• Teaching systems: Techniques and counter-techniques. Logical linked construction.
• Individual schools versus an eclectic system based primarily on Grassi, Fabris, marginally also on Silver and Meyer.
• Fencing is the art and science of hitting and not getting hit.
• The principles of tempo, measure and biomechanics influence every movement.
• A weapon is a weight at the end of a limb - a lever.
• The weight and momentum of the weapon affects muscle attachments and joints and joint fixation elements, tendons.

The goal is to create a framework for thinking about basically any martial art and how to assemble it into functional units. The result is the ability to make an informed assessment of the quality of the demonstrated techniques.

• Lie on your back with your knees bent and feet on the ground.
  • Shoulder blades perceptions : palm up/palm down.
  • Lean on the elbow and raise the forearm, press the weapon point to the center with the elbow as base.
  • Rest the elbow and raise the forearm, cut.
  • Mistakes: Pulling the shoulder from its base position, consequences.
• Cut in Low Guard, light work with weapon tip.
  • Hand outside body, tip to center, elbow down, wrist.
  • Faults: outstretched elbow ; wrist twisting; hand in the middle; tip off.
• Body structure, why we practice linear and circular movements.
• Rocking, circling sideways, across, oblique cut from left and right; circling in front of the body.

• Foot guards, their strengths, weaknesses, what they are suitable for.
• Front guard; two identical weapons.
• Lunge/“German guard”; generation and maintenance of direct frontal pressure; maintaining position in formation.
• “Sport guard”; forward/reverse speed, target minimization.
• “Neutral guard”; zero restrictions, maximum freedom.
• Testing positions with continuously graduated pressure: palms, spear.
  • Power generation and directing by the lower body and legs.
• Step 1 leg back and forth, L/R.
  • 1 leg stays up; sunken pelvis; tucked in chin.
  • Hip - knee - toe axis.
  • Faults: outstretched knee, impact other than on the whole foot, hard impact, misalignment.
• Step forward and side step with a cut from the top to a long point and with a cut to the wide guard.
• Pass forward (oblique cuts, half cuts at shoulder) and forward + to the side with head/wide guard cuts from wrist.
• Functional difference between step and pass.

• What tempo means and demonstrating tempo on frequent errors.
• Cut and thrust into opponents' attacks, in long measure.
• Low Guard (LG) x LG
  • preparatory movement for cut L/R
  • preparatory movement for thrust
  • preparatory movement for the cut and execution of the cut
• LG x upper cut position or getting out of reach
  • preparatory movement for cut L/R
  • preparatory movement for thrust
  • preparatory movement for the cut and execution of the cut
• LG x LG
  • preparatory movement for thrust (pumping) and thrust or cut
  • tramazzone
  • prepping cut, premature defense, attack at premature defense
• A flawed system of teaching defensive techniques
  • Defense, aim, prepare, attack - 4 times against one.
• Combining tempo with measure
  • LG x LG, cut prep provokes a cut at forehand, to which we respond with a step back and sensitive work with reach.

• What is measure, frequent errors related to measure.
• Measure is relative to body proportions and actual motion ranges.
• Different targets are in different measures - hand, foot, body, head.
• Entering the measure with preparatory movement.
• Entering the measure without endangering the opponent.
• Exit from the measure without endangering the opponent.
• Movement within the measure without endangering the opponent.
• Entering the measure without dominance over the entrance area.
• Deceptive guards and apparent tempo mistakes with a retreat - tempting, invitations.

• The direct line is the shortest. (M,T) ½mv²
• Whoever takes the shortest route hits first. (M, T)
• Circular motion is strongest at the circumference. (B) mv²/r
• You can withstand a small force more easily than a large one. (B)
• Every move takes time. (T)

measure (M), tempo (T), /bio/mechanics(B)

Grassi begins the techniques in a long measure.

• The science how body works under the load.
• Self-perception, tension in the body.
• Relaxation, working with breath and gravity.
• Building the right and healthy support structures.

• True edge, false edge.
• Thicker and thinner.
• Flat and edge.
• Pommel and cross guard.

• What determines the strength of the guard and in what direction: Construction of the hand, body and chassis behind the sword.
• Wide contra high/low and vice versa.
• Guards protect the armed hand.
• A cut at slashing or stabbing hand and how the guards help.

• Mobilization and increasing range by circling in limit positions.
• Spinal function, spinal posture defects and their impact on health.

• Step phase, engagement of hips and shoulders.
• Diagonal cut.

• Possibly the genesis of the lunge from the need to remain in battle formation.
• Front knee work.
• Transition to the half pass.
• Return from a lunge.
• Hip/knee/ankle rotation in lunge.
• Transition from lunge to squat.
• Tips for increasing leg speed.

• Building speed, the proper kind of strength and getting the body used to new movement trajectories.
• Letting the movement complete - relaxation of muscle fibers.
• Alphabet of letters and words.
• Focusing equally on the weapon and on the hand and body that guides the weapon.

• Speech. Poetry. Dance.
• The ability to respond to a changing situation in the course of change.
• Perception of the whole - body with the weapon, in space and time.

• Calligraphy with tip. Drawing the letter f, signature and shapes in the air with wrist, shoulder, chassis.
• Timing: foot impacts on ground.
• Timing: changing the center of gravity from one leg to the other.
• Timing: transfer weight from heel to toe while standing.
• Timing: transfer weight from heel to toe during the change from lunge to pass.
• Timing: work with the hips, turning the toes.
• Timing: lifting the foot.

• Smooth movement into the air, custom movement sets.

Fencing is an art and a science based on the possibilities and limitations of the human body. After the extensive proliferation of firearms during the 16th century, authors increasingly emphasize that fencing is an excellent form of exercise for the body and brain. It develops and cultivates our abilities. Properly performed fencing puts a good strain on the body and slows down aging. The construction and use of weapons also make use of the body's abilities and limitations.