Drills To Improve Foil Point Control, Bladework And Timing

[mike morgan]

DRILLS TO IMPROVE FOIL POINT CONTROL, BLADEWORK AND TIMING

Here are some very effective coule'-disengage drills (which I was originally taught almost 45 years ago) and which we now again routinely—and effectively-- use:

Start first from 4 to 6 and from 6 to 4, and progress from high 6 to low 8 (flank). Then advance to coule'-one-two in the high lines, coule in 4-to-6-to-4 and coule' in 6-to-4-to-6. When this is clean, move to the one-two with change of elevation, i.e. coule' in high 6, one to the low 4, and two to the high 6; alternate with coule'in high 4, one to the high 6, and two to the deep low 4.

Also, execute from high 6 to the flank, if the opponent's arm is away from his body. Be sure the student’s point leads/tracks to the target continuously. This never becomes just an arm action. Also, make sure that the student’s eyes track ahead of the point to the target of each component of the action, in order to provide guidance and spontaneous correction en route. Changes of elevation require syncopation of the lunge, since there are longer trajectories. Also, an important variation is making an immediate oppositional remise after each correct action in 4-6 and 6-4.

An additional application we use is to do the one-two
as a compound feint in tempo, i.e. skip the coule' and start the one-two on the opponent's (your) attempt to engage.

[Zelda]

A coule is the opposite of a bind right?

[O_O]

ummmm... thanks.... i think...

[mike morgan]

A coule is the opposite of a bind right?

A Coulé is also termed a graze, glise', or glissade. It is an attack or feint that slides along the opponent's blade without ever losing contact with the blade.

[mike morgan]

The coule’ actions and drills I suggested
are further enhanced using a patinando, i.e.,
short quick advance followed by an immediate lunge.

The key is getting the front foot off
the floor, extending forward, before the weight
transfers fully onto it.
The immediate extension of the front foot moves the center of gravity away from the remaining support point (back foot) and begins a
forward fall which becomes the lunge. It's very easy and very quick.

The pace and rhythm of the lunge are controlled by
the extension of the front knee and the reach of the foot before rolling the heel forward onto the floor. The longest and fastest lunge requires that the front leg be nearly straight forward while the lunge is in the air, and it stays that way until the heel touches down.
Shorter or slower lunges may involve less front leg extension.Varying the frontleg's extension during the lunge will cause a
variation in the pace of the lunge while still in
mid-air, enabling the fencer to syncopate the lunge
into two or more tempi, all in the one lunge.
(Arkadiev wrote quite a bit about the syncopated lunge in his classic fencing treatises.)

[Neil]

A coule is the opposite of a bind right?

You're probably thinking of a croise (a prise de fer action that takes the opponent's blade from one line to the vertically opposite high/low line).

glossary

[foilz]

The pace and rhythm of the lunge are controlled by
the extension of the front knee and the reach of the foot before rolling the heel forward onto the floor. The longest and fastest lunge requires that the front leg be nearly straight forward while the lunge is in the air, and it stays that way until the heel touches down.

Walter Flaschka's avatar (and his comments) reflect a similar picture. I've been studying the lunge. At one end of the spectrum, Aldo Nadi's classical concept -- threatening overbalance, mitigated by a power extension, and a rigid stop, an ancient technique (perhaps), but virtually no emphasis on elevation of the front foot. Lukovitch's "pipe-smoking" front leg is still close to the floor. I really can't parse what contemporary fencers do. What am I missing?

[mike morgan]

Walter Flaschka's avatar (and his comments) reflect a similar picture. I've been studying the lunge. At one end of the spectrum, Aldo Nadi's classical concept -- threatening overbalance, mitigated by a power extension, and a rigid stop, an ancient technique (perhaps), but virtually no emphasis on elevation of the front foot. Lukovitch's "pipe-smoking" front leg is still close to the floor. I really can't parse what contemporary fencers do. What am I missing?

I currently teach the lunge and related footwork technique as described in my previous post to all our fencers at the Fencing Academy of Southwest Florida (about 107 fencers.) Maitre Dave Micahnik, Head Coach at the University of Pennsylvania teaches--and has taught-- these same techniques for the past 30 years with great success. Both Maitre Micahnik and I were taught by the legendary Hungarian Maitre Lajos Csiszar who was renowned for his innovative footwork technique, lessons and drills.

[Zelda]

Thanks... I always get those two confused! I knew I knew how to do it!