The following flowcharts contain the key movements and sequences taught in specific videos.

Each flowchart has a

key, outlined in solid pink. Click on each video’s cover to go to that lesson on YouTube. (The width of the arrows aren’t
significant — think of them as artisanal touches indicating that each chart was lovingly made by human hands.)
Happy drilling!
- Your friends at The Happy Pill Project

P.S. If you see any errors or think something could be clearer, don’t hesitate to reach out to @cyy.bjj on Instagram
● High Level Reversals (Part 1): Arm Drags, Back Takes, &
Counters
● High Level Arm Reversals (Part 2): Drags, Triangles, and
Counters
● High Level Reversals (Part 3): Recover & Attack the
Neck
● High Level Reversals (Part 4): The Entries Are the
Hardest Part
● High Level Reversals (Part 5): Anacondas & Guillotines
● High Level Reversals (Part 6): Shoulder Clamps
● High Level Reversals (Part 10): Sweeps from Butterfly
Guard
● Attacking the Legs (Part 2): Read, React, Reverse, Reap
● Attacking the Legs (Part 6): Escape the Back & Re-attack
For our FREE “How to Speak Happy Pill” Illustrated Glossary, click here
● Attacking the Legs (Part 7): Leg Drags, Back Steps & Heel
Hooks
● Attacking the Legs (Part 8): Ashi, Ankle & Achilles Locks
● Attacking the Legs (Part 9): Arm Drags and Leg Attacks
● Attacking the Legs (Part 10): Leg Entries from Triangle &
Omoplata
● Attacking the Legs (Part 11): Transitions to the Legs from
Omoplata
● Attacking Legs (Part 12): Z Guard Passing and Heel Hooks
● Attacking Legs (Part 13): Converting Your Failed Armbar
to a Winning Leg Attack
● 2 behind 1 Guard Passing (Part 2): Flare Passing
● 2 behind 1 Guard Passing (Part 5): Black Belt Guard
Recovery
High Level Reversals (Part 1): Arm Drags, Back Takes, & Counters

BP makes BP arm BP pulls TP on

BP grabs TP’s
2-on-1 grip drags top of him
lat, preventing
TP is on his knees
TP from
with both hands
resetting his BP dumps
on BP’s biceps // BP
head BP elevates TP TP to the
is in seated TP drops his free
butterfly side for a
hand onto BP’s arm
reversal
crease to kill the BP extends
drag & add weight/ BP shoots the one leg and
friction so it’s same-side arm shrimps,
harder for BP to through TP’s landing TP in a
TP resets his
move his legs arm, getting a backtake
head, going
under BP’s chin false grip on TP’s
TP spins BP to pass to set his forearm/wrist
by: TP butterflies forehead on
1. pushing on BP’s the hand of the TP’s far pec

© The Happy Pill Project

pec; 2. pulling the arm that was BP drops the grip that
arm that’s dropped dragged to BP’s was on TP’s wrist, BP grabs the
on BP’s arm crease; chest freeing up his hand back of TP’s
3. flaring the far leg skull

Key:
TP starts
Rounded rectangle = starting position to back
Black rectangle = key movements for bottom player (BP) away
Oval = key movements for top player (TP)
High Level Arm Reversals (Part 2): Drags, Triangles, and Counters
Key:
BP releases Rounded rectangle =
overgrip starting position
Black rectangle = key
TP drops his free movements for bottom
BP arm hand onto BP’s arm crease player (BP)
drags to kill the drag & add BP grabs Oval = key movements for
BP uses top player (TP)
weight/ friction so it’s TP’s head
harder for BP to w/ free free
BP makes move his legs hand to TP starts
BP moves hand to
2-on-1 grip BP drops the grip grab top to stand
feet to dig prevent TP
that was on TP’s from shin
heels into
wrist, freeing up posturing
TP is on his knees the mat
BP shoots the his hand
with both hands to come BP grabs
around same-side arm BP TP’s leg to
on BP’s biceps // through TP’s
towards BP releases prevent
BP is in seated arm, getting a BP grabs TP’s
TP’s back shoots grip on him from
butterfly false grip on TP’s same-side hand for head picking BP
forearm/wrist w/ free hand triangle up
BP adjusts the
angle away BP BP
TP starts TP starts BP lays
from TP’s transitions reverses
to pull away, crowds into back and
center line to armbar TP
posting on BP to retracts his
BP dumps with his free
BP sucks BP grabs the BP’s hip w/ prevent BP’s legs or
TP to the leg to
himself under back of TP’s free hand if legs from uses his
side for a strangle; this
TP to elevate skull possible retracting foot on
reversal also makes
TP’s hip to
BP’s weight
make
harder for TP
space
© The Happy Pill Project to manage
 High Level Reversals (Part 3): Recover & Attack the Neck (to 15:33; see next slide)
Key:
BP is able Triangle = starting position
to get TP’s Black rectangle = key
elbow movements for bottom player
BP brings his arm back as if he’s (BP)
BP grabs TP’s hand & pushes BP shoots his free arm across BP’s Oval = key movements for top
elbowing someone behind him,
it down, preventing TP from through TP’s armpit pocket center line player (TP)
connecting with TP’s triceps via
pulling is arm back as he simultaneously pulls Note: Blue font indicates a
a false grip, curling his wrist so change in top/bottom position
himself toward TP via the
that the wrist curls around TP’s from the starting position
instep connection as if he’s
arms (rather than just his finger BP grabs
on rails [Part 1 of an arm
tips) [Part 2 of an arm drag] TP’s far lat
drag]
TP puts his hands in to prevent BP shoots himself
TP is on his front of his body in a TP from underneath TP to
BP grabs BP isn’t able to clear TP’s
knees // U-setting resetting elevate him,
BP is in seated TP’s wrist elbow past his center line
TP flares his head preventing TP from
butterfly with (not hand} and TP’s arm is between BP’s
as a being able to back
insteps legs away
BP shoots counter
touching TP’s TP brings his elbow
inner thighs toward his center line himself
to break BP’s grip away as if
he’s on rails BP shoots the hand that was TP starts to reset his BP extends one leg to dump TP
originally on TP’s hand head over to the side
Now-TP keeps his arm through to overwrap TP’s
TP cups BP’s elbow with his laced through now B-P’s arm Now-TP keeps his torso up
free hand, preventing BP’s and butterflies the far leg when he and now-BP land Now-TP drops his body line
rotation over now-BP’s beltline to and is not behind behind now-BP’s triceps when
dismount in a cross-body BP grabs TP’s head to now-BP’s triceps
© The Happy Pill Project

they land, with now-TP’s far

pin prevent him from resetting it leg out like a kickstand,
TP switches the hand driving off the mat to keep
cupping the elbow to free up now-TP tightly connected to
BP frames on TP’s hips to
BP extends one leg to BP sucks himself under TP to now-BP’s back.
his inside hand knee-elbow escape
dump TP over to the side elevate TP

TP throws his TP sits back so the TP gets a gift TP maintains connection to BP’s back as he transitions to a
now-top-leg over foot that is between wrap with back-take by sliding his far shin under his body so that it runs
BP’s arm to isolate it BP’s legs becomes a both hands on along BP’s spine. In this transition, TP’s far hand can base on the
hook BP’s forearm mat or grip BP’s trap to help with the transition.
High Level Reversals (Part 3): Recover & Attack the Neck (from 15:33; see previous slide)
Key:
Triangle = starting position
Black rectangle = key
movements for bottom
player (BP)
Oval = key movements for
top player (TP)
Note: Blue font indicates a
change in top/bottom
position from the original
TP offers BP’s elbow to his TP drops his north knee onto starting position at the top
south (or inside) hand, so the mat, spinning on it, as he of the lesson
that his north (or far) hand back steps towards BP’s head
can be free
Now-BP slides in for a
high-elbow guillotine
BP is on his side //
TP is in a cross-body pin As TP is back-stepping, he
with the following points laces BP’s neck with his free
of connection: hand BP throws his far leg over
1. TP is cupping BP’s TP’s back to keep him from
BP turtles
elbow, keeping it off the coming up
mat; 2. TP’s body line is
driving into BP’s top
TP’s trailing hand moves
shoulder; 3. TP’s shin is
from BP’s bottom elbow to
blocking the rotation of
clasp TP’s hand, which is

© The Happy Pill Project

BP’s hips; 4. TP’s
laces/instep of his inside laced under TP’s neck TP’s back leg drives off the
BP does not turtle mat to then swing over to
foot are wedged under
BP’s hips the far side of BP’s body so
that TP comes up for a
windpipe choke
BP defends by
clotheslining TP with his
inside arm as BP comes up
High Level Reversals (Part 4): The Entries Are the Hardest Part (through 7:35)

BP pushes TP’s BP throws his BP grabs TP’s BP scoots

hand down so it fish hook & far lat himself under
crosses his body slides in for arm TP to elevate SPECIFIC
line drag him so that DRILL
BP grabs TP’s knees
TP’s hand above BP’s
(not wrist) hipline
BP is in seated butterfly,
insteps touching TP’s
inner thighs; TP is on his
knees with his hands in BP does NOT push
front of him TP’s hand down
TP grabs the tops of
BP’s hands

TP takes the arm that BP is

gripping and moves it across his
TP breaks BP’s body so BP’s arm also crosses his TP uses his forearms
grip by bringing center line as frames on BP’s legs
his elbow
to release BP’s hooks
towards BP
by flaring and pivoting
© The Happy Pill Project

TP throws his own fish hook with

his free arm
Key:
Rounded rectangle =
starting position
TP flares his leg as he pivots on Black rectangle = key
his knee to establish a strong movements for bottom
player (BP)
passing position
Oval = key movements for
top player (TP)
High Level Reversals (Part 4): The Entries Are the Hardest Part (from 7:35)
Key:
Rounded rectangle =
starting position
Black rectangle = key
BP sucks himself BP clasps his movements for bottom
BP grabs TP’s neck hands for player (BP)
under TP to
or back with head-arm Oval = key movements for
elevate him top player (TP)
now-free hand collection

BP drops the grip BP uses his foot

BP BP transfers his on TP’s hips to
on TP’s hand clasped hands to
BP is in seated triangles elevate TP a bit so
TP the far side of TP’s BP’s bottom leg
butterfly, insteps head with his
touching TP’s inner BP grabs disengages from
BP throws his free elbow high TP, bringing it
thighs; TP’s hands are TP’s
same-side arm into TP’s behind his own
extended so his elbows
hand, but same-side armpit body line
are away from his
doesn’t push pocket to grab his
body, exposing his
down lat BP goes over the
armpit pockets
top for rolling
armbar
BP gets his
bottom knee
facing the mat
with his toes on
© The Happy Pill Project

the mat

BP pushes off the

mat to reverse TP
High Level Reversals (Part 5): Anacondas & Guillotines
BP is in seated butterfly,
insteps touching TP’s
inner thighs; TP is on his
knees with his hands in
front of him
Now-BP lands on his side
(not his back because he
BP pushes TP’s hand
will be fighting tooth & nail)
down so it crosses his
body line
BP reverses TP to side of
BP throws his fish hook
BP pulls with his fish
hook to complete the
arm drag w/ TP’s arm in
BP’s center pocket
TP starts to reset his
head to BP’s far
shoulder as a counter
TP could attempt a Darce
if circumstances are right TP establishes a cross-body pin: 1. TP is
TP butterflies the
leg on BP’s back
side so his whole
body is on BP’s
front side
the overwrapped arm
BP sucks himself under
TP to elevate him
BP grabs TP’s
skull
BP overwraps
TP’s dragged arm
with his
same-side arm
© The Happy Pill Project
BP puts his top thigh BP adjusts his BP finishes the
cupping BP’s elbow, keeping it off the
on top of TP’s top grip for a anaconda
mat; 2. TP’s body line is driving into
tricep deeper choke choke
BP’s top shoulder; 3. TP’s shin is
blocking the rotation of BP’s hips; 4.
TP’s laces/instep of his inside foot are
wedged under BP’s hips Upon landing now-BP sucks TP’s head
towards his belly line to wedge it Key:
Rounded rectangle =
starting position
TP lifts BP’s elbow and cups it with Black rectangle = key
TP continues
his own bottom hand movements for bottom
to lift his hips off the ground as he player (BP)
drives off of his far foot to roll Oval = key movements for
top player (TP)
TP laces BP’s neck & gets a chin
Note: Blue font indicates a
strap w/ his free hand change in top/bottom
position from the original
TP brings his far foot in front starting position at the top
of his body of the lesson
TP drops his north/far knee and
backsteps towards BP’s head,
landing his ear on BP’s rib and
cupping BP’s tricep with his
TP clasps hands together at BP’s
same-side hand Now-BP sits to
armpit and slices his elbow
finish an arm-in
toward the center line, collapsing guillotine on TP
BP’s basing elbow
BP turtles
TP slides his knee to be further away from BP’s head, using that BP pulls his Now-BP sits
elbow back to guillotine
movement to pull BP’s elbow further away from his ribs
to his ribs TP
High Level Reversals (Part 6): Shoulder Clamps
Key:
BP adjusts his legs, Triangle = starting position
pinching his knees to Black rectangle = key
BP gets his hands right on movements for bottom
finish the triangle
player (BP)
the crease of TP’s deltoid,
Oval = key movements for
connecting TP’s armpit to top player (TP)
In one motion: 1) BP BP adjusts his angle,
BP’s sternum
floats TP out on a using his free foot on TP
diagonal, laying to his or the mat to get
bottom hip as he BP starts rotating his upper himself perpendicular
BP is in seated butterfly, extends his bottom leg body to hike his top to TP
insteps touching TP’s while his top leg shoulder up in the air
inner thighs; TP is on his retracts so that the top
knees with his hands in foot inserts as a wedge BP then grabs the shin
front of him on TP’s near hip with of his top leg
BP elongates his bottom leg
the toes pointed toward
and semi-moons it behind
TP’s center line; 2) BP
his body
BP gets a 2-on-1 grip on shifts his clasped hands BP immediately grabs
so that TP’s head slides BP starts climbing his
one to TP’s arm with TP’s head to prevent
out inner knee/though up
the same-side hand on BP turns his hips to get up him from posturing TP’s back to attack that
TP’s elbow & the onto his back knee, using his arm via omoplata
opposite hand on TP’s top foot on TP’s hip to get
wrist BP lays his back down
his hips high BP retracts his legs and
on the mat
captures TP’s head & BP adjusts his grip to be
arm with them, one hand above the
BP leans back and BP drives off of the mat with

© The Happy Pill Project

BP sits up just enough
brings TP’s elbow across
to snap his hands
his center line
around TP’s head &
arm, clasping his hands
BP sucks himself under on the near side of TP’s
TP, getting his back to head
the mat
BP sucks himself under
TP, getting his back to BP completes the reversal
the mat
dropping his grips once elbow and the other
his back toes as he he throws his legs up
hand below the elbow,
continues to rotate his for the triangle
bringing it to his top hip
upper body
BP starts to reverse TP to TP bases to prevent BP kicks out TP’s far leg
the side of TP’s free hand the reversal so he loses his base on
that side
High Level Reversals (Part 10): Sweeps from Butterfly Guard
BP scoots himself under
to elevate TP with his
knees together
BP is in seated butterfly,
insteps touching TP’s TP lands in a
inner thighs; TP is on his medium
knees with his hands on setting with
BP’s shoulders his chin line
at BP’s face
BP scoots himself under
to elevate TP with his
knees wide & the laces BP throws both hands up,
of his feet hooked ideally clasping his hands
behind TP’s hamstrings behind TP’s back or just
grabbing TP’s back, to kill the
space between their chests
TP ends up high
with TP’s belly
button at BP’s BP floats TP out on a diagonal
to isolate TP’s arm, extending
face
his bottom leg and retracting
his top leg
BP looks to
attack TP’s legs
TP’s armpit
should be at
BP’s sternum
BP goes “over the top” Key:
for a rolling armbar or Rounded rectangle = starting position
belly-down armbar Black rectangle = key movements for
bottom player (BP)
Oval = key movements for top player (TP)
TP drops BP lifts his hips to drop his top BP kicks out Note: Blue font indicates a change in
one hip knee over TP’s inside deltoid top/bottom position from the original
TP’s far leg
while starting position at the top of the lesson
to collapse
floating his base
on BP’s BP rotates his shoulders towards
shins to BP, hiking his top elbow high
collapse
BP’s legs BP sucks BP pushes off the
to pass BP clasps his hands around TP’s skull himself mat to reverse TP
to have a head-and-arm collection under TP
BP gets his bottom knee facing the
BP sucks BP extends his arms out as far as
mat with his toes on the mat
himself under possible to grab whatever he can
TP to keep TP from leaving him
BP uses his foot on TP’s hips to
elevate TP a bit so BP’s bottom leg
TP’s armpit is starting to move disengages from TP, bringing it
away from BP’s sternum behind his own body line
TP isn’t running into BP hikes his top elbow
BP clasps both hands in BP; his armpit is still high as he rotates his
front of TP’s face at BP’s sternum top shoulder towards TP
BP drops his top hand over TP comes
TP’s extended arm to block into BP
TP’s face so he can’t come BP reverses TP over the side of his
back into BP extended arm, using both butterfly
hooks connected to TP’s thighs
Attacking the Legs (Part 2): Read, React, Reverse, Reap
Key:
TP counters Rounded rectangle = starting position
by dropping Black rectangle = key movements for
BP gets a
his bottom player (BP)
BP baits TP into extending his arms TP extends his 2-on-1 grip on Pink dashed rectangle = key movements for
same-side
further away from him by starting to arms away TP’s arm, top player (TP)
hand into
scoot under TP from his torso stripping it
BP’s elbow
from his
crease
shoulder
TP has thumb grips
BP is in seated butterfly, insteps BP drops his BP scoots
touching TP’s inner thighs; TP is on BP counters by
BP throws his BP extends his secondary hand himself
his knees. BP is able to get his hands BP cross-posts a hand overwrapping
leg over TP’s free foot into and grabs TP’s under to
under TP’s elbows or in TP’s armpits under TP’s armpit / on his same-side
near leg, but TP’s armpit, skull with it elevate TP
his lat, creating an angle arm on TP’s
isn’t able to turning TP trapped arm,
get his foot away from BO false-gripping
TP lands with his
TP does not have thumb grips BP underhooks past TP’s the forearm
groin at TP’s face BP reverses
TP’s near leg hipline for full TP over the
reap BP grabs TP’s leg
BP crosses his legs so that side of his
TP counters by getting his with both hands
BP scoots himself under his outside shin is crossing overwrapped
to elevate TP hands to the mat & BP reaps TP’s near leg as he arm
under TP’s glutes & locks
“running up” on BP pushes with his posting hand to BP grabs TP’s his legs in a figure four
further expose the leg. BP’s leg with both BP finishes TP
with feet in the outside
bottom leg is hooked behind hands with a
TP lands in a medium TP lands with his TP’s hamstring.
setting with his chin line at kneebar
navel at TP’s face TP’s leg is
BP’s face
bent BP get TP’s toes into BP finishes TP with a
his armpit, shelving heel hook, taking out
TP starts to BP reaps a BP uses his
TP’s leg is the heel into his the center leg to
BP throws both hands up, attempt a float pass leg over non-reaping leg to
bent armpit crease cover the foot on TP’s
killing the space between or hip switch TP’s leg extend TP away to
hip if they roll
their chests isolate the leg

BP get TP’s toes into BP follows the

BP finishes
BP floats TP out on a diagonal BP reverses TP over the his armpit, shelving TP’s rolls roll, exposing
TP drives into BP the heel hook
and isolates TP’s arm, side of his extended the heel into his the heel further
arm [more details here] armpit crease in the roll
Attacking the Legs (Part 6): Escape the Back & Re-attack | 1 of 2: Back control & escapes
BP falls so the BP turns toward TP, dropping TP removes TP inserts his free
choking hand his shoulder/clavicle while choking hand from hand under BP’s
is on top. stepping over TP’s bottom leg under BP’s neck armpit

TP removes his TP semi-moons his

TP gets a wristride on the TP removes his top bottom leg free leg so that he
TP has BP’s back with both hook to dump BP out, from under BP can turn his
bottom hand
hooks in. TP has a seatbelt connecting the laces of kneecap to the mat
grip. BP has a thumb grip his foot with TP’s and get onto his
against TP’s grip. TP pulls himself closer to BP & BP turns
hamstring toes
attaches his head to BP’s away TP
shoulder from TP follows
BP falls so the choking hand is on the bottom TP semi-moons his legs BP up TP drives off his
to extend himself long far/free leg so he
TP gets a wristride behind BP, belly on the can get on top of
BP exploits the gap between TP’s legs and simultaneously 1) steps his with the hand BP
mat
bottom leg through the gap, trapping TP’s leg with his foot on the mat and that’s under BP’s
2) drops his shoulder/clavicle by shifting his torso so that his deltoid armpit
comes between him and TP’s sternum TP steps
TP puts weight onto BP over BP’s TP TP mounts
via his upper body face into repositions BP if his foot
BP drives off both feet to shoot BP stays heavy on connections so his legs knee pinch his hands isn’t trapped
TP tries to
himself northward, getting his TP’s bottom leg, are light enough that to attack into a gift between
bring BP to
shoulders to the mat neutralizing the leg he can get to his knees BP’s top arm wrap BP’s legs
the other
behind BP and/or BP
side
BP steps his flattens
other leg TP takes BP’s
TP loses back
through the back
TP maintains control
gap between
back control
TP’s legs
with 2 hooks
Key:
with the
Rounded rectangle = starting position
choking hand Black rectangle = Bottom player’s key movements (BP)
on top Pink dashed rectangle = Top player’s key movements (TP)
Attacking the Legs (Part 6): Escape the Back & Re-attack | 2 of 2: Attacking the leg

BP creates a big gap

between TP’s legs BP gets
TP has BP’s back with both by shrimping his his shin BP extends
hooks in. TP has a seatbelt hips away as he against TP’s leg out
grip. BP has a thumb grip maintains the frame TP’s inner with his
against TP’s grip. against TP’s near thigh shin
thigh

BP falls so the choking hand is on the bottom BP reaps

BP drops his his far leg
bottom/near elbow over,
BP exploits the gap between TP’s legs and simultaneously 1) steps his TP starts to against TP’s inner collecting
bottom leg through the gap, trapping TP’s leg with his foot on the mat and come up into thigh on the near TP’s heel
2) drops his shoulder/clavicle by shifting his torso so that his deltoid mount
comes between him and TP’s sternum leg

BP
BP slides himself BP brings his hands BP turns toward TP BP stays heavy on finishes
out, using his in front of him so so much that he is TP’s bottom leg, with a
top foot on the they can post on facing him neutralizing the leg heel hook
mat to shrimp TP’s top hip
away, keeping
his bottom leg
between TP’s BP uses his inside BP reaps his top leg
legs TP starts to hand to frame over TP’s leg and BP rotates to finish
come up against TP’s armpit collects the heel a heel hook Key:
to maintain Rounded rectangle = starting position
distance Black rectangle = Bottom player’s key movements (BP)
Pink dashed rectangle = Top player’s key movements (TP)
Attacking the Legs (Part 7): Leg Drags, Back Steps & Heel Hooks
BP is down on his
back with his feet
in the air. TP is on
his feet.
TP steps to one side, landing
on 1 foot, which makes his
trailing foot light
BP turns onto one
buttcheek/hip so that he can
follow TP
TP jumps to the other side,
pushing off the foot already
on the mat. Because TP lands
with all his weight in one foot,
the trailing leg is again light.
TP moves the trailing leg
(inside leg) to shelve under
BP’s inside quad to establish a
leg drag position
Key:
Rounded rectangle = starting position
Black rectangle = key movements for
TP passes into side control bottom player (BP)
TP gets an underhook Pink dashed rectangle = key movements for
on BP’s top arm top player (TP)
TP pushes off the mat with his free
foot to drive BP’s pelvis flat on the
mat TP tripods and passes into mount
BP denies TP from
TP initiates a knee cut, getting getting an
as far as to have his shin underhook
pinned on BP’s thigh, turning BP drops his
BP on his side shoulder behind
BP bites onto BP bumps TP BP false-grips TP’s BP
TP’s knee,
TP’s ankle w/ forward via his ankle, lifting TP’s foot reverses
prevening TP from
his legs top leg off the ground TP
refacing BP
TP backsteps with his free leg,
wedging his quad tight under BP’s TP drops his top arm onto BP’s TP uses his free leg either TP spins
hamstring neck (almost like in a Thai clinch) to drive off the mat to free into knee
his leg by thrusting his hips pinch
forward OR to use his free
TP uses his backwards momentum to turn BP’s lower body towards him (giving foot against BP’s legs to
him access to attack BP’s legs) by grabbing BP’s bottom leg with both hands free the trapped leg To finish the heel
and pulling as he sits back. With his second leg controlled by TP, BP only has his hook, TP isn’t
hands to try to defend. TP attacks BP’s leg. squeezing his knees
together, which
TP then falls back (at as parallel an angle as he can to BP’s center loosens the tention
TP sets up his leg on BP’s leg. TP
line), simultaneously: 1) switching his grip so the north hand cups
entry by: stays with his legs
BP’s knee while the south arm pinches BP’s foot in his armpit, aiming
1) Cuppling BP’s inside splayed & his pelvis
to get the heel in his elbow; 2) getting both of his shoulder blades on
BP extends knee so he doesn’t
the mat with his pelvis also flat on the mat; 3) bringing his parallel to the mat
both hands to lose it;
now-north* leg over BP’s leg, wedging his foot under BP’s hamstring; so he can have a
frame against 2) Dropping to his
4) hiking his inside/south knee high, wedging BP’s calf with his quad, more powerful
TP and uses his north knee and
creating a counter-tension with its upward pull against the bridge/arch (vs. a
outside leg to bringing his shin in
downward push of the other leg | *Prof Mike calls this his rotatation of his
turn toward TP tight to BP’s butt.
“southside leg” in the video; it was the south leg before he fell back hips)
Attacking the Legs (Part 8): Ashi, Ankle & Achilles Locks | 1 of 2: TP turns away
Key:
Rounded rectangle =
starting position
Black rectangle = key
movements for bottom
player (BP)
Pink dashed rectangle =
key movements for top
player (TP)
TP pushes down on BP’s
BP throws up ashi garami with the top foot as he turns to BP drops his inside leg to catch TP’s far hamstring BP
inside shin bladed against the while maintaining the grip on TP’s near leg double-grips BP gets both shins
run away
same leg as his outside leg; his TP’s leg behind TP’s knees, grabs
arm is wrapped around TP’s leg. TP’s ankles, and knocks
TP tries to run and BP slides himself TP down
TP turns away from BP attacks TP’s
recovers his closer to TP
BP “cracks” BP and lowers leg
TP turns to run away, kneeline (i.e. BP
remaining standing TP with his himself to his hands loses control of TP’s
and knees BP grabs TP’s BP swings his BP drives off the
legs, making knee free foot with far leg mat to come
him fall
1 hand behind him behind TP
BP drops his inside leg
BP stays on his bottom hip with
to hook TP’s far leg BP drops his inside leg, staying
what was his starting outside leg BP reaches for TP’s free leg with both hands
heavy on TP’s trapped leg (now on
hooked around TP’s calf
the mat) with his top leg
BP goes up on what was
BP drops his inside kneecap to the mat between TP’s legs
his bottom shoulder to go BP reaches for TP’s far knee as he
for a heel hook, inserting BP builds up with his bottom arm comes up and drives TP to the mat
his top leg between TP’s (going to his elbow and then hand) via his inside shoulder to TP’s hip BP throws his far leg over TP’s hip pocket as he goes up on
legs, likely completing it so his torso is off the mat
his inside shoulder
after a full rotation
BP reaches for TP’s far hip with his BP drops the hand on TP’s hip to
free hand TP’s far heel BP inserts his top leg into TP’s center pocket to isolate TP’s
near/inside leg

BP uses his hand on the mat to push BP swings his outside leg around
himself away from TP, staying heavy on behind him so he can drive off of BP turns his hips as he pulls TP’s legs to get TP down to the
TP’s leg that foot mat. BP proceeds to heel hook TP.
Attacking the Legs (Part 8): Ashi, Ankle & Achilles Locks | 2 of 2: TP doesn’t turn away

TP falls to the mat

BP uses the blade of his shin, which

BP throws up ashi garami with the TP clears BP’s top foot from was already near TP’s knee to buckle
inside shin bladed against the his hip TP’s knee TP doesn’t fall but opens his legs
same leg as his outside leg; his wide to maintain his balance
arm is wrapped around TP’s leg.

BP
TP doesn’t clear BP’s top foot BP gets both shins
double-grips
from his hip behind TP’s knees, grabs
TP’s leg
TP takes a big step with his TP’s ankles, and knocks
free leg toward BP TP down
BP scoop grips TP’s knee on his free leg

BP extends his legs away, maintaining his

top leg as a wedge behind TP’s hamstring

TP lowers his hands to the mat as he loses

his balance Key:
Rounded rectangle =
starting position
Black rectangle = key
BP repositions his bottom heel so it’s right BP pushes his legs out to extend movements for bottom
behind TP’s inside knee TP’s legs player (BP)
Pink dashed rectangle =
key movements for top
player (TP)
BP attacks the leg that he is gripping
 Attacking the Legs (Part 9): Arm Drags and Leg Attacks
BP retracts his BP may also
TP gets to extend his
BP goes to BP gets under 2-behind-1 and BP extends his hooking leg to pull TP
onto him free leg so he
TP’s back TP & reverses passes inside leg to
can dig his
hook TP’s inner
heel in the
thigh as he lays
BP grabs TP’s leg with mat to bring
his back to the
BP starts the arm drag by TP flares the leg of his his same-side hand himself closer
mat
TP is on his knees and his hands pushing TP’s hand down dragged arm, pivoting on to TP
are at his chest-level or lower. BP and throwing his hook his knee
is in seated butterfly with the
laces of his feet touching TP’s BP reaps his free leg over, which
inner thighs. BP sits up to grab BP BP grabs TP’s turns TP’s hips and BP’s hooking
TP’s inside hip adjusts far foot with foot moves to the far leg
with his free the grip his
BP extends his top (same-side) on TP’s same-side
BP follows TP TP tries
leg behind him, hand, connecting far leg to hand to BP pushes his
up to insert to run
releasing TP’s leg his head to TP’s go to his prevent the hooking (bottom) leg
his first hook away
pelvis thigh backstep BP loses to extend TP away BP is able
the hook from him, exposing to finish
BP goes up on his from TP’s the heel the heel
BP reaches BP stays with his far leg hook
bottom shoulder to BP is able to drop
Key: over with his pelvis on the mat without a
throw his far leg his bottom knee
Rounded cross-side and his inside leg BP collects TP’s heel roll
rectangle =
over TP’s far leg to the mat
hand to grab still over TP’s leg as in his armpit
starting position between TP’s legs TP’s knee
TP’s far leg he turns to face TP
Black rectangle = goes to
BP finishes
key movements the mat
BP connects his Achilles the heel
for bottom player BP rotates “over
to TP’s far hip to pull While BP turns his hook with
(BP) BP shelves the top”,
Pink dashed himself up and over gripping hips to the his feet
TP’s heel in TP uses initiating the roll
rectangle = key TP’s knee, mat, facing crossed on
his top that leg to during which
movements for BP pulls on TP’s leg while either TP’s
elbow/ counter & he’ll get deeper
top player (TP) TP’s ankle continuing to bottom or
BP bases on his forehead w/ both forearm to escape on TP’s heel
to affect his pull TP’s leg top him
knees facing the mat to grab TP’s finish the
leg with both hands ACL across his body heel hook
Attacking the Legs (Part 10): Leg Entries from Triangle & Omoplata | 1 of 2 BP grabs TP’s foot
with his inside foot
BP sits up to finish an Key: with his thumb on top
omoplata Rounded rectangle = starting position (palm rotated up)
Black rectangle = key movements for bottom player
(BP) BP can place his far leg on
Pink dashed rectangle = key movements for top top of TP’s head with his BP sits up to grab TP’s
BP reaches for TP’s far
player (TP) foot on the far side of the far hip
hip with his free hand
TP is on his knees and his hands skull, making himself even
are on BP’s deltoids/biceps. BP is harder for TP to move
in seated butterfly with the laces BP immediately turns to face TP on his bottom hip so his knee caps BP simultaneously
of his feet touching TP’s inner are facing TP (his inside knee cap is pointed into TP’s hip pocket), does the following to
thighs and grips on TP’s triceps making himself super heavy on TP’s shoulder TP starts to get vertical in an effort to lift break TP down to his
BP up inside hip so he’s no
longer athletic: 1)
BP leans his torso back to extend TP’s BP immediately moves his bottom leg from TP’s shoulder, “taking his pushes TP’s foot
elbows away from his ribs hip out”, to plant that foot on the mat, as far away from TP as possible BP grasps TP’s inside leg towards TP’s
with both hands centerline; 2) pulls at
TP’s hip; 3) uses his far
BP does the following all at once: 1. Push his far leg to extend TP out; 2. foot to scoot his hips
BP drops one hand to get 2-on-1 on
Rotate TP’s arm as he brings TP’s elbow into this top/near hip; 3. lean BP goes up on his inside away from TP,
TP’s arm with a wrist grip. (Ideally this
has a reverse cow-hand effect in on his bottom hip so his top leg can come over, buckling TP’s elbow shoulder as he brings his
which BP cements TP’s hand to his with his thigh; 4. secures his grip on TP’s elbow with his near hand top leg over to land behind
TP’s leg for a leg attack BP releases the foot
bicep/deltoid as he shrugs his
grip and brings his
shoulder while pressing TP’s hand to
BP senses TP is BP puts his same-side foot on TP’s far shoulder elbow into TP’s top
create a wrist lock) TP
too far away for hip pocket
postures
a triangle BP extends his legs BP anchors the up
BP reclines to his back and both feet point away and hooks his knee back of his TP turtles
from TP’s extended arm as they land on TP’s hips BP senses TP is in range around TP’s head knee to TP’s
for a triangle for a triangle entry, trap BP maintains a tight
collecting TP’s connection to TP’s BP attaches to TP’s
BP throws his leg over TP’s arm, buckling TP’s BP proceeds artery with the body with his leg and inside leg
elbow with his thigh, forcing it to bend with an ligament in the BP proceeds with goes vertical with TP’s
omoplata crook of his knee a triangle torso
Attacking the Legs (Part 10): Leg Entries from Triangle & Omoplata | 2 of 2
TP is on his knees and his hands
are on BP’s deltoids/biceps. BP is
in seated butterfly with the laces
of his feet touching TP’s inner
thighs and grips on TP’s triceps
BP leans his torso back to extend TP’s
elbows away from his ribs
BP drops one hand to get 2-on-1 on
TP’s arm with a wrist grip. (Ideally this
has a reverse cow-hand effect in
which BP cements TP’s hand to his
bicep/deltoid as he shrugs his
shoulder while pressing TP’s hand to
create a wrist lock)
BP reclines to his back and both feet point away
from TP’s extended arm as they land on TP’s hips
BP throws his leg over TP’s arm,
buckling TP’s elbow with his thigh,
forcing it to bend
Key:
Rounded rectangle =
starting position
Black rectangle = key
BP sits up to finish an movements for bottom
omoplata BP can place his far leg on
player (BP)
top of TP’s head with his Pink dashed rectangle
foot on the far side of the = key movements for
BP reaches for TP’s far skull, making himself even top player (TP)
hip with his free hand harder for TP to move
TP starts to get vertical in an effort to lift
BP immediately turns to face TP on his bottom hip so his knee caps BP up | See previous slide
are facing TP (his inside knee cap is pointed into TP’s hip pocket),
making himself super heavy on TP’s shoulder TP’s elbow starts to come out of position
BP immediately moves his bottom leg from TP’s shoulder, “taking his BP grabs TP’s inside ankle with his inside
hip out”, to plant that foot on the mat, as far away from TP as possible hand
BP does the following all at once: 1. Push his far leg to extend TP out; 2. BP comes up on his inside/bottom
Rotate TP’s arm as he brings TP’s elbow into this top/near hip; 3. lean shoulder so his hips rise
on his bottom hip so his top leg can come over, buckling TP’s elbow
with his thigh; 4. secures his grip on TP’s elbow with his near hand
BP’s top leg comes over to latch onto BP finishes the
TP’s inside leg, his calf against TP’s heel hook (his
BP senses TP is BP puts his same-side hamstring and foot hooked onto TP’s far feet can be
too far away for foot on TP’s far shoulder quad either on the
a triangle outside or inside
of TP’s leg)
BP grabs TP’s foot with both hands
BP senses TP is in See previous slide
range for a triangle
BP rotates his whole body and legs to BP shelves TP’s
BP proceeds face the ceiling as he pulls TP’s foot heels at his
with an across his center line with both hands elbow
omoplata
Attacking the Legs (Part 11): Transitions to the Legs from Omoplata | 1 of 2 (Spinning Armbar)
BP is on his back. TP is in
side control top with an
underhook on BP’s far arm
TP reaches his north hand TP monitors BP’s
to BP’s far elbow & pulls it inside hip, looking for TP puts his
towards him, jamming BP’s it to rise, indicating an south foot on
BP starts to turn toward TP
arms together, getting BP’s attempted hitchhiker BP’s inside hip
hands by his chest to prevent the
TP decides that he needs to go hitchhiker
for a spinning armbar because To break BP’s grip, TP
he won’t be able to transfer the TP sits up and lays his torso on the
grips to a kimura without BP shelves BP’s mat, laying on his side
elbow/tricep TP lays his
escaping towards BP’s head
into his south back to the
(not laying straight
hip pocket mat with BP’s
back)
See next slide arm fully
TP spins on his north knee with
isolated,
his south foot stepping over
TP crosses his TP curls his finishing the
BP’s head
BP starts to turtle before TP feet under south arm under armbar
can land the spin BP’s far elbow BP’s clasped
TP lands the spin with his foot hands to
strategically placed on the mat address BP’s grip
TP senses that
See next slide behind BP with space between BP will not try
his ankle and BP’s back (TP’s to escape &
Key: knee can touch BP’s back, but will lay flat
Rounded rectangle = starting his ankle/foot should not)
position
TP immediately
Black rectangle = key TP sits on the mat and TP brings TP thinks
turns to his south
movements for bottom player TP brings his free hand to cover immediately reclines his torso his south that BP is
hip and curls his
(BP) BP’s wrist, connecting BP’s as he connects his laces/ankle foot likely to
south leg up by BP’s
Pink dashed rectangle = key triceps to his sternum as he to BP’s back, pinching his knees across attempt
face, negating BP’s
movements for top player (TP) lowers his hips to the mat around BP’s arm BP’s torso an escape
hitchhiker escape
Attacking the Legs (Part 11): Transitions to the Legs from Omoplata | 2 of 2 (Back takes & leg entry)
BP is on his back. TP is in Key:
side control top with an Rounded rectangle = starting position
underhook on BP’s far arm Black rectangle = key movements for bottom player (BP)
Pink dashed rectangle = key movements for top player (TP)

BP starts to turn toward TP

TP attaches to BP’s inside TP shelves TP pulls on BP’s foot so it TP grabs BP’s inside TP turns himself to
leg to take his back BP’s toes into clears his centerline as he leg with both hands be in an omoplata
TP decides that he needs to go his armpit & thrusts his hips forward, as he drops his inside shape and figure
for a spinning armbar because BP’s heel on creating torque on BP’s knee into BP’s hip fours his legs on
BP continues to
he won’t be able to transfer the his forearm knee pocket BP’s arm
rotate to turtle
grips to a kimura without BP
escaping
TP drops his south
elbow into BP’s hip TP finishes BP continues the
pocket TP spins on his north knee with the heel hook rotation of the
his south foot stepping over hitchhiker, ending
BP’s head up on his knees
BP starts to turtle before TP
can land the spin
TP lands the spin with his foot TP proceeds with an
armbar TP maintains
strategically placed on the mat
TP wedges his south knee (see previous slide) control of BP’s
behind BP with space between
behind BP’s elbow to make it isolated arm
his ankle and BP’s back (TP’s
hard for BP to continue turtling, knee can touch BP’s back, but
driving into BP with his far foot his ankle/foot should not)
BP starts
TP immediately to
TP sits on the mat and TP brings TP thinks
turns to his south hitch-hiker
TP brings his free hand to cover immediately reclines his torso his south that BP is
TP attaches to hip and curls his
BP’s wrist, connecting BP’s as he connects his laces/ankle foot likely to
BP’s upper south leg up by BP’s
triceps to his sternum as he to BP’s back, pinching his knees across attempt
body and rolls face, negating BP’s
lowers his hips to the mat around BP’s arm BP’s torso an escape
for a back take hitchhiker escape
Attacking Legs (Part 12): Z Guard Passing and Heel Hooks
BP is on his side in
half-guard bottom with a
low knee-shield.
TP reaches his south hand
back to BP’s top ankle
TP extends his top leg back
quickly to release his leg
TP pushes BP’s top leg
down to the mat,
pinning it with his hand
& keeping his body tight
to BP’s leg
TP immediately covers BP’s
knee with his chest as he
steps his south leg up
TP staples BP’s top leg with
his top shin or thumb
TP completes the pass
TP finishes the pass TP finishes the knee-slice pass TP attacks TP drops his far/north knee on the
BP’s upper BP mat so that it’s next to his
quadrant turtles inside/south knee & backsteps to the
TP advances his inside/near leg so his TP sits his weight onto north, keeping tight to BP’s body
head comes closer to BP’s, keeping his his inside hip
chest low TP steps his far leg
TP tilts his hips a little so his inside northward a little so
TP backs out and uses BP’s extension of knee can redirect away from BP’s it can pull his body
his leg as momentum to stuff BP’s top center line and penetrate the center forward
leg to the mat between his legs pocket
TP lowers his inside
BP lifts his top leg even BP TP makes the error of
BP extends his top leg into TP in hip, heavy on BP’s
higher, creating a bigger recovers trying to square up
response to TP crowding him top shin, smashing it
center pocket his guard into side control
to BP’s bottom leg
BP starts lifting his top leg to
prevent TP from stuffing it, TP keeps the grip on TP maintains low hips as he shifts
TP can’t TP faces both
creating a big opening in his BP’s ankle and drives his weight so his far knee can
butterfly BP’s kneecaps away from
center pocket forward into BP, come off the mat & he’s on both
bottom leg BP, turning his hips
stepping his far/top leg feet, resulting in a squat position
BP makes the error of extending his up so his knee connects
top leg so his kneecap passes TP’s hip with BP’s hamstring
TP advances his south knee to fill the center
TP butterflies his north
pocket, flattening BP into half guard As TP falls back
shin onto BP’s bottom
TP cups BP’s for the leg, he TP finishes the heel
thigh to get inside
TP is able to get knee with his throws his top leg hook
position
his outside knee north hand over to isolate
in front of BP’s BP’s leg
TP passes to BP’s strong side
knee line
TP passes to the weak side Key: Rounded rectangle = starting position | Black rectangle = key movements for bottom player (BP) | Pink
via a backstep dashed rectangle = key movements for top player (TP)
Attacking Legs (Part 13): Converting Your Failed Armbar to a Winning Leg Attack | 1 of 2
[Going low to his legs]
TP has BP flat on his back
with TP’s arm between his
legs in an armbar position.
TP’s south arm is under
BP’s arm with his north
hand over BP’s wrist.
BP uses his far elbow to
shelve under TP’s foot and
pushes it toward his legs
TP lays on his north hip and
retracts his south leg so it
can’t get trapped between
BP’s legs
TP proceeds with the
armbar
Key: Rounded rectangle = starting position | Black rectangle = key movements for
TP pushes himself all the way
over BP’s body as he rotates
to land in side control on the
far side
TP drops the grip on BP’s arm
and plants his south hand on
the mat
BP captures TP’s foot
between his legs
BP starts turning into TP
BP slips his elbow towards
the mat enough that TP can
no longer hyperextend it and
escapes the armbar
BP extends his
trapped leg
TP goes for a toehold by shelving his far forearm under BP’s foot
while pulling on the toes with his inside hand
TP pushes himself off the mat
using his free foot and his
posted hand so that he’s
sitting on BP’s top/inside hip
with his far/free leg
fours his legs
TP reaches for BP’s far foot
with his south hand and BP’s
knee or ankle with his north
hand
TP extends his free leg so his
foot can post on the mat
TP sits on his butt, bringing
BP’s legs towards his body
TP lays his back to the mat as
he figure fours his legs,
trapping BP’s knee between
his legs
TP laces his far arm under
BP’s trapped bottom leg for a
leg weave
bottom player (BP) | Pink dashed rectangle = key movements for top player (TP)
NOTE: The leg entry can also happen when:
1. TP attempts a knee slice and backsteps to
trap BP’s top leg, especially if BP traps
BP figure TP’s foot
2. BP is in bottom half guard getting the
underhook, causing BP to backstep
TP goes for the heel
of the
bottom/trapped leg
by lacing his forearm
under BP’s heel with TP goes for TP goes for
BP’s toes in his a heel a
armpit hook toe hold
TP goes for the heel TP keeps the foot-on-foot
on the top / free leg configuration of his legs to
keep BP’s inside leg trapped
TP steps his free/far foot
BP gets his top/free leg out of
on top of his
the leg weave
trapped/inside foot
TP arches his torso towards BP for a kneebar
where BP’s calf puts pressure on the kneecap
Attacking Legs (Part 13): Converting Your Failed Armbar to a Winning Leg Attack | 2 of 2
[Going high for his arm]
TP has BP flat on his back with TP’s
arm between his legs in an armbar
position. TP’s south arm is under
BP’s arm with his north hand over
BP’s wrist.
BP uses his far
hand under BP disconnects
TP’s north leg TP’s leg from
his face
TP lays on his south hip as he
curls his south leg around
BP’s arm
TP thinks BP might try to
come up the center
TP puts his south leg across
BP’s body so his foot is at BP’s
far jawline
BP raises his torso so he sits
up between TP’s legs (i.e. BP
“comes up on TP through the
center pocket”)
Key: Rounded rectangle = starting position | Black rectangle = key movements for
bottom player (BP) | Pink dashed rectangle = key movements for top player (TP)
*NOTE: The purpose of throwing your north leg over
the top is for him to encounter your hamstring, which
will prevent him from coming up through the pocket. TP takes BP’s back by turning his
Your north leg is not serving as a hook that connects bottom knee so his hips mirror BP’s
with his far-side elbow; it’s more like a plank that hits TP finishes an
his face. arm bar
TP grabs BP’s TP pushes BP’s
far armpit back with his knee
with his north to get better
TP curls his south access to BP’s back
hand TP throws his north leg
leg so his foot is
TP finishes an over BP’s face aiming to
by BP’s near
arm bar get his foot far by BP’s
jawline
ribs if possible
TP repositions his north leg so
TP immediately figure it’s behind BP
TP doesn’t think that fours his legs
TP wedges his south
BP will try to come up BP is coming up too quickly for foot behind BP’s head as
the center the throw-over of the north leg a pillow
TP throws his north/top
leg “long” so his foot to slow him / keep him flat
reaches BP’s far ribs OR
TP keeps his south the far side of BP’s face*
foot in front of BP’s
chin, impeding his
ability to come up
the center
TP may help BP sit up more by pulling him up via the
connection of his instep to the back of BP’s skull
TP brings his south heel to TP brings his north leg under BP continues to TP extends his north leg behind BP’s head
the far side of BP’s jaw BP’s head as a “pillow” sit up and locks a figure four for a triangle
2 behind 1 Guard Passing (Part 2): Flare Passing
TP puts his sternum on top of BP’s
exposed outside knee ligament and
finishes the pass by 1) backstepping to
BP’s weak side; 2) driving into mount; 3)
backstepping towards BP’s head
BP tilts his R knee inward
NOTES: 1) This only covers the
sequences that Prof. Mike details
in this lesson. There are demos of
other passes in the video; 2) *
Using your hand rather than your
far/top leg to capture the knee
isn’t realistic for TP to be
successful in nogi, especially
when both payers are super
sweaty.
Key: Rounded rectangle = starting position | Black rectangle =
key movements for bottom player (BP) | Pink dashed rectangle =
key movements for top player (TP) | L = left; R = right (used when
BP is in seated butterfly with his near/far/north/south might be more confusing)
BP is in seated butterfly without
his feet connected to TP’s inner feet connected to TP’s inner
thighs; TP is on his knees thighs; TP is on his knees
TP picks up BP’s R foot as he lifts his own R knee and
TP drops his R arm to create in inside moves his L shin closer to BP, allowing TP’s knee to
TP pins BP’s L foot with his wedge on BP’s inner L leg (TP’s elbow penetrate BP’s center pocket & TP’s quad to shelve
R hand, putting his weight should be south of BP’s knee & his under BP’s leg for a leg attack or leg drag passes
into the foot forearm should be north of it)
TP moves his R hand to BP’s R foot
TP moves his L knee so it wedges against BP’s R shin with his knee
pointed towards BP’s centerline
BP extends his arms to push on TP’s shoulders
TP flares his R leg behind him, tilting his hips slightly as he extends his
leg to clear BP’s hook. Simultaneously, TP drives his head forward into
BP has space to bring his bottom knee to TP’s south
BP’s L pec so that his torso advances past BP’s quads
hip to start the process of knee-elbow escaping &
recovering his guard
TP drops his R knee to the mat as a second wedge behind BP’s right shin,
establishing himself in “2-behind 1”
TP squares up into side control without
TP brings his R arm north of TP’s legs to clamp onto BP’s far hip
maintaining a wedge on BP’s inside leg
TP extends his L foot on a northward diagonal, so his kneeline is as close
TP steps his R leg over BP’s legs to pass to BP’s weak
to or even above BP’s bottom knee
side
TP lifts his L leg just enough so that the crook of his knee can collect the
top of BP’s R knee* BP shrimps, exposing the outside of his far knee
TP brings in his R TP maintains the connection
TP immediately backsteps his R leg and lays on his L hip, so that BP’s leg is “pulled” leg as another of his R leg to BP’s thigh as
southward. TP’s entire body should now be north of BP’s legs and TP maintains a tight wedge under BP’s he semimoons his L leg to
connections of 1) his hip to BP’s hip and 2) his L leg wedged between the mat & BP’s leg leg establish side control
2 behind 1 Guard Passing (Part 5): Black Belt Guard Recovery | 1 of 2 - Sequencing
BP is in seated butterfly without his TP keeps his head low as he
feet connected to TP’s inner thighs; backsteps his L leg, pivoting on his
TP is on his knees R to complete a pass

Key: Rounded rectangle =
starting position | Black
rectangle = key movements for
bottom player (BP) | Pink
dashed rectangle = key
movements for top player (TP)
| L = left; R = right (used when
near/far/north/south might be
more confusing)
TP snaps BP’s hands down out of the
way, winning the grip fight
TP pins BP’s L foot with his R hand
TP starts pivoting on his L knee as he
flares his R leg.
BP goes up on his L shoulder
BP throws his top leg over the top
TP is able to drop his R knee over BP’s
bottom leg, penetrating the center pocket
BP doesn’t protect his center
pocket with an extended arm

TP continues his pass

BP protects his top/outer hip and his center BP drops his BP rolls over his
attempt, “coming BP can’t see
pocket with extended arms top (R) knee to R knee to sit his R
around the turn” TP any more
the mat hip on the mat.
towards BP’s head
BP can still see TP
BP immediately drives his R knee
toward his chest to connect his
BP throws his top (R) leg “over the top” to clear knee and elbow, protecting his hip
TP’s head and end up on the outside of TP’s body pocket

TP starts to pass to BP’s weak (L)

BP can grab TP’s L triceps with his L side
BP recovers his guard without grips.
hand
As he recovers, BP flares his top leg so
TP doesn’t have access to the outside
ligament of his knee, preventing TP BP goes up on his R shoulder to
BP goes for an arm drag from smashing BP’s top leg down. recover with his L leg
2 behind 1 Guard Passing (Part2 5): Black Belt Guard Recovery | 2 of 2 – Details & Concepts
“Going up on a shoulder” is one of the most critical skills to master for a high-level guard; as
Prof. Mike says in this lesson, your guard will suck if you can’t do this.

💡WHY is it so important? 1⃣ It’s a movement that creates distance between you and your partner, minimizing his ability to control your
hips (the man who controls the hips controls the game). 2⃣ It also allows you to move your hips efficiently so that you can get your shins &
knees back between your partner (which is the essence of recovering and maintaining your guard). 3⃣ It benefits you with a smaller turning
radius than your partner has, which means that you can change your position and angles faster than he can. 💡WHEN should you use it?
This movement benefits a bottom player in a variety of positions. It’s best timed when you’ve read that your partner is initiating a pass that
will likely be effective (e.g. he has made contact with the outside of your knee to start a smash pass or has pinned one of your feet to the
mat to initiate a flare pass). 💡WHAT are key details? 👉 Use your extended arm to keep him away as the first movement. 👉 Drop your
elbow into a power prop as far from your ribs as you can while maintaining stability. 👉 Activate your lats and your abs to “suck yourself”
away from your partner, pulling your hips off the mat and reconnecting your ribs to your elbow. Your using your core and NOT pushing off of
your feet. 👉 Make sure at least one foot is on the mat at all times. If both feet are in the air, your partner can easily spin you and pass.
Ideally the big toe of your top leg scrapes along the mat as you go up on your shoulder. 👉 Your extended arms protect your top hip and
your center pocket, with one hand outside your top hip and the other shooting between your legs (think ”jazz hands” meets the Heisman
trophy). 👉 Your bottom forearm never touches the mat when your hips are up in the air or else your risk a wristride. 👉 Your goal is to
have elbow-to-knee connection as soon as possible, especially if he’s continued ”coming around the turn” to pass and you have to drop your
top knee to recover to the other side💡 HOW do you know if your hips are high enough? Your top knee should touch the center of your
forehead. If you have a length of string dangling from your waistline (if you don’t have shorts that have a string, tie a string around your
waist), the string should lay over the shoulder that you’ve gone up on. If you’re having trouble getting your hips that high, work on your
flexibility, strength, and mobility; as with most moves in BJJ, it won’t be effective if you short it. 💡 MUST you power prop? You can do this
effectively without power-propping: for instance, if you’re already lying on your side after having recovered your guard. The power prop
allows you to get your hips further away from him, creating even more distance, so try to power prop if you’re playing a seated guard.
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