Guy Windsor

Consulting Swordsman. Writer.

Archives for March 2013

New Beginnings, part 4

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Week 4 and we are half way through the course. We ran through a normal warm-up, including kicking squats, knuckle push-ups and falling. Then I had them remember as much as they could of the four guards drill, with minimal demonstration. A few of the attendees had missed last week’s class, and this really highlighted what they had missed. I made the point that we run the class for those who have been attending more regularly, but provide as much help in catching up as we can. We then reviewed the three turns, which string together nicely into a little drill (yes, I really do need to catch up with the wiki updates!).

They then had some free practice of the four steps (note, only a superficial demo, so they practice remembering), with the four guards and the three turns. And out with the stick- it was carnage! They had all forgotten how to get out of the way, so we reviewed the exercise. Then I made the point again that these steps and turns are natural actions, that you will do without thought when someone swings a stick at your head- but by classifying them, ordering them into a system, they can be studied and taught. And while the stick was in play, they had naturally done a particular combination, stepping the front foot offline, then passing across. So then we studied the accrescere fora di strada, passare ala traversa combination in isolation.

This brought us on to the third master disarm (PD MS), which we studied for a while, then the first and second plays of the first master (disarm, counter), then the third (ligadura mezana, aka wrap). So, a complete review of the dagger material they have covered so far. We broke for a moment for an intelligence test— I had them hit the ground with their fists. Sure enough, almost all used a hammer fist: but most had been doing the hand strike after the ligadura by straight-punching their partner’s mask. I made the point that striking hard targets with the knuckles of a closed fist is a high level skill, which they have not been taught. I may also have gone on a bit about how boxing gloves have degenerated the noble science into a sport, but heigh-ho.

Then the disarm of the ninth master. They don’t know it, unless they read this blog (as they should!) but the flowdrill is coming next week. All the pieces are now in place. We looked at the technique in the book, then they got to practice whatever dagger material they liked.

Thence to swords and the cutting drill. First just mandritto fendente from donna destra to longa to zenghiaro, and roverso sottano back up; then as a separate drill roverso fendente from donna la sinestra to longa to tutta porta di ferro, and mandritto sottano back up; then we strung together part one of the cutting drill. I also spent some time having them distinguish between tutta porta di ferro and coda longa.

Then to first drill, steps one and two, from last week; then we did step three, the only actually new longsword material this week. At the end I challenged them to find step three (yield to the parry and enter with a pommel strike) in the manuscript for next week.

All in all, good progress!

New Beginnings, part 3

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The third class of this beginner’s course was oddly attended, in that half the students present were not members of this course. Great for the true beginners, of course.

We started with the salute, of course, then the warm up, into which I incorporated the beginnings of knuckle push-ups— being able to create a stable platform on three (little, ring and middle) or two (first and middle) knuckles, then adding the actual push-up motion. We did not go the full Eurythmic push-up! We also reviewed falling, briefly.

Then review of the four steps, and three turns, done to command, then the four guards drill as a set sequence. This is by far the longest choreography they have been asked to memorise, so I incorporated some free practice of the drill so they could work on remembering it. While they were doing that, I then had them get to the ground and back up using no hands whenever I clapped (there is something magic about a room full of people falling down when you clap your hands!). Then out with the stick, again while they were working on remembering the four guards drill, or any of the other footwork drills they know. I made the point that in a room full of people training with weapons they must always retain awareness of their surroundings. The stick is great for that!

Then into the first master of dagger disarm, as revision. After which they had the choice to do a different technique against the same attack, or the same technique against an attack in a different line. They chose the latter, so I showed them the third master disarm from the flowdrill. I think it is vital that swordsmanship students are not trained to be passive consumers of a class— they must be taught to be actively engaged in their own training. After they were training that for a while, I took them to the Book— and lo! No such technique! So out with the Pisani Dossi MS, and sure enough proof that I was not making shit up. Having seen it in the book, they did it again.

Then I showed them all the dagger material that they had seen so far on the course: 1st, 2nd and 3rd plays of the first master, and now the 1st and 2nd plays of the third master in the PD. They then could choose the technique “that currently holds your interest” and train that.

This took us to 7pm, and we took up the swords. I had them do just mandritto fendente from donna destra through longa to dente di zenghiaro, and back up with roverso sottano. Then roverso fendente from donna la sinestra through longa to tutta porta di ferro, and mandritto sottano back up. We then put those together to make part one of the cutting drill.

From here they practiced cutting from donna to their partner’s mask, while the partner waits in tutta porta di ferro (aka step one of first drill).

And that brought us on to the parry from tutta porta di ferro, aka step two of first drill, or better yet, the second play of the master crossed at the middle of the swords in zogho largo.

We did it for a little while, looked at it in the book, then did it again. This brought us to time, where I showed them how to salute while holding their masks, and we were done. This course, like the last, is exemplary for the way they stay on to train after class, and for showing up also on Wednesdays. I have high hopes for them all!

New Beginnings part 2

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The second class of this course (on March 12th) began with the warm-up, to which I added kicking squats, and basic falling. We then swiftly reviewed the four steps and four guards, which they then practiced on their own.

From there we tested where your weight should be on your feet for maximum stability, using our standard testing process. Once everyone had sorted out for themselves how their weight should be distributed on their feet, they practiced the steps again.

Then new material: the three turns, using Fiore’s definitions. We started with the meza volta, as the easiest, then the tutta volta. I then taught them the stick exercise, and they saw and did those turns naturally. This reinforced the idea of the Art as the ordering of natural actions into a system in order for them to be studied and taught.

Then starting with the swinging exercise that begins every warm-up, I taught them the volta stabile, which we then used to determine the ideal length of the guard position.

From thence to review of the first and second plays of the first master of dagger, before I taught them the third play, the ligadura mezana.

After that we took up swords (it was 7pm) and practiced swingnig it while paying attention to leading with the blade, then the lines of the blows. We noted that the blows create the guards, and looked at the guards we had created (donna, longa, zenghiaro and tutta porta di ferro) in the book, before repeating the drill, this time to work on the guards.

At the very end I demonstrated the first three steps of first drill, and promised to start them on that next week. Tune in again to see if I am a man of my word!

Striking by the numbers

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One of the difficulties of training in any art is the lack of measurable feedback. Every body is different, and there is little we can do to provide objective goals. Enter the tape measure.

Readers familiar with my Max Your Lunge approach to developing a good rapier lunge will see where this is going…

In the intermediate longsword class last night we had a small turn-out, which lent itself to some serious measuring. We  started by measuring our maximum possible reach, from the tip of the sword to the edge of the back foot.

measuring the swordsman

We then struck at the pell, and measured the linear distance on the floor between the back foot and the base of the pell. This gave us a ratio between actual comfortable striking range and our natural reach. We marked position of the base of the pell on the floor, to provide a quick reference point.

reaching the pell
reaching the pell

To eliminate the effect of blade length on the proportions, we subtracted the length of the blade (crossguard to point) from both figures. The range spread was huge- including the blade, our tallest measured 342cm, our shortest 288. But the proportions were strikingly consistent.

I then had the class work for 10 minutes on range, doing whatever exercises they thought might help (this is not a basic class). Then back to the pell, where the average improvement was about 10%! Clearly, these students did not warm up properly before class.

This gave us a sense of their maximum reach. But what proportion of that would we actually use? So next up we hit the tyres, and when that was working well I went round and measured their reach. An average reduction of 42%. To hit hard we want to get closer.

But what about the threat? So next they did the same blow (mandritto fendente) against a partner who would counterattack (step 2 of the stretto form of First drill). And out came the tape again. Now they increased their range from 58% of maximum to 79% of maximum.

So, the correct measure to strike from depends on what you want the strike to do, and the tactical circumstances in which it is to be done. There is value in being able to strike comfortably to the maximum reach of your skeleton, but more value in always being in the right place to strike according to tactical circumstances.

For those of a mathematical bent, here’s the spreadsheet. I am no expert at either spreadsheets or maths, so feel free to spot errors and let me know!

the data

The initial lessons from this are:

  • Targeted warm-up increased range by about 10%
  • Warm range minus blade length was between 48% and 66% of the foot to fingertip length
  • You should be able to reach about 60% of your foot to fingertip length, plus blade length.
  • Your maximum power range is proportionally about half of your warm maximum reach. This was the most variable measurement.
  • When striking against a resisting opponent you will tend to compromise power and reach, using about 80% of your warm maximum range.

So, things to check and work systematically towards are:

  • Being able to comfortably reach to about 60% of your foot to fingertip length
  • Reducing the difference between warm and cold: keeping your body such that warming up becomes unnecessary to strike at your maximum range.
  • Extending the range at which you can strike with power, from wherever it is towards your maximum warm reach. Leverage ensures you'll never get there, so it's a lifetime goal.
  • Understand the relationship between measure and tactical circumstances: more range = less power but more time to react to the opponent’s response. Your ideal striking range will depend among other things on what you expect your opponent to do. The perfect starting point for the attacker in the basic form of First drill is about 70% of maximum range, but that should be increased to about 80% if you expect a counterattack. Good luck making that kind of calculation on the fly!

I don’t mean to suggest that we should reduce the Art of Arms to a set of statistics. But this kind of practice can provide a measurable, objective, set of targets to aim towards, in certain specific aspects of your skill at arms. So go forth and measure!

Armour progress

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My armour is coming along, and hit a milestone yesterday. My arming jacket finally had the necessary pointing holes for attaching the arm pieces, which have been ready since December. So this is the first time they have been tried on properly. And oh my, what happy bliss to be clanking about in STEEL!!

There will be some adjustments needed to the arms to get them fitting perfectly, but the armourer, Marko Saari, is a genius and a craftsman of the highest order, and so perfection is well within the realms of possibility.

This piece is a reproduction of the Avant armour, held in Glasgow's Kelvingrove museum, and the closest surviving example to the armour we see in Il Fior di Battaglia, especially the Pisani-Dossi MS.

Helmet next. Then legs. Then proper gauntlets.

 

New Beginnings, part 1

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On Tuesday March 5th we began the 2013 Spring beginners’ course. The goal of the course is always the same: to provide a safe and approachable way for interested people to begin training in the Art of Swordsmanship. As usual, we start them off with Fiore’s Art of Arms, not least as this has the most real-world applicable mechanics and demands only normal range of motion. It also has a breadth of weaponry, which allows us several approaches to the same fundamental principles.

This course is unusually undersubscribed, with only 10 people in attendance by 6pm. So keen readers of this blog will find the content and organisation of this course to be quite different to the last one. As those that know me know, I never plan classes as such, as there is no way to predict the specific make-up of the class, in terms of experience, interests and aptitudes. As far as possible, I tailor all classes to the needs of the students present. One of the purposes of writing up this beginners’ course is to provide a second example of a correctly-done course that is totally different to another correctly-done course. I intend also to write up a full comparison of the two, explaining the reasons behind the differences.

We begin, of course, with the book, Il Fior di Battaglia. I showed them the book on the lectern, and made it clear that they were always welcome to check what we are doing in class against the source. Then the safety briefing, which boils down to one rule: Everybody must finish class healthier than they started it. And is followed by what we expect of all students: Behave at all times as a reasonable adult.

Then we got cracking on the warm-up, taking it gently. The group as a whole are reasonably able to make their bodies go where their minds tell it, just the usual assortment of weaknesses brought on by the 21st century lifestyles we all lead. Unusually we did not go through the basic falling practice, just did the roll-and-up exercise at the end of the warm-up. During the push-ups (taught swiftly from scratch) we separated the skills required into two: keeping the body straight, and bending and straightening the arms under load. We did them separately and then together, then let them practice whichever bit they found harder (arms, body or combination). The warm-up began and ended with the swinging exercise, and I was careful to point out why, thus introducing the idea of running diagnostics to assess the effectiveness of a given practice. Towards the end of the warm-up two more students showed up, having got the time wrong. We could not let them join in, as they had missed the safety briefing, but to their credit they stayed and watched the whole class, and we took them through much of the material during free training.

I then had them do the four steps, passare and tornare first, followed by accrescere and discressere. Then to the book to see the text where Fiore wrote about them. While we were there we went to the four guards, longa, dente di zenghiaro, porta di ferro and frontale, then did them, one at a time, with passing steps. Of course, I used our mnemonic “grab his throat, break his jaw, thumbs in eyes, head on floor”. (For a bookful of such poetic gems, see The Armizare Vade Mecum) Once they had tried them all, I gave them a couple of minutes to practice whatever they could remember, however best suited them, on their own. This done, I pointed out that they had just demonstrated to me that they could perfectly well practice without help, and so could train at home without supervision.

To illustrate the guards and transitioning between them as a way of describing motion and therefore time, I had the class stab each other gently with daggers— the one being stabbed could see the guards happening as natural elements of the motion of drawing and striking. After introducing them to the destroyed-by-medieval-weapons modern fencing mask, we then repeated the stabbings with everyone masked up. This lead naturally into the first play of the dagger, the 1st master’s disarm. First, they did it. Then we looked at it in the book, then did it again. I then smowed them how to check for lines of strength and weakness, and we did it again. The inevitable “wouldn’t you get cut” question duly was asked, so I demonstrated the technique using a big sharp kitchen knife, then they did it again. Then to the book for the second play, the attacker’s counter. Here I made the point that this is a knightly art, and so for professional warriors. There is no moral virtue in self defence here, this is for killing your enemies and gaining renown. So the attacker can counter the defence, and we are as versed in attacking as we are in defending.

This all took us to 7.15, so I showed them how to get a sword off the rack without blinding anyone, and we went through the salute a couple of times, and, as we had plenty of room, straight into swinging the sword from shoulder to shoulder, while passing forwards. After a few reps to get comfortable, I had them pay attention to leading with the blade. I always demonstrate this with a senior (in this case Ken), and have him stab me if I attack leading with the foot. All students were then issued with an imaginary homicidal Ken to strike against. After some more reps, we went to the book to look at the proper cutting lines (jaw to knee) and I mentioned forehand and backhand (mandritto and roverso). And it was back for more reps, before finishing with the salute.

Note that we only did 3 “techniques” but the first and last were done several times with the option of a different focus for the mind, such as leading with the sword, or the line of the blow. In this way a lot of information gets packed into a small number of physical actions. The first iteration is always just “do this action”, with no distracting instructions. Better ways of doing the action come later.

In all, we are off to a very encouraging start!