Escapes
-Bridge to Free the Arm *Jason Scully Technique example
-Bridge and Turn Escape *Kurt Osiander Technique example
-Bridge to Get Leg Under Escape *Great Grappling Technique example
-Leg Hooks Opp. Head *Jason Scully Technique Example
-Leg Hooks Opp. Leg
Sunday, December 28, 2014
Turtle Position (Bottom)
North South Turtle Position
-Sit Out (both opp arms around your chest) *technique example
-Sit Out (both opp arms around your chest) *technique example
Saturday, December 27, 2014
Monday, December 22, 2014
Guard Passing
I. Closed Guard Breaks
-Can Opener
-Knee Spike *technique example
-Chair Sitting Break *Torres example *Follis example
-Stand->Straight Up, Both Hands Push Knee Down *technique example
-Stand->Marcelo Garcia Method *example
II. Passes
1. Opp. Legs Around Your Waist
-Can Opener to Leg Lift Pass (hips thrust forward version) *technique example
-Can Opener to Crab Walk Over Pass *technique example
-Leg Lift Pass *JJ Machado technique example
-Bull Fighter Pass *Erik Paulson technique example
-Knee Spike to Inside Knee Slide Pass *technique example
-Outside Knee Slide Pass (step up version) *Ritchie Yip technique example *Rafael Lovato Jr example
-Leg Weave Pass *technique example
-Garcia Pin Opp Knee to Ground and Walk Around *example
-Opp Arm Trapped Behind His Back Pass *technique example *tech example
2. Opp. Shin Across (shield)
-Leg Weave Pass *technique example
3. Opp. Has Butterfly Guard
-Ankle Grab Pressure Pass *technique example
-Jumping Over Opp Legs Pass *Marcelo Garcia example
4. Opp. Has Half Guard
-Back Step Half Guard Pass (when opp has underhook) *Ritchie Yip example
-Turning in pass
-over opp shoulder version
-under opp arm version *tech example *MG tech study
-No Hands Pass *example
-Can Opener
-Knee Spike *technique example
-Chair Sitting Break *Torres example *Follis example
-Stand->Straight Up, Both Hands Push Knee Down *technique example
-Stand->Marcelo Garcia Method *example
II. Passes
1. Opp. Legs Around Your Waist
-Can Opener to Leg Lift Pass (hips thrust forward version) *technique example
-Can Opener to Crab Walk Over Pass *technique example
-Leg Lift Pass *JJ Machado technique example
-Bull Fighter Pass *Erik Paulson technique example
-Knee Spike to Inside Knee Slide Pass *technique example
-Outside Knee Slide Pass (step up version) *Ritchie Yip technique example *Rafael Lovato Jr example
-Leg Weave Pass *technique example
-Garcia Pin Opp Knee to Ground and Walk Around *example
-Opp Arm Trapped Behind His Back Pass *technique example *tech example
2. Opp. Shin Across (shield)
-Leg Weave Pass *technique example
3. Opp. Has Butterfly Guard
-Ankle Grab Pressure Pass *technique example
-Jumping Over Opp Legs Pass *Marcelo Garcia example
4. Opp. Has Half Guard
-Back Step Half Guard Pass (when opp has underhook) *Ritchie Yip example
-Turning in pass
-over opp shoulder version
-under opp arm version *tech example *MG tech study
-No Hands Pass *example
Sunday, December 21, 2014
Saturday, December 20, 2014
Thursday, December 18, 2014
Tuesday, December 16, 2014
Monday, December 15, 2014
Bob toward your lead leg with simultaneous Cross to the Body->Lead Hook
 |
| Ozzy Dugulubgov vs. Keon Caldwell |
Back (Offensive): Seat Belt/Harness Grip
Transitions
-Move to Mount (When opp. about to break free of hook and get their back to the mat). *technique example
Submissions
-Rear Naked Choke (Strong side) *technique example
-Rear Naked Choke (transition from weak side to strong side) *technique example
-Armbar *example
-Move to Mount (When opp. about to break free of hook and get their back to the mat). *technique example
Submissions
-Rear Naked Choke (Strong side) *technique example
-Rear Naked Choke (transition from weak side to strong side) *technique example
-Armbar *example
Side Mount 2: Both Arms Far Side
Submissions
-Americana/Keylock (opp arm on side of your neck closest to his legs-Waiting and forced versions) *technique example
-Far Side Armbar *Demian Maia example
-Americana/Keylock (opp arm on side of your neck closest to his legs-Waiting and forced versions) *technique example
-Far Side Armbar *Demian Maia example
Sunday, December 14, 2014
Underhook with Arm Control
-Knee Tap/Block Takedown
-Single Leg Takedown
-Hip Throw (O-Goshi) *example
-Single Leg Takedown
-Hip Throw (O-Goshi) *example
-Hariai Goshi *example
-Shrug/Throw By to Back
-Underhook to Front Headlock *example *example *example
-Shrug/Throw By to Back
-Underhook to Front Headlock *example *example *example
Jab->Jab-> Cross
 |
| George St. Pierre vs Josh Koscheck |
Works well against opponents that tend to defend by leaning back or taking small steps back.
Friday, December 12, 2014
Methods of Attack
The methods of attack is a categorical summary of the primary ways in which one can attack an opponent in unarmed combat. Though they are primarily intended to be applied to striking while standing, they generally can be applied to other areas of combat.
The following is largely sourced from Bruce Lee's '5 Angles of Attack' and from Mark Jacob's book The Principles of Unarmed Combat.
Next to each heading in parenthesis is the related method of attack by Bruce Lee.
1. Single Direct Attack (Single Direct Attack)
The single direct attack is the simplest manner of attack in which a single strike is thrown directly at the target.
Timing and distance are key elements to successfully landing the strike. You must be able to recognize openings to know the right time to attack as well as be close enough to land the blow without your opponent being able to launch an effectively defense. Examples would be throwing a jab at the opponents chin after seeing that he has dropped his guard or striking his lead leg with a round kick after recognizing that his stance is too wide.
2. Combination Attack (Attack by Combination)
The combination attack can be defined as an attack which includes two or more strikes, each thrown with the intention of hitting their targets.
Combination attacks have a few advantages over single direct attacks. The first is that throwing more strikes provides an opportunity to do more damage. If you attack with a jab->cross->hook and land all three punches, then you have probably hurt your opponent more than if you were to attack and with and land only a jab.
Second, combinations provide you with more opportunities to connect. Going back to the jab->cross->hook, even if your opponent is able to defend against the jab, you may still connect with the cross and/or hook as it is typically more difficult to defend against multiple strikes than it is against one. This is because, with good combinations, each strike sets up the next.
3. False Attack (Progressive Indirect Attack)
The false attack is the use of some sort of misleading movement as a means to create openings to set up your real attack. False attacks include fakes, feints and progressive indirect attacks.
Fakes are essentially partial attacks which lack follow through. For instance, I might throw a fake cross, extending my rear arm halfway to get my opponent to react (maybe he raises his arms or simply shifts his attention to protecting his head), then quickly throw a lead shovel hook to the body.
Feints are similar but involve a more subtle movement. For example, instead of faking the cross I might simply feint it by slightly and quickly twisting my body, then following up with my actual attack with my lead hand.
Though there is a distinction between faking and feinting, it is also common to find the words used interchangeably. I myself will sometimes do this out of laziness.
The progressive indirect attack is a concept Bruce Lee borrowed from fencing. It is a type of fake/ feint that utilizes one motion with no withdrawal of the hand or leg. For instance, I might throw what looks to be an overhand strike, then midway through (without pulling back) shift down by bending my knees and circling my arm at the elbow to strike the opponents groin.
8. Change of Target Attack
This attack looks to establish a pattern of attacking one target for a period of time then suddenly switching to a different target. This attack relies on your opponent expecting one thing, then you doing something different. For example, you might repeatedly punch at the opponents body so that he eventually expects that attack to come and thus lower his arms for protection. This of course presents an opportunity to attack the head.
9. Subterfuge Attack
This is the use of psychological ploys to distract an opponent and create an opening for attack. A classic example would be telling an opponent to look "behind you" and then hitting them as he turns away. Another example found in sporting events, is offering to touch gloves then immediately attacking when the opponent extends their arm. Or acting like you're hurt to entice you're opponent into being over confident and over extend themselves with their atack (playing possum).
More often, the subterfuge attack can be found in the ploys used by criminals such as asking what time it is or if you have a cigarette as a way of distracting, getting close and/or putting their target at ease.
Chinatown Jeet Kune Do
The Principles of Unarmed Combat
The following is largely sourced from Bruce Lee's '5 Angles of Attack' and from Mark Jacob's book The Principles of Unarmed Combat.
Next to each heading in parenthesis is the related method of attack by Bruce Lee.
1. Single Direct Attack (Single Direct Attack)
The single direct attack is the simplest manner of attack in which a single strike is thrown directly at the target.
Timing and distance are key elements to successfully landing the strike. You must be able to recognize openings to know the right time to attack as well as be close enough to land the blow without your opponent being able to launch an effectively defense. Examples would be throwing a jab at the opponents chin after seeing that he has dropped his guard or striking his lead leg with a round kick after recognizing that his stance is too wide.
2. Combination Attack (Attack by Combination)
The combination attack can be defined as an attack which includes two or more strikes, each thrown with the intention of hitting their targets.
Combination attacks have a few advantages over single direct attacks. The first is that throwing more strikes provides an opportunity to do more damage. If you attack with a jab->cross->hook and land all three punches, then you have probably hurt your opponent more than if you were to attack and with and land only a jab.
Second, combinations provide you with more opportunities to connect. Going back to the jab->cross->hook, even if your opponent is able to defend against the jab, you may still connect with the cross and/or hook as it is typically more difficult to defend against multiple strikes than it is against one. This is because, with good combinations, each strike sets up the next.
3. False Attack (Progressive Indirect Attack)
The false attack is the use of some sort of misleading movement as a means to create openings to set up your real attack. False attacks include fakes, feints and progressive indirect attacks.
Fakes are essentially partial attacks which lack follow through. For instance, I might throw a fake cross, extending my rear arm halfway to get my opponent to react (maybe he raises his arms or simply shifts his attention to protecting his head), then quickly throw a lead shovel hook to the body.
Feints are similar but involve a more subtle movement. For example, instead of faking the cross I might simply feint it by slightly and quickly twisting my body, then following up with my actual attack with my lead hand.
Though there is a distinction between faking and feinting, it is also common to find the words used interchangeably. I myself will sometimes do this out of laziness.
The progressive indirect attack is a concept Bruce Lee borrowed from fencing. It is a type of fake/ feint that utilizes one motion with no withdrawal of the hand or leg. For instance, I might throw what looks to be an overhand strike, then midway through (without pulling back) shift down by bending my knees and circling my arm at the elbow to strike the opponents groin.
4. Drawing Attack (Drawing Attack)
Drawing is the tactic of luring your opponent into attacking what they perceive is an open area or vulnerability so that you can perform a counter attack
5. Disruption Attack (Hand Immobilization Attack)
The disruption attack is one that disrupts the opponents defensive position by making some sort of preliminary contact with him prior to the damaging part of the attack. Bruce Lee's hand immobilization attack fits into this category, though it should be pointed out that disruption attacks are not limited to just trapping the opponents arms and hands.
Common disruptions include:
-grabbing or slapping an opponents arm out of the way so that you can strike his head.
-pulling, pushing or tripping your opponent to off balance them to setup a strike.
-using the opponents clothes to entangle them (an example is how hockey players will pull their opponents jersey over there head).
6. Directional Attack
A directional attack also called an angular attacks employ the use of footwork in order to move toward the side of an opponent in an attempt to find an opening to attack.
7. Change of Timing Attack
Drawing is the tactic of luring your opponent into attacking what they perceive is an open area or vulnerability so that you can perform a counter attack
5. Disruption Attack (Hand Immobilization Attack)
The disruption attack is one that disrupts the opponents defensive position by making some sort of preliminary contact with him prior to the damaging part of the attack. Bruce Lee's hand immobilization attack fits into this category, though it should be pointed out that disruption attacks are not limited to just trapping the opponents arms and hands.
Common disruptions include:
-grabbing or slapping an opponents arm out of the way so that you can strike his head.
-pulling, pushing or tripping your opponent to off balance them to setup a strike.
-using the opponents clothes to entangle them (an example is how hockey players will pull their opponents jersey over there head).
6. Directional Attack
A directional attack also called an angular attacks employ the use of footwork in order to move toward the side of an opponent in an attempt to find an opening to attack.
7. Change of Timing Attack
Often referred to as 'broken rhythm', the change of timing attack uses an abrupt change in the normal speed or rhythm of your attacks to throw off your opponents defenses.
The change in speed attack involves throwing your strikes slower than your able to. The idea is that after doing so for some time, your opponent will hopefully believe that this is your normal speed or at least lull him into expecting your strikes to continue at this pace. When you feel the time is right, you attack at your maximum speed. This sudden change will hopefully throw off your opponent and create an opening.
The change in rhythm
The change in speed attack involves throwing your strikes slower than your able to. The idea is that after doing so for some time, your opponent will hopefully believe that this is your normal speed or at least lull him into expecting your strikes to continue at this pace. When you feel the time is right, you attack at your maximum speed. This sudden change will hopefully throw off your opponent and create an opening.
The change in rhythm
8. Change of Target Attack
This attack looks to establish a pattern of attacking one target for a period of time then suddenly switching to a different target. This attack relies on your opponent expecting one thing, then you doing something different. For example, you might repeatedly punch at the opponents body so that he eventually expects that attack to come and thus lower his arms for protection. This of course presents an opportunity to attack the head.
9. Subterfuge Attack
This is the use of psychological ploys to distract an opponent and create an opening for attack. A classic example would be telling an opponent to look "behind you" and then hitting them as he turns away. Another example found in sporting events, is offering to touch gloves then immediately attacking when the opponent extends their arm. Or acting like you're hurt to entice you're opponent into being over confident and over extend themselves with their atack (playing possum).
More often, the subterfuge attack can be found in the ploys used by criminals such as asking what time it is or if you have a cigarette as a way of distracting, getting close and/or putting their target at ease.
Chinatown Jeet Kune Do
The Principles of Unarmed Combat
Sunday, December 7, 2014
Shin On Bicep Guard (Stage 1.5 Guard) (Bottom)
Saturday, December 6, 2014
Thursday, December 4, 2014
Side Mount 1: Near Side Arm Under Neck, Far Side Arm Under Arm
Maintaining/Improving Position
1) Clearing Opp. Arm Off Your Hip
-Clearing Opp Arm-Knee method*technique example
-Clearing Opp Arm-Semi cradle method*technique example
-Clearing Opp. Arm-Semi cradle method to Mount (Knee Slide)*technique example
-Clearing the Opp Arm-Move to modified scarf hold then back to side mount*technique example
Transitions
-To Other Side Mount Positions
-To Mount(knee slide) *technique example
-(Cue-opp arm under your chin)*technique example
-(When opp pushes your knee)*technique example
-To Modified Scarf Hold
-(Cue-Opp pushes hip with hand or forearm)*technique example
-(Just to transition)*technique
-To Reverse Scarf Hold *technique
-To Knee on Belly*technique example
Submissions
-Kimura
-(cue-opp arm on side of neck)*technique
-(cue-opp forearm under throat*Drysdale technique
-Far Side Armbar
-(cue-opp arm on feet side of your neck)*technique *Demian Maia example
-Americana
-Move to Side Control 2 for setups
-Pin with head (cue-opp tries to move are from side of head to under throat) *technique example
-Arm Triangle
-(cue-opp arm on side on head side of neck) *technique
-(cue-opp arm on throat, pushing up) *technique
-Von Flue Choke
-(cue-when opp arm around your neck, usually after failed Guillotine) *technique example
1) Clearing Opp. Arm Off Your Hip
-Clearing Opp Arm-Knee method*technique example
-Clearing Opp Arm-Semi cradle method*technique example
-Clearing Opp. Arm-Semi cradle method to Mount (Knee Slide)*technique example
-Clearing the Opp Arm-Move to modified scarf hold then back to side mount*technique example
Transitions
-To Other Side Mount Positions
-To Mount(knee slide) *technique example
-(Cue-opp arm under your chin)*technique example
-(When opp pushes your knee)*technique example
-To Modified Scarf Hold
-(Cue-Opp pushes hip with hand or forearm)*technique example
-(Just to transition)*technique
-To Reverse Scarf Hold *technique
-To Knee on Belly*technique example
Submissions
-Kimura
-(cue-opp arm on side of neck)*technique
-(cue-opp forearm under throat*Drysdale technique
-Far Side Armbar
-(cue-opp arm on feet side of your neck)*technique *Demian Maia example
-Americana
-Move to Side Control 2 for setups
-Pin with head (cue-opp tries to move are from side of head to under throat) *technique example
-Arm Triangle
-(cue-opp arm on side on head side of neck) *technique
-(cue-opp arm on throat, pushing up) *technique
-Von Flue Choke
-(cue-when opp arm around your neck, usually after failed Guillotine) *technique example
Side Mount 3: Near Side At Hip, Far Side Arm Over or Under Opp Arm
Non-Telegraphic Movement
Telegraphing is the act of unintentionally alerting your opponent prior to your next offensive move. It's the little unintended preparatory movements which act as signals or tells, lowering the attacks chances of being successful. Common examples would include drawing the hand back before throwing a punch, dropping your shoulder, taking an unnecessary step before kicking or even shifting the gaze of the eyes to the area of the opponents body to be attacked.
If telegraphing is the problem, then the obvious solution is to make your movements non-telegraphic.
Self-awareness and analysis is the best way to achieve this. Stand in front of a mirror and execute your techniques looking for any telegraphed cues to eliminate. Record yourself hitting the bag, then review looking for flaws. Also while working with a training partner, have them point out any tells they see while working the pads or sparring.
If telegraphing is the problem, then the obvious solution is to make your movements non-telegraphic.
Self-awareness and analysis is the best way to achieve this. Stand in front of a mirror and execute your techniques looking for any telegraphed cues to eliminate. Record yourself hitting the bag, then review looking for flaws. Also while working with a training partner, have them point out any tells they see while working the pads or sparring.
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