccomman clinch in the stard-up phase of submission grappling mateles. Both fighters cug the out side af the neck and the elbows Keop pressure on the opponent by uling down an his nec and elbove, 9. Collar and inside elbony clinch You contral the neck and the inside of the forearm to the same side with ‘your hands. This is useful te break the collar and elbow clinch, ar10. Two handed ankle grip Both hands grab the ankle as close to- the foot as possible, This provides good control of the leq for passing or for throwing the leg to one side. 1 Insane sip Grab the ankles with each hand on the inside. This is immo Rant for guard patting, tor theowting the ‘opponent's tegs to ane skke, oF for stepping thraugh. t's alo goad for avoiding the opponent's hooks. 12 Under theanile and shia geip ‘One hand cups under the arkle and the other grabs the sop of she shin of the same leg. This is goad for keeping the opponent's back on the mat and prevent- 1g him Irom sitting or standing. a13, Ankle and inside the knee grip One hand controls the ankle, grab: bing it under and outside near the fool, while the other hand grabs the insige of the knee. This afford: you great leg control, as you can torque ‘tie loveer leg, forcing the opponent to turn. Its.also a great way to pass the puard: simply push the rant hand in, and the left hand blocking the inside of the left knee will force the opponent to give you the rinht pass, as he must turn his body: 1 Inside wrist gly THis neutral grip is used tor keep your opponent fram gripping something better, 15. Singlearm grip inside wrist am outside ellinw Grab the inside of the oppanent’s wrist with ‘one hand and the outside of the same elbow ‘saith the other hand This commonly sed inv the open guarsito control one arm, The inside wrist grip is neutral, but the autside oF the elbow: gives you domination of the arm.16, Behind the anlde and over the knee grip ‘One hand cups behind the ankle anc the other pushes over the knee of the same leg. This is goad for guard control and sweeps, Its also a good way ta keep the opponent ot a distance, 17. Hooks, Your faot goes behind the thigh, knee, ar ankle, with the toes curled. ‘This is immensely important in sivdeps and oper guard work, 18, Bebbind dhe ankle and the knee gi One hand grabs behind the ankle while the other grabs behind the knee, This provides gor! leg contral to keep the opponent's back an the ground, —a5—9. Double under the-arms clinch Each arm goes between the opponen and body, clasping the hands together and cinching the opponent's chest close to yaur chest for great inside control. This is great for the standing clinch and especially important for butterfly guard sweeps and taking the back. For butterfly quard control, your arms should be as high as possible (close to the armpit). ‘sarm, 20, Rear clinch ‘This can be over one oF both arms oF na farm at all, Your aims go around the oppo: ent’s waist, with ane hand grabbing the father wrist to lock the grip. Tightness is extremely important, as any space wil alloy the opponent to slip his arms inside to break the grip, For best control, the geip should be as close to the hips as possible. 21, Americana ot Kimura grip Wap your arm around the oppanent's arm an lock your vyrist veith your own hand, This is good for the Kimura but also helps a lot in sweeps,Warm-ups are very important. They not only serve a5 a way te get your muscles loose and avoid injuries, but alko are a way to get your neuromuscular system in gear. The first five positions in this book are drills designed to improve your physical performance and execution of the actual techniques. They can bbe practiced before any training routine and should be done at the beginning of each day of practice, ‘The hip escape drill is a great way to warm up Ravler bends his right tog ‘and plants his right your body, as it uses most of the muscles and joints in your body while replicating ene of the most commonly used motions in submission grappling, the hip escape. Having a *soft* or ip is one of the keys 10 progress in submission grappling. in fact, good hip move- ment is often used 05.0 way to measure progress “The key to this mation is to bend at the waist. & very common mistake—even among advanced practitioners—is to keep a stiff hip while doing the hip excape. Fp Rover stars of £7 ying tlat on the ight next to his body mot, arms siPushing off his right foot, Royler jack- F ‘nifes his hips to his right by pushing his buttocks out while ringing his head towerd his knees. This simulates pushing off an oppanent with nis arms. foyer curs his ett leq in and plants his a c | | felt foot on the mat. Royler brings his body completely tothe neu tral positon, but th tine as his left foot planted and beains the hip escape nn vo the epacite direction And repeats the mation te his left making sure he beds 439Being able to stand up in base is technique, the opponent may attack, push you another very important technique in back down, and score paints for the takedown, self-defense, sports jiu-jitsu, and submission In this second warm-up sequence, Royler “lubri= ‘stapling. Many times in a match, an opponent cates" his knee and hip jaints, along with the ‘will disengage from you and give you the option shoulders to stand up. if you stand up without praper Roples lays dovin flat on PF vho mat with bis legs bent at the knees and both feet planted on the mat Royler sits up, plants his lett hond slightly behind him and off to the side, curls up his left leg, ane Fests his right arm on his rignt knee. Now Royler has a good base, with his weight equally distributed between his right leg and left arm,sp, Royler pushes off his right foot and left atm and raises is hips, while siding his left leg through bbenween the gap formed by his right foat an tet hand, until ne can firmly plant his left foot on the satin base, slightly aehind his body. AL this point Royler has a great three-point bose with his right oot in front, feft foot back, and left hand dar, Note that he keeps his knees bent and torsa low to bhis legs. This is very important because # gives hirw ‘not ony base but also the ability to shift Ns weight fo compensate, in cave his opponent tries to pusi oF pull bins off base Having ascertained that £7 his opponent is not coming forward to push him, Royler extends hit body vhile remaining ale and in good base, Repeat this drill at least five times to each side, ==The ability to maintain balance is 2 very basic aspect of any form of fighting. This is especially so in submission grepplina, because takedown pointsare given a great deal of Importance and being on the tap is such an advan: tageous position, In this drill, Royler integrates his, legs, hips, and arms, along with warming up his nek area, The neck is one of the most important ‘As you begin to warm up and fee! ¢ your bise progressing, sar ene mation dil, While Megaton maintains the pulling pressure, Royle v atk, leading vsith his head and’ pulling Megaton with him. “Walking inbase dill tks areas in submission grappling, and one of the most neglected. Not only is it vulnerable to sub- missions, but because so few holds are effective in submission grappling, it is very common for the ‘opponent to control you by holding the back of your neck. This drill not only uses the entire body together, but it alto develops base when walking while your epponent is cantrelling your neck Royer is in base with his fect firmly 2 planted on the mat, parallel to each other His knees are bert and his hips are lovs, helping him maintain his base. Megatan grabs the back of Royler’s neck with his left hand as he pulls Royler forward, Rayler maintains his bave by jeading wilh hi neck while keeping hh st ea tight, maintaining muscle connection bala gs 10 his hips. AL fist, just develop. ice waithioul any motion, —2—Megaton switches hands and 5277 oulis Royler forward as they ‘walk back and forth, a Notice that itis important for Reyler to keep his head straight and mai tain a straight line with his back all the ‘way to his hips If you bend atthe head, you lose balance and control, “Where the head goes, the body follaws!” i you bend at the spine or the back, thesame thing vill happen, So if you begin to tose your balance and you have to adpst 70 recover, do it with quick steps wile maintaining form sith your uppes bod. This drills useful for both positions, so you should alternate with your partner. Not only is the defensive role helpful, but the attacking partner will develop the balance necessary to take advantage of the controlling hold. a"He whe controlsthe center controls In this pummeling drill, Royler not only makes the position. That motto ismever more you work your arms, shoulders, hips, and feet, but tue than in standing techniques where the per- also makes you practice the invaluable skill of ip son with his arms inside his opponent's armpits ping your arms inside for control controls the middle and thus the entire situation, Royler starts off facing Megaton in the ‘ever-under clinch, veth his ight arm inside Megaton’s lefl arm, while Megaton thas the same position on the ather side. Royler begins the exercise in coordination Megaton by circling his left hand forearm until he can on Megator's right nm and body, while Megaton simultane ly does the same mave to Royler to wark in synchronicity as they exchange arm positions and alternate swinging their shoul ders and heads from skle to side,“The object isto start off slow 2? ned vsarm up, placticing the ability to slip your hands inside your opponent's arms, 26 if you were swimming. ‘After you have mastered the ‘move and warmed up, try tase who can be faster than the other and end up with both arms inside, Detail Notice the hand position: palm fac: ing inane fingers dose together, Aiding aver the forearm just above the elbow to reach the gap “™, between the arm and the body. Do the drill for at least three minutes, until you break a siveat, As you begin to gain speed, try to attain the inside position.In this final warm-up drill, Royler up time to practice important moves. Royler n to take his oppo- likes to use these moves specifically as drills nent’s back and go for a takedown. Again, because they are the building blocks of so many Royler uses a simple technique as a warm-up advanced moves, and because they provide a drill in order to make the best use of the warm- complete warm-up. uses a simple me Fy Rerler starts off facing Megaton in a collar Pond etoove cinch, His right hand is behind ‘Megatan's head, controlling the neck, and his left hand is holding Megaton’s forearm near the elbow. Megaton has a timilar grip on Royler. This it avery common situation in submission grappling. Megaton’ right elbow up, allewing Ropler to his head under. (Mote that if your oppo: ent has an extremely strang grip on you. you ‘may not be able to free yourself so easily in that case, refer to position 7.) Royler makes sure he keeps contact, with his head on Megaton's arm, and uses the back of fis head ‘ta propel Megatan's arm forward witha quick flinch, This not only forces Megaton to lean ferwvard but also prevents him from quickly Royle’ face. replacing his arm in front =Rayler contiewes the motion and slides behing Megaton and bear hugs him. Hotice Royler’s feet position and base. ready to control and accompany Megaton ifhe moves in any direction, Royler needs to keep his head turned to.ane side and his head and body tight on Magaton’s back, pushing against the back, so that Megaton can't _sving his body around and get his arm around Roler’s face 3 Reverse Angle Hotice how Rayler's bear hug traps ftegaton’s arm. This occurs as 0 come quence of the move, since Raylers right arm wasn front of Magoton “and his left one creled around the back, looking for the beor hug. This may not happen every time—an opponent may open his ums wiske—but it isthe ileal situation and sh way you pra Roylers grip, with his left hand elasping his oven right wrist for extra contra. By While mainzaining close contact wath F waegaton and his hips are lower Megaton’s, Royer lifts his opponent, using istegs. 1 Megaton reacts quickly enough 10 pi ‘vent this lft, Royler must switch to the trip shaven in position 6. the mat, turning him in the air “2 so that he lands on his side ard Royler ends up behind him.In position 5, Rayler achieved the bear hug from the back position and s case, Royler must adjust and use a varia- went for a lifting throw, as Megatan did not tion of the common trip to take him down. From react quickly enough. This time, however, there, Royler continues the motion to achieve Megaton reacts to the bear hug by opening his the mounted position, legs wide and dropping his hips down, making it the motions described in position 5, Royler has achieved the bear hug from ehind, but this time Megaton defends by open ing his legs and diopping his hips down, Royler extends his left leg and plants his lett foot right behind Megaton's left heel. Keeping a tigh’ grig on Megaton’s waist, Rayler sviches his right hand te grab around Megaton’s left wrist and starts ta sit back towaed bis right heelTH. As he sits back, Ropler carques 27 raegaton back with him, Megaton, cont step back with his leit leg to regain balance, s0 he Falls. to the mat. Notice that Rayler stil maintains the grip on Megaton’s left wrist and uses nis own left arm to brare and control his fall 10 the mat Royler continues the twist ingetpinning mation, towing Megaton to and throves his ria the fallen Megaton >) Royler continues the 27 motion, achieving the mounted positian, aIn position 5, Royler gat to Megaton’s back by simply pushing up his right elbow and sliding around his arm. There are many cases, however, when your opponent will have a firm grip and be putting pressure on your neck s his grip. His left hand goes from am pushing the elbow to grabbing the back of 2} Megaton’s head, while his right hand grabs Megator’s right forearm near the elbow. F bat the other, one hand pulling on feck and the other holding the forearm near the elbow. Royler tries to push Megaton’s elbow up because of Meg: as he is pulling down on it, making it very hard to simply push his elbows up and take the back. In that case, you will have to change your grip and use the technique demonstrated here to take the back Roylet and Megaton ore locked in a standing le. Both have collar and elbow grips an he back of the slide u t0 take the back, but he can't nis tf grip on his neck ‘We reverse angles here ta better show the grip. Natice how Royler's hand grips Megaton’s forearm.Royler quickly seizes the em opportunity and steps around to take Megaton's back. From hore he can use a variety of take towns, such as the ones demon- sirated in posttions 5 and 6 CContinwing with the reverse angle: With 2 quick motion, pivoting off his feet, Royler sts his trunk to the right, throwing his left shoulder forviard, At the same time, he pulls Megaton’s right forearm forward and releases his head from Megaton's grip by ccing it for- ward. Notice that Megaten will Ise his base and lean forward, because he was asserting so ‘much pressure on Royler’s neck bear hug,) Between the legs takedown aS e ee : ) very reason the defender will fry to prevent you from getting there. The between-the-legs tech: the standard grip. As in pasitian 5, Royler is able nique is harder to master than takedowns from to tap Megaton’s elbow up, but rather than theback, and it may be harder toexecute against sSaing to the back, he opts to use a croteh take- a heavy opponent, but you get to this position dawn, The back is your best option, but for that quicker and can surprise the opponent with it Here Royler demonstrates anather variation of @ takedown starting from a grip other behind the each halsing t applying pressure on Royler's neck. Megaton Foyler tops bi wth is tet going to the hace he ta forsard with his left fag. Notice that Royler steps deep into Megator. I important to drop yaurbins very lowe for this takedown to be successful. es a big step 2 Reverse Angle ‘This angle shows Rayler tapping Megazon's elbow up as he ducks under, Notice Royler’s deep step into Megatan’s legs. This very important as he needs to have his hips centered vv under Megaton easily. Megaton’s hips to be able t ==Royler reaches between Megaton’s legs from behind with his left aim and sees a gris on Megaton’s right leg ‘with his left hand, vshike his right hand remains in control of Megaton's neck. Note hove Royler squats next to Megatan, feet square, tone upright, and hips aushing into the legs. This is the key to the throw: Royler must have his legs bent and square so he caf lftthis opponent straight up with his teas and not his back! Springing off his legs. Royle its ‘Miegaton by the aot) while puting hrs neck forwarc, causing him to be focing own. )} And drops him toward the mat. =eOne of Royler’s favorite takedavns is the single-teg, He likes it becouse of Its simplicity and efficiency, and because it can be applied from a variety of grips and positions (uch as the double grip in position 10). Positions 9. 10, and 11 are all good examples of a key to submission grappling, which is thinking several Mogatan reacts by pulling his head back, yanking Royier forward ‘moves ahead and disguising your intentions, In this case, Royler gets Megaton off-balance by pulling Megaton's head down as he goes far a snap-down. As Megaton reacts by pulling his head back, Royler moves in for the single-leg takedown, Royler pulls Megatan’s head ‘down bard with both hands, He may be doing this to attempt a gu’ lotine or simple snap-dowven take- down. Note that Royler is pushing faack: aff his right leg,Royler quickly seizes the chance to shoot forward, arms-open, to gral Megaton’s sight front) leg. Royle gratis behine Megaton’s fight kage with his right arm and tises his left hand to grab behind Mogator’s right ankle. He completes the takedown by driving his right shoulder forward and dower as he pls upon Megaton’s right Royler continues to pull upon ‘Megaton’s anikle until Megaton is doven on the mat, By retaining conzral af the leg with the seme grip, Royler forces Megatan's back to remain on the mat. Remember that maintaining control and grip of the opponent at all times is one ‘of the keys to attacking,In this variation of the single-leg advantage of control, Royler starts off pulling take-dovin, Royler has a solid double Megaton down and again uses Megaton’s reac- grip on Megatan’s right arm. With this dear tion to assist in the takedown, Royle has a double ip of Megaton’s Since he is controlling. 4 thesiwatien, Rayler pulls Megaton down by the arn. Megatan tries te- snap his arm out of the grip.‘Again Roylercon- ¢ tinues the motion until Megaton is ownon the mat Royler retains control of Megaton’s ankle and leg. From here, he rould go for a guard pass or even a submission hold Using Megaten's reaction ‘against him, Royer atiacks Megaton’s ight lec, grabbing behind the knee with his ight hand, driving bis right shoulder forward anto the thigh, and pulling up on the ankle with hig left handIn this case, Royler has a single grip tage of Megaton’s reaction and uses it to: his an each of Megaton’s arms. Cantrolling benefit: Megaton pulls back and Royler releases the grip battle, Royler attempts to pull Megaton his grip to keep Megaton off-balance as he down, Again, the key te success Is having your shoots in for the double-leg takedown. contingency plan in plaes. Rayler takes advary Dy Royler has an outside grip an each of Mlegaton's wrists, clearly controlling the grip battle. Royler pulls Megaton down by the arms, with the intent of driving him to the mat, but Megatan defends by trying to snap bis arms out af the Grip as he pulls up with his torso, Royler quickly releases the grip on. Magaton's writs, shoots In as he diops down, and attacks Megaton’s legs, grab bing the left one just below che buttocks and the right one just above the knee. Notice that Reyler has his head ta the left side because of his giip ward, now with his left leg, and lifts MMegaton's right leg up, but this time Menatan is able to maintain his balance and has his ‘weight firmly on his left Changing oue angle by 90 degrees, we swe that Royler steps farther Yorveard with his eft jeg until he is square with, Megaton, swings his right leg around, ant hooks Megaton’s left leg that was serving 450 base, sweeping it off the mat 4] Peed Royler ends up on top of the downed ‘Megaton. Notice Royle’ right knee black lng Megaten's left leg, while his left arm traps Megaton’s right log. From this position, Royler that many options: he can ge fora foot lock ty sitting doven with the right foot trapped, a knee bor by spinning around and over Megaton's extenced leg, af he can pass the ‘guard to his Tght through Megator's legs s left around Megaton’s le.If you are advanced enough to be practicing submission grappling, you should have already mastered the upa. However ‘his is such a crucial escape that it is best to give same attention to the finer points of the submis- sion grappling version. The maunted position is fone of the worst spots in which you can find yourself in any grappling sport. The opponent has great dominance over you and a variety of submission options, In jiusitsy, having the o) 10 hold on to makes your upa escape easier, but in submission grappling you must rely on proper ps and leverages. The most important thing you can do when mounted, af course, is not to panic. Many practitioners will try to escape in any fashion by just exploding in a series of misdi- rected bridges and bumps, This will only expend your energy and increase your sense of panic. David is mounted on Royler, Royler starts off by keeping BY his head glued to the mat and his elbows clove to his body to-block David knees from “climbing” Le Royler's armpits, from whieh potition Royler would have very litzle or no paws tovuse his hips. Roylers hands are on his chest, ready ta re ‘Once you have the proper por tue you can advance to the escape, this case, David has his handsan the mat above Royle head to maintain his position ancl his base, Roylor’s fies step 5 99-94 one of David's wrists, In this ease his Fight wrist, with both hands. and protect his neck tron the ground and his legs are bent with the knees up, Rojler pulls avie's wrist to his chest. The power of 200 arms palling ane arm should be enough ta win most of these battles, but if the opponent is very strong, you may have to wigale your body up {6 the opponent’ hand in order to.gain control ‘any attacks, His feet are planted on 2 Detail Note the grip of the verist with bath hands, Royler uses the stan coord grip, with his fins ers wrapped around ‘one side and thumb around the otherRayler controls David’ right wrist with his right hand, keeping it glued to is chest. Keening your elbows close to your body wil give you the most power and leverage here. Wich his left hand, Rovier grabs Oonid's right triceps and uses his left foot to hook over and trap David's right foot, Now Rayler has Davies entire right side blocked and is ready to.go for the upa, (Note that a ‘wily opponent will sense this and try to free his hand: belore you get this ar. if he is able to. you Imust switch ta the escape shown in position 31.5 4 Detail A 4 Detail B Notice that Rayler only trags Notice that David's right faor, not both feet In this cave Royler Adlditionaliy, Royler keeps his uses the "lay right heel tight against David's ‘nlp, with all five ankle to provent Bavid {ror slip- fingers hoaking on ping his eft leg in and grapevining the same side, Royler’s right foot to defend the up. this hips and bridges as high as post: ble. Once he reaches a hiah point. Royier pushes ‘off his tat eg and turns David over his left shou der. It is extremely important not to try to turn to the side, but rather aver the shoulder, To make the rail even more effective, Royler turns his head to the ight ane looks up, further clearing the path of the ‘oll the opponent fells your upi attempt by brac- {ng against the roll, you immediately switch to the in position 32:) Rayler encls up inside David's closed ‘guard, Royler’s hanes block Davies biceps, preventing David from going for any type of consol or choke. —103—In the previous technique, Royler demonstrated the standard upa, with — grappling, italso turns up alot in street fighting, the opponent leaning forward with his arms out with the attacker getting ready to rain down far base. Here, the opponent is sitting back on punches. Whatever the scenario, the following Royler’s hips, looking for an opening to attack. defense works great. > David ie mounted on Fe hoyter and is sitting back on his hips. Royler closes his eltove tight against his bacty and raises “4 his hips, bridging and pushing David forward, David has-to brace his arms against the mat Fit his hip stil up, Royler braces Jelt.arm and hand on David's ‘ight hip and cicles his right arm around David's left arm. (Mote that & ly apponent 1a free his hand before you get this far If he is. abie to, you must swatch to the escape shown in position 31) I sense this and tryRoyler lowers his hipssfightty, but hie stiff left arm keeps Davie's hip. aeray fram him, Rayler traps David's fe foot vith his own right one, block- Pushing off his left lea, Royle begins to bridge over his “Saat shoulder to his right, making sure te keep his lett arm against David's hip for distance, prewing. 5 Reverse Angle con early see Royle’ arm on Bavidl's right hip, pushing hire away. The left arm does twa Dovid over, but mare impartant, it keeps David from thrusting his hips forward an Rayler sand taking away te power of the bridge. 9 it hebos pu By Rover ence up inside 27 davids closed guard, Roylers hands lock David's biceps, preventing David from going for any type of control or chake.A smart opponent knows that once if you have tight control over the arm, your one of his arms is wrapped while he is opponent will have to yank his arm really hard founted on a foe, the upa is on the way, a and lean back to complete his release. Royler move he will naturally try to prevent hy pulling takes advantage of that in this little-known his arm out as soon as it is wrapped. Of course, escape. Jp) David is mounted on Reyler. He ise tonal has hie armeon jor af Royle d for bace, David alo has hic hhips low and tight er begins the escape the nor imal vay, raping Davis Heft arm with his right one and trapping David's Jeft foot wth his right foot. 1f Davie doesn't react, Royler wl escape shawn use the upa Sensing the control and imminent scape, David quickly site back and yanks his left arm ous.Royler bridges as high as be can, forcing David forward, David reacts by sitting back farther, Royler quickly drops his hips down and sis up, ‘twisting his body to his right as David drens back down, Royler continues his twining mation. He sur aps his left arm araund Davids loft leg, trapping it, wishes off his left foot, and serings his own rlahe foot back through, semeeping David Royler lands inside Daviers quare vwitiv his hends on David's biceps. Notice Royter’s pesition: he has shifted 90 degrees [rom the start. Ibis impera te that he sweeps perpendicular to David. He can't try to simply roll forward over David, because David's legs and feet will stop him. 1BAs erfective as the upa is, it can sti be blocked by an opponent who is able to free his right foot and brace against the roll. in such a case, you use the elbow escape. When used inveonjunetion, the upa and elhovs escape became a formidable response to being mounted. if the ‘opponent defends ane mave, the other will auto- matically be available. IF the opponent is quick enough to defend the second optton, yau imme: diately go back to the first. This kind of exchange and variation is the key to suxeess in submisslon arappling, NGD pavidis mounted on foyler. Royler has trapped David's right arm and foot and is ready for the Wg A Fovler beoins to bridge, David slips his right feat out of the trap and opens his leg wide, blocking the roll, Royler quickly diops his hips dawn, turning to his lefeand curling his left leg in. He brings his elbow and knee together. prevent ing David's leg from coming back Into the mount, and slips his lefz knee just insicle David's righ — 114Royler slides his hips to his: Fete and wraps his left leg around David's right lea. Royler continues to sip his hips fo the left ara slices his ig knee just inside David's tot 5 Reverse Angle | Note how Raylers right legis cured, His right elbow is blocking Davies lat knee, openi for Roylers right knoe to side in the wi Rosler slides his hips back to his right as he citeles his right leg around Davies left, plac him in the closed guard,Hore is an escape from the mounted position with a twist. as Royler does an elbow escape, the opponent raises his body slightly to maintain position: this isenough space for Royler to go for a foot lock. David is mounted an Royler, Royler han proper posture, his elbows “= lose te his body to keep David from *ellmbiag® up te his ae Royler begins his escape with an upa £7’ but David slips his right leg out and ‘opens it yside for balance. Royler slides his hips to his right, uses hs left elbow on David's extended leg to block it, andl stides this lett krvee up inside David's right leg, ‘As Royler beg ins to move his hips to the leit 30 continue the eltiow escape, David shifts his vecight slightly, alsing his torso as he tries ta maintain the ‘mounted pasition, That gives Royler the space he needs to go fora (oat lack, He pushes David's chest Up with both hands, simultaneously planting his Fight foot on the mat. With his left leg. he lifts David up a little mare and pulls David tovrard his head as well. This gives Rayler enough space to /oap his right lag under and around Davies left leq, until hi fight foot pushes on David's left ribcage.3 Reverse Angle In this wee, we can see how Royler ‘uses both hans ta push Davie away zs he loops his ight leg until the foot is against Davie's ribcage. Royler uses back, clases his right knee to:trap. David's left leg, and veraps his right arm ‘around David's ankle, By lacking his right hand arauriel his tee wurst evith ii hand on top of David's shin, he traps Davies teat for the foot lock, Royler applies pressure by pushing sith his right leg and arching his torso ace, bending David's left foot back fer the foat fack 4 Reverse Angle This reverse angle clearly shows Royler’s right foo: position on Davies right rb, Notice how Rayler closes his right knee 10 Wap Davids leg, aSo far we have not covered thesitu- his hands dawn in a choking motion. This is ation where an opponent is choking enough for the person being chaked to feel you with both hands while mounted on you. pressure and many times panic, giving up an arm Most submission grappling events do not allawe or the back in a hasty attempt to escape, Here Is the opponent to squeeze your neck by pressing the proper way to escape this situation, his fingers into it, but they do allow him to push Davis mi both hands on his throat red! on Royle id ls pushing forwrand for a choke the Royer’ first step isto rel pressure on his neck, He hooks both hands inside David's wrists and pulls them outward and down as he borings his elbows closa to hit body, with control of bath varists, Royler chooses a side for his escape, You want to go to the same side as the foot that you trap In this case, Royer ‘yaps Davies right foot, so ha bridges aver his ‘own left shoulcer.wide Davids close guard, Royler Still maintains control of Dawiet’s wists Royle roles his torso as he pries Davio's hands from his eck and retains control over David's wrists. From there, Roylet wll pasture and get ready to pass the guard,A variation of the mounted choke— ble pressure on your neck and create instant this one entirely legal—is for the person maunted on you to use his forearm on your throat. The apponent will eup his hand on your shoulder, put his forearm on your throat, and drive his elbow to the ground for the choke. As ‘with the prior situation, thiscan apply a formida. Royler’s fist concern is to release the ehok: Ing pressure. Reyler grabs David's right ti eps with his left hand and claves David's right cloow with his right hand. Royler brings his own right elbows down toward the mat, em his body, putling Davies right elbow with his right hand. At the same time, he uses his lef hand to help push Davia's arm in that airec- tion, releasing the choking pressure. Royler ‘raps David's right foot with his left fost and new has Davie's right side blocked, Panic. it is important to master these upa varia- tions, as each resolves a different and crucial sit- uation. Note that all these escapes from the mounted position are dual-purpose techniques: they con be used as a series ol good attacks when you are the one on top. Fy Davia is mounted on Royler, witht his right forearm in front of Royler’s chest. He eups bis Inst hand an the back of Royler's right shoulder and presses his right elbow nd as he uses his soward the or forearm to choke Rovlet.Royler bridges, pushing aff both feet as fre rolls over his left shoueler. Royler lands inside Davis's closed guard, ‘on David's biceps to control Davids arms. 121Many times, an opponent mounted ‘on you will wrap his arm around your neck to control your head. By diminishing your ability to move your head, he achieves great ¢on- trol over you. Obviously, the best defense against this move is ta have good posture and Keep your head flat on the mat atall times. However, during the course of a submission grappling match and Since David's right arm is uncer Royler’s head, Royler knows that ‘he best option is the upa. He traps Davies Fight foot with hvs jefe Foot ‘and grabs David's righ bikes with his left hand, lacking it in place. Royler also places his right hand on Davie’ left ribcage ane! wll use It ‘for more leverage in step 3 ‘among the millisecond decisions and hundreds of reactions that you have to take, many times you ‘ill It your head and give the opponenta shot at it. As a matter of fact, tightening the neck and curing up the head is anatural defensive reaction, land a common mistake that submission grapplers make. Here, Royler demonstrate a quick and effective way to escape using the upa. David is mounted on Royler and has his right arm wrapped around Roylers head, controlling it. Notice haw close. David is 10 Royler, making it very t for Royler to move and nd any space for an ekcape. zineDp, Since David is using his riaht arm to con- rol Rovler’s head, he kesps hishead on the opposite side. This is 2 clue as to whieh side you should escape to, Royler bridges up and roils over his left shoulder, pushing with his right hand 9s well 3 Reverse Angle ‘This view shows Royler's ight hand pushing agolnst David's hips to help push David aver and keep him fron delving his hips forward, which wou! take aviay the powe’ of Royler's bridge. Royler lands Inside 7 David's closed quardy vith bosh hands en David's biceps, wmquard passes are particularly important to master because many times you will be fighting larger ‘opponents, You wor't be able to stand up and lift ‘them, or even if you can stand up, they will be con- stantly forcing you off balance and back down, While there are a multitude of tricks to passing the quard, we are only going to touch oh the most important ones, but examine the pictures dosely and get further tips and details from them It is a fact of fife that you will spend mest of your time in submission grap- pling either passing oF defending the guard, 50 ‘you must master at least a few of those techniques if you are to have any measure of success in the sport, As was pointed out in the introduction, one of the most important factors in passing the guard is to maintain clase contact with your opponent (except for same standing guard passes). Kneeling Royler bs inside Davi! closed guard. David has his hands on Royler's wists and may lve pulling the veists out to force Royier off balance. ‘The fit thing Royler mat do-it to much on his hands for balance to keep: from falling forward. He docs that by keeping his back straight and head up, vd proper posture and not rely tao Once he firms his base, Royle twists his body back to his left, creating space between Davie's legs. Notice that Royter's Nips are: still low, keeping his weight back so that he doesn” lose his balance forward. Royler’s step is out and nat forward, to Keep David from grabbing his foot. Royler moves his buttocks back, lowers his torso, and 1 traces his right elbow inside David's jens in the space cre: ated when he stepped out. Royler puts his welght on his ‘earen, pushing the elbow down to prevent David fram pulling it back in and catehing Royler in @ triangle. At the same time, Rayler slips his left arm around David's right lea, hooking Davis's thigh with his hand. (Nate that if your oppo: nent anticipates your move ané manages to scoot his hips I need to switeh to the pass in position 38) vray. yO. ZePy Pushing off his left leg, Rayler drives his Jefe arm and shoulier forseard as he resches to grab behind David's head with his lefzhand. Rayer keeps control of David's ‘ight leg between his head and left arm and forces Davies right knee towre his forehead. ‘At the same sime, Reyer pulls hisselt tor- th the help of his let hand, which is ‘fabbing behind Davis head. Natice the angle at which Rayler pushes on David ke ward rather than parallel to the mat, which would just act like a plows ta push David back, Royer pushes fervard and up, deflecting any paver that David can have and forcing his leg dawn, This isa very uncomfortable position for David and be vill try to release the leq hinse't yielding the guard pass. Not that Royler deives is shoulder into the back of David's right knee, pushing it toverd avid’ head, Royer also keeps his torso and hip love to David's leg for tightness, Royler continues to move wound my David's leg and reaches across the S| side, Netiee that Royler still hokds David's head with fis te arm and has his tight arm controlling Davis right leg to prevent him from sliging It im and pubing halfsguord, Once across-side, Reyler chooses {0 put his left elbow next to David's head, close to the loft eat, to prevent David from moving his head. Roylers right hand is firmly planted on the mat next to David's ‘ight hip, preventing him fiom replacing the quard or hall-quard. 125In the previous positian, Royler was inside David's closed guard and passed using the krigeling guard pass. This time, haw- ever, as Royler begins his pass and places his left hand inside to control David's leg, David reacts making it very difficult for Royler to raise Davic's eg. Royler needs to get David close before he can pass the guard, so he adjusts the technique ‘to pull David in by the thigh, and then proceeds to pass. by scooting his hips away, creating distance and Sem, Royler starts in Davic’s closed guard. At betore, TD ire tint gets proper pasture and assures that he is in base, then starts to pass, Royler swings his torso to is leit, takes a step out vith his left fag, litt his let lence, and twists his body back to hit left, creating space betveven David's legs. Notice that Royler’s hips ‘re still ow, keeping hit weight back so he doesn't love his balance forward : Ahoyler moves his buttocks back lowers is torso, and braces hs right elbow inside Davids legs FRoyler puts his weight-on his forearm. pushing the elbow down, the same tine, he sign islet arm around David's right lag to execute the kneeling guard pass. This time, homever, David reacts, scooting his body back and making his leg very heavy as he takes aay the leverage that Royler needs to lift and pass Royler must adjust and bring David close again. He grabs his left vist with his right hand, making sure he has the top blade of his leit forearm pressing against David's thigh, and lowers his buttocks until hhe is almost sitting on his right heel, 125 —3 Detail Notice the proper way to make the frame. Royler hold the top of his forezrm, with the blade digging into David's thigh. His right hand grabs his left wrist, circling the thigh tightly. Royler’ left shoulder is just under David's calf, close to the back of the knee, creating more leverage when he pulls the grip tight. Pushing off his left leg, Royler rises up as he lifts Davids hips and gets his cern hips ard body clove to David, He ullshis left arm to his chest and chives his shoulder into David's thigh, pushing it toveard the head, The pressure of the lat forearm blade against David's thigh wil cause a great deat af ehscomtore for David. Notiee that Royler does net pall David to-him, as that woukf be cifficutt against heavy ‘opponents, but rather Hfts Davis's hips and ames forward to meet them with his bod. Royler cinches the hold and walks +) around Davie's lag, Notice that Royler utes his shoulder to push David's right knew toward his head Royle also keeps his torso and hip ose 29 David’ leg for tightness. Royler continues to move around Daves leg and reaches across-side. Notice that Royler 3 holds David's head with his left arm, hile his right arm controls David's right leg to prevent him from slid. Ing it in and pulling half-guard. reAtsome point, you will find yourself ina submission grappting match against an opponent who has a very active closed guard and constantly ages for submissions and sweeps. That makes it hard te use the kneeling quard passes, as you have to have perfect posture before you should begin that pass. in such a case, the standing quard pass is a better choice; by standing up you avoid a host of closed guard attacks, It would thus seem that the standing uard pass would alvways be the best option, but ayler is inside Davi’ closed guard. David has beon very ‘active In breaking deven opler's posture and bal ance, Royler needs to poss and lecices 70 use the standing guard pass. Rayler srsings his hoody to his right and dives the same thing valth his tas leg. Notice hows low Royler keeps his body and buttocks. Tis 's very important far bale ance, He also keeps his knges dlose 10 his body, locking avid thighs and taking away his ability tO move his hips and create a mere dangerous situation for Royler that is not the case. The pass also has its problems with base and stance against a player with good sweeps. Some people prefer the standing guard passes, while others are more comfot table with the kneeling passes. It is very important for you to master both and mix them into your game as ‘heeded. That being said, the standing guard pass presented here is among the safer ways te @pen ‘and pass the guard, Use this when you are behind in the score and absolutely need to pass the guard before time runs out, Royier does a pondu tum, swvinging bis upper boy %0 one sido, then ‘sosingeit to opens and raises his ht leg and plants his ight foot on the mat ‘Once he ls sare oF his balance, Royier extends his legs, fting David's fags veth him, ‘Again, natice how Royler keeps Wis hips forward and knees dosed and slightly bent. Maving them bent allows him reac quickly, adjusting upand doven if David tries to push up or dawn ‘with his legs to sweep Royler Having his knees loved prevents David from swinging his hips sidewvays for seeps as well, Royler thrusts his hips forerard so that, if David opens a leg. Royler can pass the guard by simply eriving his knee for ‘yard and sueinging his bacy around the lea. = 18Once he feels sure of his base, Rayler takes ‘a small step back with his left leg as he lowe rs his hips and inserts his ight elbow between David's legs, with his forearm gushing against Davie's left thigh. He alto inserts his left hand in the space and veraps it around David's right thigh, grabbing David's right hip. 5 Detail notice tne proger way for Roylet £0.grab the thigh, Mls right elbow is inside David's legs to avoid the triangle, with his right hand grabbing the top of Dewid's thigh. His left arm is wrapped around: Davids thigh, with the hand grabbing the hip. This helps contro! and direct the thigh as Royler drives his left elbow up and shoul: der forward and around the thigh for the pass. Rooyler dvives his left kn David's hip and in the direction af Davicrs chest, as he pivots off nis tet foot, swinging his hips to his loft and driving his left shoulier forward and sround, deflecting David's thigh as he comes around the leg. Rayler reaches wide wish his left-arm in front of David's left ear, his left hip touching the ground and right hand ‘controling Davies right thigh as he lancls axross-site, Dy Royler establishes acrossside position, weith his lefs elnoy tight on the side of David's leit ear and his right hand on the mat next to Davids right hip,The butterfly is a common and effective guard in. submission grap- pling. With the heoks inside, your apponent not only protects his feet from possible foot locks, but also has many options for sweeps and arm drags to take your back. Ideally, the butterfly guard is performed sitting up, sith your opge: nent pushing his head against yaur chest. Often puts his chest on top of David's upper leg, a match, however, your opponent will find self with his hooks placed inside, but his back on the mat. This may occur as he is just lacing the hooks or in a transition between moves, Regardless, as sonn as it happens, dan‘t wait for him to sit up; recognize the situation and use the follavring great quard pass, Dy Royer finds hionsef inside Davies P butterfly guard; however, David has his back-on the mat. Royler quickly recog izes the opportunity and goos for the butter taking away some of the & David's hooks, and places his hands on top of David's knees. choses his knees, iy guard pass. H fectivencss of 1B0—y ight arm, grabbing bel neck, Notice that Rayler still prestes his chest an Davies also holding Davie's right shin wveth his left hand. This keeps David from being able to extend his logs and make adjustments like scooting his hips.aveay to replace the guard NED Roster “walis" around until he reaches across side, Notice how Royler ‘emains tight 09 David and still holds on to Oavie's neck and legs. a=‘This ig the more common way of sweep Royler his hooks or go for a variety ‘of submissions. Royler demonstrates his favorite wai of passing the sitting guard. The key to this technique is to spin the opponent of his but- tocks, then push him back to the ground. applying the buttertly guard. The ‘appenent has both haoks inside your legs and is sitting up to one side, with one of his arms between your bady and arm. This is also known ‘as the “sitting guard.” From here, David can over is inside David's sitting ‘quatd, David has bath hooks Inside Royler’s legs, his left hand is between Royler’s right arm and bborty, and his right arm is back to help him move his hips to either side. Roylet, for his part, has his weight back and his left hand @r the sweep, the ground to bra arr inside Royler’s right ong, Royler viraps his fight an around Davids neck and, vith his left one, reacnes behind David's right leg and grabs the [eft ame, cominating both legs vith one arm. (Nate that if Davie had both arms inside Reyier’, Royler would use the pass demonatyated in pesition 42.) Paiste2 Detail this ctesrly snows Royler's grip on David's left leg. Motice that Roser reethes 2lithe way around ‘ne gabe the autelde of the snide, with his thumb pointing up. This way he-can fully control the leg, palling the legs together and keeping David from extending the leg and maintaining the hook Royler spins David araund oF his bute tocks by pulling his legs and head ina clockwise direction (to Davies lefth. The direction of the spin is determined! ‘oy whieh arm is inside. Royle brings David to his side, with his FS1 common variatien on the sitting guard shown in position 41 is for the defender to sit straight up, both arms inside the nasser’s arms and his head buried on the passer’s chest. In this position, since he is cantralling the canter of the action, the defender can do a vari ety of things: he can go for the side sweep by le ting go of one hand, he-¢an roll back and lit fi opponent off the mat with both hooks (because hhe has contral over the attacker's torso as well), he can qoto the back, and so on. Rayler shows a great technique 10 escape this hold and even ends with 9 submission. sitting has both arms Royler slips his right arm around guard with hooks. Ds Wrapped around Royler's chest ar head is buried there, Royle’ places bot hands on David's shoulders and back to create David's head between the head ‘and left arm. At the same time, Royler pushes David's right knee Inv vith his loft hand 2 Detail this reverse angle shoves exactly where Royler's h around the nid ad, between the head and the arm, and between the legs. By doing this, Royler not enly contral the head but also can reach the right cat. foyer reaches around with Wis right ay and until he gia tne outside of Sa ovis right call, Royle uied his left hand to push Davies right knee to his ight 30 fhe can reach it eh his ight hand —138—Royfer locks his lelt hand behind David's triceps, 5 Detail Notice hav Royler controls Dawidl's body as he pivats him around his buttocks. David's pasition is very uncomfortabie, with hes hand around om his buttocks by standing up and pulling om the right leg and arm. wing forced down by Royler’s aren ‘As he continues the spin, Royler slips his right. F knee on Davie's chest for a knee-anstomnach, At this point Royler has already trapped Davi’ right wath his left armpit as he wraps it with his left ‘arm and prepares to go for the submissian, Royler lets go af David's right leg and. clases the lock around David's aem with: his left hand, grabbing his own ‘wrist and applying pressure to-the elbow Joint by thrusting his hips forvea 135 —While very common in sport jiu- jitsu, the open guard is less effective submission grappling because, without the gi to control his arms, the attacker is free to contre! your legs as he pleases, Despite that, you will ‘encounter open guards quite frequently in sub- mmission grappling, because so many grapplers come from jiu-jitsu: backgrounds and are accus- tomed to using the position. Therefore, you need to know how te deal with it propel Here, Royler demonstrates a nice, quick way to pass the open guard, The key to this pass isto } Roylor nas control of Dayid’s legs in the open Royler grabs both ankles and throws them to uate his left aca ruse, making David react ta block his ‘own left side. throw the opponent's legs out of the way and quickly step in with your knee. Quickness and cunning are very important for success, so You may want to feign throwing the legs to one side, then quickly reverse and pass to the other, ‘a Royler does here. (In an actual match, you ‘would skip step 3-ar4,} Practice the footwork in ‘this drill several times on your own or with a ‘willing partner, so that when the opportunity occurs you ean take advantage of it. We start this position trom the point where Royler has control of both legs. Royley then feints back to hic right and has Davie blocking that side. —136—Royler puts his left hanc ‘on Davicls shoulgier ancl his right one on the grour Io front of David's hips a=W Finally, Royler steps in, with his sight knee on David's ribs. Royler drops doven acrosyside, chest to chest, Notice that this time Ragler bs ferent arms pesition than previous examples, He has his left arm ‘around Davic's head, controlling it, his right elbow close to David's lets hip, and his right knee on the ground clove to avio's right hip, blecking any movement. Thi is an optional position for the across- siges. They all work equally well: find one that you have the most comfort with,For those who do not li guard standing up, 2 great option is toa lot of advantages: tis a veny stable and! strong topossthe — thraugh and pass down and tight, This presents open the guard the traditional standing way way to pass the guard thal gives you aptions to ‘and, once the opponent opens, shoot one knee pass te either side, WD oper sinsato David's coved guard J Royler extends his legs, IMting Davie's legs ‘and hips off the mat Boyle swings his body ois right and eepeats the maton, iting hi let foot torto te his lott 2 plants his rig and keeping Ws knees close 10 hit body and his elbows tight 0 block Davids lege and hips, Royler takes 2 ? step back with his lett tea, places his right knee just behind Bavid’s bute tocks, and drops down to the ground, That forces his knee in between Davies Jegs anw opens Ue guard. Notice ayler’s posture: head up and straight with nis torso, chest com nected to his right thigh. A knowledgeable defender may block the knee srith both hands to prevent the guard pass, if this hap- pens, switch to the attack demonstrated in position 45. —138—Royler shoots his right knee over David's left thigh until & touches the ground, making sure he keeps his tors on the graund hooking Davids left thigty otherwise Davie can close his lng in the half-guard. Simultenecusly, Reyler grabs Davie ‘with his left arm unger David's right ane anc his left hand around David's head as he Jocks his hands. At this point, it very important for Reyler te be controlling Davids torso very tightly tw keep David from moving his body and hips to repiace the guard, 6 Detail notice Raylers Fight toes stil on the grauW so his foot hooks David’ loft thigh ftoyler loons his lat lea ‘aver and! deops his hips to the aroun sill maintaining the right hook over Davids left thigh and the fn aria around Davie's nack and aren. 7 Detail Note that Royier doesn't release the hook ‘on Garvid’s Unigh ase Uv Nis He is ‘over and around, He were to release the eg, Davie could escape his hips to his right anc slide his lett knee in to replace the guard. Royler comes completely acrastaide for the pass 135 —When faced with the potent stand- the black. The mechanics of the pass are very ing quard pass demonstrated in posi- similar: tightness and sliding your arm inside tion 44, samy opponents will defend it by using your opponents arm are the keys. We pick UP thelr hands to block the knee fram coming in. the technique with Royler already having ‘Once that happens, agreat response istosimply opened David's quard using the techniques slice your knee to the opposite side, deflecting shown previously. oyler takes a step back with his left leg, place right knee just behind Davis's buttorks, and! drops down to the ground, That forces hit knee in between David's legs and opens the guard. Oavid defends the knew shoot VD) eoyter exconds his by using both hands to block it, Royler simply deflects his tage, lifting Davi’ legs knee entry to his left instead, and hips off the mat Royler's knees are together fang his hips are forward Still being blocked by avid, Royler leans for vars! anes sips his right arr Inside Davie's left arm, under the armpit,Fogg, Fevler plants bath hands on 9D toe mat for balance, matings sure is right aim emis tight ‘on Davids arma, and shoots his fight knee over David's right thigh until touRhes the aroun By Keoping his taes heoked aver Davids right thigh, Royler ‘ensures that David can Eero ie lege in a at guard Rayler grabs David's head and farm, waapping his left aren <2 around David's neck and Hoeking hanels. Notice how tight Reyer’ chest and head are on David. As ayler continues ta press his body forward, he keeps thrusting hi hips forveard and driving his knee. forcing David to release the | block, leaving Roylers left leg free. » Royler slides his knee 7 «iwough, putting Ws ght hip on the ground, his Pht leg forward vith the ‘hight under Davids right ‘arm, and his left to back to compleze the guard pass, From here, Royler can ge to any of the acrossside posi- sions he chooses, 14 —Many times when you are passing ‘the quard standing, your opponent, on the defensive and attempting a quick reversal, will open his lags and try 2 double-ankle leo sweep. The opponent opens his legs, kovers his hips ta the graund, grabs both your ankles, and drives his legs forward and down, taking you down, In the standing guard pass technique position 39) Royler addressed this, showing that you need to have your knoes bent and be ready to “ride” the sweep by follawing the opponent's push up and down, Having bent knees allows you to react quickly as your opponent tries to ker, David is proactive, fe opens his legs, drops his hips te the mat, grabs Roylers ankles, ‘and goes far a double-ankle leg sweep, sweep you by pushing up or down with his legs. Sometimes, however, you vill be slightly late and ‘will begin to fall fram the sweep, as in this pos tion, All is not lost, though: as you are going down, you have a shot at a foot lock, You may ako try this while riding the motion of the ‘Sweep. Once again, anticipation of the maves ‘and their results i vital, because you need to position your arms and knees just right, H you are not mentally prepared for the possibilities, you ‘will be too late. (If you react quickly enough, you cap also fall forward and go for the foot lock showin in position 47) > Royler stands inside David's id and gets ready toopen and attempt to pass —Ww2—Boga * Rover is being Bo) corept, he sides his right knee around David's left leg, placing i betwen Davids Ings, wile losing hic left armpit around David's rignt ankle AD iss Rorler teaches the ma grabs his right wrist is Ie top of David's shin, He loops his I he waaps his left arm around David's leg and nd, locking the grip-with his right hand on Neg and paces his late foot-on David's right hip. leaning back to push David back. By arching his back and thrusting his hips forviate, he bends David's right foot at the ankle for the foot lock. Notice that Rovler's right knee ic closes and between David's legs, which helps keep David from coming up and taking the prescure of the foot lock, 13 —Submission grappling is a game auhere the person with the most options and foresight usually wins, This position isa.goad ‘example of the strategies and counterstrategies that often decide a match. As in position 46, Royler is passing the quard standing and David goes for a double-ankle leq sweep. This time, however, Rayler clefends it quickly by closing is lenees, preventing David's legs from sliding down, which keeps his hips from reaching the mat, Davi) counters by wrapping his left arm Inside Royler’s right leg to sweep Royler back. Royler defends the sweep by falling forward and immediately goes for a foot lock, This is a devas: tating foot lock, as the opponent gets trapped underneath with no real means of escape. additionally, Royler can twist David's leg ta his left and add a twisting knee lock to it. Royler ‘employed a variation of this technique to win his first submission arappling title in the 1999 ADCC finals against “Soca” Carneiro. Royler stamds up inside David's D dosed guard. Sensing that his ‘guard is about to be opened, David goes for the double. grabbing bath af Roylers legs. cle leg sweep, Ropler closes his knees, loek- ing Davids legs in place and prevent ing hic hips tram touching the mat 2 Detail In this detail we can learly see Royler losing fs kees, forcing David's knees together and flocking the legs in place. aDavid left arm inside and areund Royler’s right leg to sweep Royler back. Rogler eens his knees closed and leans forward (rather than falling back} to defend the sweea, until his left hand reaches the mat, Royler walks foresard on his hands, Ing David over. Royler makes sure his knees lock David's. Notice the posit Davies left foat near Royler’s armpit Fig) Vth Devic on his etomach, Rayer braces his $27 beet hand and knee on the mat, lacks his right arm around David's leit ankle, ond sits on tap of David, ic right knee slightly off the mat, Royle’ stand his torso upright, lacks David's left ankle as he grabs his eon left wrist with his right hand, and grabs Dawiels leg with ths left hand. Ropter raises his right leg, placing his thigh just Unsler Davicts calf, and arches hits right ‘shoulder and back for the ankle lock. — 15 —‘This technique is a good example of how to turn a defensive action inte ae attack. In this situation, David is inside Royler’s closed guard and goes for the foot lock. Royler defends it by grabbing behind David's head. As David continues to struggle to secure the submis- sion, Royler adjusts his body and limbs on top for the sweep and the mount. The keys to this tech- nique: are (1) to make sure you defend the foot Jack, (2) to have a solid grip behind the head, and (2) to shoot your leg through your opponent's hold to relieve any pressure an your foot Royler has David inside his closed rd, David has managed tostand up 2 he is. about to have his quard opened, Royles unlocks his feet, David starts to insell for the foot lock, much as Reyler in technique 46, sensing grabbing behind Da hand, yi theusting his eight leg his ankle is well past Davies left armpit. Royer contrels David's left ankle with his right hand, preventing David fram defencing the foot lock by placing his left foot on Rover’ right rib, vihich would keep Royler from coming forviard. Notice that David falling te the mat actually pul’s Royler on top of hin, 146 —‘David falls beck, fighting to get the submis: sion a5 Reyler continues his defense, Royler's Ind Still secures the back of David's neck and his right hand contvols David's left ankle. Royler climbs over David's (eft ankle an sits on that log, preventing David from blocking Roylers escape route, Still in control of Davie’ neck, Royler continues to scoot his but ‘locks foward David, making sute he is 0n top of David’ lett leg, and slices, his lett knee aver Davies righ GD Peshins off his lelt foot and right hand, Royler FEED sts his hos forward and reverses the postion. Notice that Roylér con't move directly over the top of David, as his leg i trapped, but rather pivots off the side, over iis ight leg. The movernent is almost ce circling around the kne Royler ends up in the moumted posi —147—