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Thread: Yellow Belt Freestyle Techniques

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    Default Yellow Belt Freestyle Techniques

    From my archive version of Mr. Parker's Kenpo Karate Yellow Belt Manual, unedited or corrected. Because of the lack of skilled teachers in his schools who knew how to, or had sparring experience, Mr. Parker attempted to give instructors a method of teaching sparring to improve skills, as well as boost participation and success in his followers at his own tournament, the IKC. The bulk of his schools were producing so-called "technicians" with very little to no sparring, with rare exception. Notably Chuck Sullivan in the Inglewood School, Tom kelly in the Santa Monica School, and Bob Parry in the Garden Grove School were exceptions. Unfortunately, most others were unable to grasp the concept, and rising through the ranks with no experience, most were never taught or even exposed to them.

    YELLOW BELT FREESTYLE TECHNIQUES



    B -- This alphabet represents the base move. It consists of two variations. Both variations commence from a " Left to Left" fighting position.

    LL -- LEFT TO LEFT:

    Your left leg (which is forward) is facing your opponent's left leg (which is forward). The first letter (in this case L) always refers to your lead leg (leg that's forward). The second letter (also L in this case) refers to your opponent's lead leg.

    (a) The first variation is a left hooking grab to your opponent's left arm, while pulling down, and diagonally to your left; this is simultaneously executed with a right vertical punch to your opponent's face.

    (b) The second variation is a left hooking grab to your opponent's left arm, then pulling it down, and diagonally to your left; this is simultaneously executed with a right uppercut punch to his left lower ribcage. This punch is diagonal and parallel with your opponent's left ribcage.

    Both variations require that your forward leg check your opponent's forward leg. This maneuver re-enforces an Angle of Disturbance and an Angle of Cancellation.

    The numbers represent body and foot maneuvers, and are as follows:

    (1) In-place body maneuver (pivot to a forward bow)

    (2) Push-Drag

    (3) Front Crossover, Step Out

    (4) Front Crossover, Step Out, Step Through

    1. Bla 5. B3a

    2. Blb 6. B3b

    3. B2a 7. B4a

    4. B2b 8. B4b


    EXPLANATION OF THE YELLOW BELT FREESTYLE TECHNIQUES



    B1a -- is the first variation, while pivoting into a left forward bow.

    B1b -- is the second variation, while pivoting into a left forward bow.

    B2a -- "2" indicates that the movement to be used is a push-drag, needed in the event that your opponent is a little out of range or when your opponent is in the process of moving back slightly, while executing the first variation of the base move.

    B2b -- indicates the push-drag is again used, but you are now to execute the second variation of the base move.

    B3a -- "3" indicates that a front crossover is executed while executing the grab, followed immediately by a step out while executing the first variation.

    B3b -- is the same application of the front crossover, step out, while executing the second variation.

    B4a -- "4" indicates that a front crossover is executed while executing the grab, followed by a step out, then a step through while executing the first variation. At this level your right step through should position you inside of your opponent's left leg. (This is referred to as being inside of the Angle of Entry).

    B4b -- is the same application of the front crossover, step out, step through while executing the second variation.


    NOTES ON THE YELLOW BELT FREESTYLE TECHNIQUES


    1. The LEFT TO LEFT fighting position has been given priority since most Americans are familiar with these positions when boxing or street fighting.

    2. To improve your Vocabulary Of Motion, your chances of survival on the street, and your chances of success at tournaments, we highly recommend that you learn these same Freestyle Techniques from the right-to-right fighting position as soon as possible.

    3. When first learning these movements, try to get a feel for some of the favorable features that they offer:

    a. You cannot always choose the distance when action begins.

    b. Gain knowledge of your hand strikes first. Practice your hand strikes while learning to solidify your base (stances). A firm foundation is much more important during your initial stages of learning.

    c. Move quickly and unhesitatingly when closing the gap between you and your opponent.

    d. The most effective punch occurs when your strongest arm is chambered in the rear hand position.

    e. If you can cancel your opponent's leverage points, he cannot strike you effectively.

    4. The "what if" factors in B4a allow you a number of choices. You can plant your right foot on the inside of, on top of, outside of your opponent's left foot. No matter what you may decide to use, it is important that you create an Angle Of Cancellation while simultaneously pulling with your left arm and planting your right foot. The precise placement of your right foot, simultaneous with the pulling of your left arm nullifies your opponent's height zones.
    "Nothing is more dangerous than the conscientiously ignorant, or the sincerely stupid." - Martin Luther King Jr.

    "Knowledge speaks but wisdom listens." - Ed Parker Sr.

    "It's much easier to quote, than to know." - Ron Chapél


    www.MSUACF.com

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    Default Re: Yellow Belt Freestyle Techniques

    So THIS is where one can find codifications of A's and B's and the like. I never understood that before.

    I'm sure I'll have more questions once I can digest this a bit more. Thank you VERY much! :bow:

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    Doc (08-23-2009)

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