Welcome to week 4 of Intermediate! This course is all about the attack, and so far we’ve focused on feints: making a fake attack to one target to draw a defensive response, before finishing with a real attack to another target.
Over the past couple of weeks, we’ve looked primarily at a class of large, powerful feint attacks known as cutovers, which evade the opponent’s point to get around parries. Good feint attacks, as discussed previously, are able to handle any combination of the opponent staying still, being fooled into parrying the feint, or counterattacking.
However, not all feint attacks are equally good at dealing with each of the three possible defensive responses. Cutovers are effective against parries, because they go over the tip of the opponent’s blade in a relatively wide slow arc, but this same attribute makes them less effective against counterattacks. This was demonstrated last week in our comparison of two feint attacks in which both feints were initially to head. Most of you would have found the through cut (a cutover) more effective against the parry than the counterattack, and vice versa for the underarm cut.
This week, we’re going to continue our exploration of feint attacks with disengages. Disengages are comparatively fast, small actions which evade our opponent’s anticipated parry by going under their guard. They take a fair bit of dexterity to pull off, but they’re a potent weapon against an opponent who likes to counterattack. They aren’t bad at getting around parries either. We’ll start with some point control exercise to help with the finger movements required to pull off disengages consistently, and go into some detail around point attacks vs. angulated attacks and their relative merits. Wear breeches for this one.
Previously on Novice, it’s been all about the lunge. Over the last three weeks, we’ve built your ability to make fast, powerful attacks from medium- to long-range, allowing you to close the gap and finish your attack with a direct hit even if your opponent makes a run for it. In week 4, we’re going to teach you a completely new trick: how to hit from low-line.
Low-line hits can be defined as anything starting from a position where your blade is below waist height. This leaves them with the obvious weakness of being slower and more difficult to execute: the path to target is longer, and getting there directly takes a fair bit of skill. Pull it off, though, and you dramatically reduce your vulnerability to defensive blade actions like beats and lockouts by essentially hiding your blade from your opponent. Coming from underneath also makes your hits more difficult to parry.
In tonight’s class, we’ll show you how to hit fast from low-line to the three main targets, and how to build low-line attacks in to the lunge sequences you’ve learned over the last three weeks. You’ll essentially double your attack repertoire in one session, and enter the wonderful realm of the sneaky trick-shots, and counterattacking you will get a whole lot harder.
Previously on Beginner, we introduced the basic cuts and parries. In week 4, we’re going to show you that there’s optimal time and place for both cuts and parries, and it is always while you’re in motion.
On the attack, direct cuts should always be made so that they hit the target while your front foot is still in the air on your final step or lunge forward. When your foot is still in the air, you’ve got the energy of your acceleration behind the hit; once you land, you start to slow down. A direct cut timed right to land while you’re in the air is powerful and extremely difficult to block, but a cut that lands after the foot is liable to bounce off even a pretty average parry.
On the defense, the situation is broadly similar. Parries don’t work very well if you’re standing still: they should be made while you’re moving, whether it’s forwards or backwards, to allow you to absorb the impact of the hit. They should also be kept as small and as late as possible. You need to make a static “wall” to intersect the trajectory of the incoming hit, and that shouldn’t be a huge production. Giant flashy bladework ain’t the best idea here. Keep it sharp, and keep it clean.
We’ve spent the last few weeks refining the ability to hit deep and close targets, but that’s been largely predicated on the assumption that the target is open. This week, we’re going to look at how to deal with situations where the defender’s blade is in the way.
If your opponent is trying to disrupt your attack with a persistent blade in your face, you’re going to need to deal with that before you can make the final cut. A good approach to a relatively static and obvious presentation of the blade is the bind attack, also known as pris-de-fer. The objective with a bind is not to swat at the defender’s blade, but to remove it in a much more controlled way by quite literally pushing it aside.
We’ll be starting with the basic static actions to find and engage the defender’s blade, then building in movement to get you used to using it in the right distance. We’ll also be showing you how to convert a bind into a direct finish in the event that the defender successfully evades it and counterattacks, then building all of this into regular “Romanian” attack drill we stole from Max Hartung.
Welcome to week 3 of footwork and bladework! This week, we’re working on something that sounds obvious, but all too often isn’t: hitting the closest target you can get. We want to develop your ability to smoothly pick off a forward target on the attack should a suitable window present itself, which is both a sweet trick to pull off in a fight and an excellent way to work on your accuracy and point control.
We’ll be building on last week’s sneaky opportunistic wrist shots with some more calculated hits to the forearm from a range of angles. Your opponent’s guard is going to put up a bit of a fight here, but it’s not usually going to get in the way of all possible angles, so your objective is to learn to find the open line. As with last week’s exercises, though, going for such a small target is still a fairly high-risk maneuver, so we’ll then be practicing developing these into a nice smooth attack to deep target. If you do it right, nobody will notice. We’ll also be building these into feint attacks to deep target if you’re feeling ambitious. As always, you can tweak the level of difficulty by staying static (good for starting out) or closing distance (somewhat trickier).
This stuff isn’t going to work if you’re flinging your blade around with your whole arm, so keep your grip light and your fingers nimble. A sabre is a precision instrument.
Previously on Competitive, we covered the concept of using pre-determined blade trajectories or arcs in the classic ‘short/long’ tactic. These arcs reduce the complexity of winning the 4m box at the start of the bout. We expanded the concept last week with the addition of opposition arcs to the ‘short measure’ component to win the simultaneous situation with single light. We worked through some of the possible attack arcs including the infamous Hartung special.
In week 3 we explore the other side of the situation: using the same concepts for defence. See, most people launch most of their attacks from only one or two hand positions regardless of the target. This means that their blade arcs tend radiate out from visible origin points. The arcs are clustered together near the origin, so it is possible to a) predict where in space most of the possible arcs will go through and b) intercept most arcs with a single action like a parry or a stop cut.
If you’ve ever wondered how to defend against a strong attacker, this is the equalizer.
We start with a review of good blade positions for different parries in the 4m, and how late to parry after the initial check (answer: as late as possible). We then cover the pros and cons of common parries for intercepting multiple potential attack arcs, and why parry 5 and parry 2 are used so much more often in the 4m than outside it. Then onto the fun stuff, two variants of the classic draw cut from opposite sides of the world: K-style, which tends to leave a mark; and the Teutonic version. The latter hurts less, physically, but is more emotionally damaging. You’ll see why.
Previously in Advanced, we introduced the technique of ‘sweep’ as a defensive action used to clear an Attacker’s blade. Sweeps clear an entire plane in space of the Attacker’s blade, terminate in a parry position for safety, and can be chained together to trick the attacker into placing their blade in a position where you can hit it. Last week, we also introduced fake sweeps to efficiently fool the attacker into being vulnerable to beats and attacks-on-preparation. This combination of real and fake sweeps forms a potent defensive ‘wall’ which can be used to blunt most attackers.
The efficacy of sweeps is highly dependent on the threat of the attack-on-preparation to make the attacker present their blade (for the beat) or finish their attack (for the parry). With the new 180ms timing this threat has been greatly reduced. Attackers are now more able to launch attacks from close-range with wide arcs which are difficult to parry or avoid. Defenders must be able to combine both the threat of the attack-on-preparation and the protective parry to defeat such Attackers.
This week, we introduce stop cuts to wrist with opposition as an additional defensive finish to the check or sweep. We cover stop cuts to each of the main wrist targets, the recommended opposition positions to block the attack, and how to safely absorb the impact of large/aggressive/heavy Attackers. As a bonus we will also over two flashy variants which are massively overused at the A-grade: “fade-away” under-wrist cuts, and “draw” or “skyhook” cuts.
This week, we’ll continuing our exploration of feint cuts with a new, more brutal cutover and an introduction to disengages.
Previously on Intermediate, we introduced feint attacks as a class of actions used to deceive a Defender into becoming more vulnerable to the cut by fooling them into parrying into the wrong line, freezing in place, or counterattacking out of distance. Good feint attacks are able to deal with any one of these three options.
In Week 2, we introduced the cutover as a sub-class of feint attacks where you avoid the anticipated parry over the tip of their blade. We covered the cutovers against parry 3 and 4 with emphasis on getting the right distance and arcs to handle parries and counterattacks in the same action – though many of you would have noticed that cutovers work better against parries than counterattacks.
In Week 3, we continue with feint attacks by moving onto head cut feints. There are two common variants: a feint head cutover to chest with a through cut (aka the barrel-roll, aka the bunderoll, aka the pain train); and the less painful feint disengage to underarm. On the surface these moves appear to be big slow actions, but we will go over the subtle details of what makes these moves work, particularly how they deal with counterattacks via either disengagement or bind, respectively.
There also some nasty angulation stuff we will cover on special request for disarming people who counter-attack too much. I dislike counter-attackers.
Over the first two weeks of Novice, we’ve been working on building a fast lunge and accelerated advance lunge to allow you to quickly close distance and finish your attacks against an opponent at relatively close range. Tonight, we’re going to build some more range with an additional advance, allowing you to catch an opponent who is trying to flee.
Double advance lunge comes into play when the defender is trying so hard to get away that they’ve ended up off-balance. This represents both a bit of a challenge and a wonderful opportunity for the attacker. Your target is outside the range of your standard attack, but your opponent is also in a compromised position where they will struggle to mount an effective defense.
The good news is that this vulnerability allows you to luxury of an extra step without being at much risk of being hit with a counterattack. We’ll be working on how to make a relatively slow preparation step, allowing you to gauge the distance, then launch an accelerated finish with a direct hit to any of the main targets. Hunt them down.
Welcome back to Beginner week 3! Beginner comprises weeks 1 to 10 of the Sydney Sabre syllabus and about learning the fundamental rules and movements in sabre. You’ve now learned most of the basic footwork in sabre and how to use rhythm in your actions. This week we are going to start your training in the fundamental bladework actions, or simply, how to hit and parry.
Hits in sabre are made with the edge, and more specifically, the edge of the blade tip or top 2-3 inches of the blade. (As an aside, you can also hit with the back edge, but that is a topic for another day). As a result, it is vitally important that the you maintain full control of where their blade tip is at any given point in the cut – otherwise you risk overshooting or missing your opponent. Good control enables you to trace the most efficient arc between whether your blade starts in the on-guard position to the nearest open target. Good control also enables you to block the arc of an anticipated cut (or if you are lucky, to block the visible arc of a poor cut) with the strong part of your blade. This latter action is what we call a parry, and more specifically a static parry.
This week, we’re going to show you how to hit straight to the three main targets. Once you’ve got that down, we’re going to show you how to block straight hits to the three main targets. Then comes the best bit: we’re going to show you that a good straight hit at the right distance should already be at its target before the defender can block, even if they already know where you are going to hit. If that isn’t motivation to control your blade well, we don’t know what is.