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Liechtenhauer’s Longsword Fighting A Ten Week Course of Study by Perry W. Rogers Revised: January 20, 2012

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Page 1: Longsword Lichtenahuer

Liechtenhauer’sLongsword Fighting

A Ten Week Course of Study

by Perry W. Rogers

Revised: January 20, 2012

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Table of Contents1. History & Basics! 32. Strikes, Cuts & Thrusts! 53. Master Strikes, Pt 1! 64. Master Strikes Pt 2! 85. Master Strikes, Pt 3! 106. Master Strikes, Part 4! 127. Four Displacements: Versatzungen! 148. Fight Tactics! 169. Advanced Techniques 1! 1810. Advanced Techniques 2! 20Appendix A: Ringeck’s Commentaries! 22Appendix B: Class Structure! 26Appendix C: Class Drills & Games! 27Appendix D: German Martial Glossary! 28Appendix E: Assorted Resources! 35

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1. History & BasicsA historical introduction to Liechtenhauer and German longsword fighting traditions. Work through

the Veir Leger.A. Historical Origins

Source Material✤ The teachings of Master Johannes Liechtenhauer, mid 14th century, as

written down by Sigmund Ringeck, a fencing master to the Duke of Bavaria in the early part of the 15th century

✤ The Goliath Fechtbuch c.1500, whose verse is strikingly similar to Pe-ter von Danzig’s of 1452.

✤ Hanko Dobringer Fechtbuch from 1389✤ Hans Talhoffer 1467 Fechtbuch✤ We have roughly two dozen surviving manuscripts attributed to the

teachings of Liechtenhauer, but none are in his hand that we know of.✤ It is a complete system that is based on the mechanics introduced in

the longsword teachings including: Dagger fighting, Wrestling, and Ar-mored Combat on foot and on horseback

✤ References to the Liechtenhauer works continue to show up in manu-scripts all the way to the 17th century works of Jacob Sutor.

Current Interpretations✤ The original Ringeck commentaries were in an archaic German lan-

guage (Swaibian), and was presented in mnemonic verses called merkverse

✤ Christian Tobler: Secrets of Medieval German Swordsmanship & Fighting with the German Longsword✤ Ochs Video: Liechtenhauer’s Longsword, Part 1✤ David Lindholm: Sigmund Ringeck’s Knightly art of the Longsword

B. Veir Leger (Four Primary Guards)Demonstrate the four guards. Explain the origins of their names, and their potential uses.

The Four GuardsThere are only four basic positions which are useful in combat, this are Ochs, Alber, Pflug, and vom Tag.The first guard: Ochs (the Ox) / Stand with your left foot forward, hold your sword at the right side of your head, your point directed at his face. The second guard: Pflug (the Plough) / Stand with the left foot forward and hold your sword at your right side above your knee,with your hands crossed, your point directed at his face.The third guard: Alber (the Fool) / Stand with your right foot forward and hold your sword in front of you with your arms extended, your point directed at the ground. The fourth guard: vom Tag ("From the Roof") / Stand with your left foot forward and hold your sword at the side of your right shoulder or above your head with your arms ex-tended. And in this book, you’ll find written down how to fence from these guards.

✤ Discuss the traditional use of the term ‘Guards’ as opposed to ‘positions.’✤ Stances generally refers to foot placement and weight distribution.✤ Any position in which you can stand, or move with the sword has a corresponding position name.✤ Lines of attack and defense are opened and closed based on which guard is adopted.

C. Footwork✤ Basic foot placement in the stances✤ Center of balance and body stance

FootworkNote: This is the first tenet of the long sword: learn to strike blows equally well from both sides if you want to learn to fence well. Note: If you want to strike from the (your) right side, make sure, your left foot is forward (at the beginning); if you want to strike from the

Safety & Intent Reminder1. SAFETY: number ONE concern. Everyone should keep the safety of everyone else in mind at all times. Do not break your training partners. Do not take wide-open, or cheap shots.

2. INTENT: move, act and strike with appropriate, realistic force and motion. Keep range in mind. Avoid exagger-ated motions. Partners must be fully cooperative or resistant when learning techniques.

3. TARGETING: Use precise targeting and be mindful of edge placement and control. Do not lose sight of the wounds that would be caused to un-armored opponents by sharp swords.

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left side, the right foot must be forward. If you strike an Oberhau from the right side then, follow the blow with your right foot. If you do not the blow is wrong and ineffective, be-cause your right side stays behind. Because of this the blow will fall short and cannot travel in its proper arc towards the left side. If you strike from the left side and you do not follow the blow, it too is wrong. That is why no matter from which side you are striking follow the blow with the same foot. So you will succeed in all techniques. This is how you shall strike all blows.

Types of Stepping✤ Gathering or Lunging is generally done on the tightrope (i.e. on line forward or backward), and is used merely

to change the range between you and your opponent. This step does not tend to alter your defensive profile. Skeletal power is generated by the leading foot.

✤ Passing can be done on or off line. Your defensive profile changes with each step. Skeletal power is generated with each step.

✤ Exchanging your feet is done in place. Exchanging is used to alter the feet position, and generate skeletal power with the sword. Generally, the front foot is brought backward, and placed next to the rear foot, which is then moved forward and/or outward. Skeletal power is generated when the second foot lands.

✤ Compass Stepping is used to move drastically off line. It is a passing step in which the rear foot first passes forward and outward. The second foot then follows off line, and swings outward before it lands. The swing-ing motion of the second foot generates a lot of skeletal power as it lands.

D. DrillExplain the purpose of Drilling (See Appendix B: Class Structure)Vier Leger DrillRight Vom Tag -- Left Phlug -- Right Ochs -- Left Alber -- Right Langort -- pivot -- Left Vom Tag -- Right Phlug -- Left Ochs -- Right Alber -- Left Langort - pivot

E. Play TimeExplain the purpose of Play Time (See Appendix B: Class Structure)Roman Focus GameUsing good hand protection, partners attempt to slap each other’s hands with the boffer dagger. Only the hands are valid targets. Both hands must stay in front of your body at all times. Free advice: keep moving!

F. Open SparringExplain the purpose of Open Sparring (See Appendix B: Class Structure)BE SAFE! Review Safety & Intent Reminder from the Begin-ning of class

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Recommended Minimum Sparring Gear✤ Modified shanai longsword✤ Three Weapons Fencing Mask / Helm✤ Padded gloves / gauntlets✤ Neck protection / gorget✤ Cup

Strikes should be timed so that impact power is maximized by foot / hip / shoulder motion and alignment.

Stepping is not just a matter of improving power, but range, and edge placement as well.

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2. Strikes, Cuts & ThrustsNebenhut, Targeting, Edge Control & Ansetzen

A. Review Key Concepts from Previous Sessions✤ Vier Leger Drill

B. Strikes, Thrusts & Cuts✤ Oberhau & Unterhau✤ Releasing forward hand for extra thrust distance✤ Pull & push cuttingBody Mechanics✤ Footwork for range change and increased power

FootworkNote: This is the first tenet of the long sword: learn to strike blows equally well from both sides if you want to learn to fence well. Note: If you want to strike from the (your) right side, make sure, your left foot is forward (at the beginning); if you want to strike from the left side, the right foot must be forward. If you strike an Ober-hau from the right side then, follow the blow with your right foot. If you do not the blow is wrong and ineffective, because your right side stays behind. Because of this the blow will fall short and can-not travel in its proper arc towards the left side. If you strike from the left side and you do not follow the blow, it too is wrong. That is why no matter from which side you are striking follow the blow with the same foot. So you will succeed in all techniques. This is how you shall strike all blows.

✤ Skeletal alignment with arms, hips & shouldersAnsetzen: The Hanger Point✤ The dangers of powerful strokes and following through too far✤ Sword tip is in position for immediate thrust✤ This is unarmored combat.Edge Control✤ Swords do not cut with the flat.✤ With any thrust, cut or strike, you want the tip or edge to be perpendicular to

the impact target to ease the breaking of the skin, and the entry into the flesh.C. Striking Pattern Drill

✤ First set starts in Right Vom tag: UpR, LowL, LowR, UpL✤ Second set starts in Right Nebenhut: LowR, UpL, UpR, LowL✤ Third set starts in Left Vom tag: UpL, LowR, LowL, Upr✤ Fourth set starts in Left Nebenhut: LowL, UpR, UpL, LowR

D. Play TimeBaton Striking with Edge Control Game (from Ochs: Longsword DVD)One partner wears a mask and protective gloves. He grips a baton in both hands so that there is at least 8” of space between them. As he circles and moves, he will present the baton in front, or beside himself representing target openings. The other partner strikes the baton with an appropriate strike, cut, or Master Strike. Careful at-tention should be paid to range, staying in an appropriate guard, striking power, and edge placement.Thrust Targeting Game (from Ochs: Longsword DVD)This game is just like the Baton Striking game, but uses thrusting target as the focus.

E. Open SparringExplain the purpose of Open Sparring (See Appendix B: Class Structure)Review Safety & Intent Reminder from the Beginning of classWork on hanger point, and edge control

Safety & Intent Reminder1. SAFETY: number ONE concern. Everyone should keep the safety of everyone else in mind at all times. Do not break your training partners. Do not take wide-open, or cheap shots.

2. INTENT: move, act and strike with appropriate, realistic force and motion. Keep range in mind. Avoid exagger-ated motions. Partners must be fully cooperative or resistant when learning techniques.

3. TARGETING: Use precise targeting and be mindful of edge placement and control. Do not lose sight of the wounds that would be caused to un-armored opponents by sharp swords.

Recommended Minimum Sparring Gear✤ Modified shanai longsword✤ Three Weapons Fencing Mask / Helm✤ Padded gloves / gauntlets✤ Neck protection / gorget✤ Cup

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Keep tip on line and threat-ening the face of the oppo-nent.

Move your feet, control your edge, Watch your tip

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3. Master Strikes, Pt 1The Zornhau Plays including Abnemen, Mutieren, Duplieren, and basic Winden.

A. Review Key Concepts from Previous Sessions✤ Vier Leger Drill✤ Stepping & Striking✤ Striking Pattern Drill

B. Introduce New MaterialIntroduction to Master Strikes✤ Special ways of swinging the sword to alter the initiative in a fight.✤ More of a set of tactical techniques than anything.✤ You must have good fundamental skills in footwork, ansetzen and

edge control to make these work.Historical Source & Background

The Strike of Wrath and the Winding Note: When your adversary strikes at you from his right side with a strike from above (Oberhau), then hit with a strike of wrath from your right shoulder against it. Strike with your true edge and in your strong. When he is weak at the sword then, thrust into his face along his blade. When you thrust against his face from the strike of wrath and he notices this and displaces the thrust with strength, pull your sword upwards, away from his. And then strike to the head from the other side, also along his blade. When you strike a strike of wrath and he displaces it and remains strong at the sword, hold strongly against it. With the strong of your sword, slide up to the weak (schwech) of his blade, wind the hilt in front of your head while remaining on the sword (am schwert) and thrust into his face from above. When you thrust from the Winding as described and he displaces the thrust by lifting up his arms and his hilt, stay in the Winding and take the Ort (point or thrust) down between his arms and breast. Note: When you engage at the sword ("binden") with strength and your adversary pulls his sword upwards and strikes at your head from the other side, then bind strongly with the true edge and strike him on the head. You must notice immediately, if someone is weak or strong at the sword if he binds at your sword with a strike or a thrust. If you have noticed that, you shall know simultane-ously, if it is better to fight him in the "before" (Nach) or the "after" (Vor). But don’t engage rashly in close-combat (Krieg), this is nothing else than Winding (Winden) at the sword. In close-combat you should do the following: if you strike him with the strike of Wrath and he displaces it, lift up your arms and, at the sword, wind the point to the upper opening. When he displaces (Versetzen) the thrust, stay in the winding and thrust to the lower opening. If he follows your sword in the displacement (Versatzung), lead your point through under his sword (disengage under "durchführen") and thrust to the other opening on his right side. This is how you can defeat him in close-combat. Mutieren and Duplieren against the four openings: These are the four openings you should aim at in combat. The first opening is the right side, the second opening is the left side above the belt. The other openings are the right and left side below the belt. Already pay attention to the openings when you are closing in, aim at the ones he (your adversary) exposes. Thrust with the "long point" (Langer Ort), use the "traveling after" (Nachreissen) and all other opportunities. Don’t pay attention to what he’s up to, fence securely and you’ll hit so outstandingly, that he’ll not be able to get through with his own techniques.

Safety & Intent Reminder1. SAFETY: number ONE concern. Everyone should keep the safety of everyone else in mind at all times. Do not break your training partners. Do not take wide-open, or cheap shots.

2. INTENT: move, act and strike with appropriate, realistic force and motion. Keep range in mind. Avoid exagger-ated motions. Partners must be fully cooperative or resistant when learning techniques.

3. TARGETING: Use precise targeting and be mindful of edge placement and control. Do not lose sight of the wounds that would be caused to un-armored opponents by sharp swords.

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Step into the wind & thrust

Intercept his blow near to you & far from him.

Step left as you “take off”: Abnemen

If he “takes-off”, turn the long edge outward & push hard into the flat of his blade as he comes back down.

The tech-niques presented here are covered in depth in a later class.

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Tactical Advice

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If you want to break one of the four openings by force, then "Dupliere" at the upper open-ing, against the Starke (strong) of his sword, and then "Mutiere" to another opening. Against this, he cannot defend himself and he will not be able to either strike or thrust. Duplieren: When you strike a strike of wrath (Zornhau) or any other Oberhau and he displaces it with strength, with the left hand, im-mediately thrust the pommel of your sword under your right arm. With crossed hands, behind his blade and in between the blade and his body, strike him diagonally through the face. Or strike him on the head. Mutieren: If you bind against his sword, with an Oberhau or oth-erwise, wind the short edge at his sword, raise your arms and thrust at the lower opening from the outside along his blade. You can use that from both sides.

Notes on Zornhau Plays & Their Organization✤ There is a lot going on here.✤ These have a random / illogical feel to their order.✤ There are plays, counters & counter-counters going on here to introduce the sense that a fight has a flow to it.✤ This Master Strike is only launched from Vom Tag. You could come from another position, but you would

pass through Vom Tag on your way.C. Drills

✤ Striking Pattern Drill✤ Vier LegerWinden Drill: Clockwise & Counter-Clockwise (from Ochs: Longsword DVD)Work large circles moving through the eight windings clockwise and counter-clockwise. Keep pressure on the blades, and maneuver toward a position from which a good thrust could be executed.

D. Play Time✤ Baton Striking with Edge Control & Thrust Targeting Games from Ochs: Longsword DVD

E. Focused Sparring to Improve Timing Followed by Open Sparring✤ Safety & Intent Review✤ Explain Focused Sparring concept, and

details for its application. (See Appendix B)✤ Work on various Zornhau plays.✤ Actively engage in binding swords.

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Done from close in, again stepping to-ward his pommel. Think of this as gathering his blade. This one requires DEEP stepping,and wide motiions.

Doubling is done from farther out, but you must step off-line toward your opponent’s pommel as you do this.

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4. Master Strikes Pt 2The Krumphau Plays and the Schrankhut Guard

A. Review Key Concepts from Previous Sessions✤ Zornhau, Strike of Wrath✤ Abnemen, Taking off✤ Winden, Duplieren & Mutieren

B. Introduce New MaterialA New Guard- The Schrankhut✤ The barrier guard✤ Thumb Grip on both sides✤ Blade flat against opponent

From Goilath: Of the Barrier Guard: Put yourself thus in the barrier guard to your left side: when you come to him with it in the pre-fencing, then stand with the right foot forward and hold your sword near your left side to the ground with crossed hands, so the short edge is above, and give an opening with your right side, if he Strikes to your opening, then burst out of the strike toward him with the left foot well to his right side. . . .

Historical Source & BackgroundThe Krumphau:This is how you should strike the Krumphau at the hands. When he attacks you from his right side with an Oberhau or Unterhau, jump out of the strike with your right foot towards his left side and with crossed hands strike against his hands using the point.This is how you can Absetzen ("set aside") the cuts from above with the Krumphau: If he attacks you from his right side with an Oberhau, step to-wards his left side with your right foot and put your point in the Schrankhut. Practice this from both sides. From the setting aside you can strike him on the head. If you want to weaken a master, then while he strikes an Oberhau from his right side strike a Krumphau with crossed hands against his sword. When you strike him with the Krumphau against his sword, from the sword immediately strike up-wards against his head with the short edge. Or after the Krumphau wind the short edge at his sword and thrust him into the breast. When he strikes an Oberhau from his right shoulder, pretend as if you are going to bind against his sword with a Krumphau. But let your strike fall short, lead your point through under his sword and wind your hilt over your head and to your right side. Then thrust him in the face. This is how you can break the Krumphau: If you attack him from your right side with an Oberhau and he displaces this with a Krumphau with crossed hands from his right side, then strongly hold your sword against his. And "shoot" (thrust) the point at his breast with your arms extended. Another defense against the Krumphau: If you attack him from your right side with an Oberhau and he displaces (Versatzung) this with a Krumphau with crossed hands from his right side and if he pushes your sword to the ground, then wind towards your right side, raise your arms over your head and thrust at his breast from above. If he displaces that, stand as you are, with the hilt in front of your head and nimbly work with the point from one opening to the other. This is called the "noble war" and with this you’ll confuse him so much , that he will not know how to defend himself against your attacks.

Notes on Krumphau Plays✤ To use many of these plays, you must step far and fast.✤ You must have quick hands.✤ In Schrankhut, you feel like a coiled spring.

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Use a deep, fast step, strike with the very tip of the sword to ensure the proper range.

You need to get under his sword for this one. Strike with the short edge.

Safety & Intent Reminder1. SAFETY: number ONE concern. Everyone should keep the safety of everyone else in mind at all times. Do not break your training partners. Do not take wide-open, or cheap shots.

2. INTENT: move, act and strike with appropriate, realistic force and motion. Keep range in mind. Avoid exagger-ated motions. Partners must be fully cooperative or resistant when learning techniques.

3. TARGETING: Use precise targeting and be mindful of edge placement and control. Do not lose sight of the wounds that would be caused to un-armored opponents by sharp swords.

Use short edge at close range. If farther out: wind and thrust.

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One fluid motion, range is criti-cal, step in with the trust

Winden

You must be in a very strong position for this. A step in as well.

Beat his sword aside by striking it on the flat with the thumb grip as you enter Schrankhut.

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C. DrillsVier Leger DrillRight Vom Tag -- Left Phlug -- Right Ochs -- Left Alber -- Right Langort -- pivot -- Left Vom Tag -- Right Phlug -- Left Ochs -- Right Alber -- Left Langort - pivotMaster Strikes DrillsStep through Krumphau Master Strike from right & left sides using ALL guard positions

D. Play Time✤ Baton Striking with Krumphau✤ Winden Game from Ochs: Longsword DVD

E. Focused Sparring to Improve Timing, Followed by Open Sparring

✤ Work on various Krumphau plays and counter plays

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5. Master Strikes, Pt 3The Zwerchau Plays and various types of Feints

A. Review Key Concepts from Previous Sessions✤ Zornhau, Strike of Wrath✤ Winden, Duplieren & Mutieren✤ Krumphau to the hands✤ Krumphau to the blade

B. Introduce New MaterialHistorical Source & Background

The Zwerchhau The Zwerchhau counters (literally "breaks") all downward strikes made from above. Do it like this: If he strikes an Oberhau at your head, "jump" (make a large, explosive step) to his left side with your right foot, while you jump, turn your sword, so that your hilt is high in front of your head and your thumb is down (on the flat of the blade) and strike at his left side with your short edge. So you catch his strike with your hilt and hit him simultaneously on the head. This is how you can work with the stark (strong) from the Zwerch: If you strike with the Zwerch, pay attention to strike strongly with the strong of your sword against his blade. If he strongly holds against it, strike him -at the sword- on the head behind his blade with your hands crossed. Or cut him trough the face. When you bind at his sword with the strong of your sword with the Zwerch and he strongly holds against it, push down his sword to your right side with your hilt. And immediately strike again with the Zwerch to the right side of his head.If you bind against his sword with the Zwerch and he is "soft" at the sword, place the short edge at the right side of his neck, jump behind his left foot with your right foot and tear him over with the sword. If you bind against his sword with the Zwerch and he is "soft" at the sword, push his sword down with the Zwerch and lay the short edge at his throat. A defense against the upper Zwerch:When you bind at his sword with an Oberhau or another strike from your right side and he strikes with the Zwerch at your other (left) side, forestall this with a Zwerch to his neck under his sword. This is how you can strike to the four openings with the Zwerch: When you close in with your adversary with the "Zufechten", at the right moment, jump towards him and strike with the Zwerch to the lower opening of his left side. This is called "strik-ing towards the plow" ("zum Pflug schlagen").When you have attacked the lower opening with the Zwerch, immediately strike another Zwerch to the other side, at his head. This is called "striking towards the ox" ("zum Ochsen schlagen"). And then strike swiftly alternating the Zwerch towards the plow and the ox, crosswise from one side to the other. Then you can disengage from him with an Oberhau to the head.When you strike the Zwerch, you shall always jump to his flank, namely towards the side on which you want to hit him. So you can hit his head. And pay attention that you cover the front of your head with the hilt while jumping.

Instructor Demonstration & Explanation Followed by Whole Class Step Through✤ Follow Ringeck’s Tactical advice in the final paragraph, except that a more straight ahead step may be re-

quired when more distance must be covered.

Safety & Intent Reminder1. SAFETY: number ONE concern. Everyone should keep the safety of everyone else in mind at all times. Do not break your training partners. Do not take wide-open, or cheap shots.

2. INTENT: move, act and strike with appropriate, realistic force and motion. Keep range in mind. Avoid exagger-ated motions. Partners must be fully cooperative or resistant when learning techniques.

3. TARGETING: Use precise targeting and be mindful of edge placement and control. Do not lose sight of the wounds that would be caused to un-armored opponents by sharp swords.

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If he binds with his long edge, then double

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Step to the left, your hilt will be near your face, and being under his sword will protect you. If you are far-ther away, step back out of his range, and hit his arms.

Tactical Advice

Push his sword backward and downward with your hilt.

Push cut as you step in, break his bal-ance with your elbow, body and knee, his left foot must be forward.

This is similar to Step #4 above, but you need to force his sword down

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Keep your hilt up high when striking to the lower openings.

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C. DrillsIntermediate Guards DrillVom Tag - Kumphau -> Schrankhut - Unterhau -> Ochs - Zwerchau -> Phlug - Stich -> Kron - Oberhau -> Ne-benhut - Zornhau -> Alber - short edge Unterhau -> pivot (Repeat on opposite side) Master Strikes Drills✤ Step through Zwerchau Master Strike from right & left sides using ALL guard positions✤ Work side-to-side Zwerchau striking

D. Play Time✤ Baton Striking with Krumphau and Zwerchau

E. Focused Sparring to Improve Timing, Followed by Open Sparring✤ Work on various Zwerchau plays and counter plays

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6. Master Strikes, Part 4The Schielhau & Scheitelhau Plays

A. Review Key Concepts from Previous Sessions✤ Zornhau, Shooting the thrust✤ Winden, Duplieren & Mutieren✤ Krumphau✤ Zwerchau✤ Intermediate Guards Drill

B. Introduce New MaterialHistorical Source & Background

The "Squinter": The Squinter is a strike which primarily "breaks" the strikes and thrusts of those fencers, who rely only on their strength. Do it like this: If he attacks you from his right side, strike from your right side with the short edge and extended arms against the weak of his sword and hit him on the right shoulder. If he changes through, thrust him into his breast with your arms ex-tended. You should strike like this, too, if he faces you in the guard of the plough or if wants to thrust you from below. Note: You should always deceive him with your line of vision. Pay attention, if he fights short (feints).You will know this when he does not extend his arms when striking. You should strike then, too, move your point through under his sword and thrust him into the face. Note: The Squinter breaks the "long point" and this is done as follows: When he faces you and points his point against your breast or face with ex-tended arms, place your left foot forward and look at his point. Feint a strike against his point, strike strongly against his sword with the short edge and "shoot" (thrust) , with a forward step with the right foot, your point against his throat, with your arms extended. When he strikes an Oberhau, look at his head, as if you intend to strike him there. But then strike against his blow with the short edge and then strike at the hands with your point, along his blade. The "Parting Strike" Note: the parting strike is aimed at the face or breast. Do it like this: If he is in the guard Alber, strike vertically downward with the long edge. And while striking, keep your arms up high and move your point to his face. If you move the point at his face from above with the parting strike and he displaces the point with the (his) hilt up, turn your sword, lift the (your) hilt high above your head and thrust him down into the breast. When you strike a parting strike and he displaces with the hilt high above his head, then this displacement is called "the crown". From there you can rush in. If he breaks the parting strike or any other Oberhau with the crown and tries to rush in, cut him in the Arm under his hands and push upward, so that the crown is broken. Then turn your sword from the low cut into a high one and free yourself in this way.

Instructor Demonstration & Explanation Followed by Whole Class Step ThroughC. Drills

Master Strikes DrillsStep through Schielhau & Scheitelhau Master Strikes from right & left sides using ALL guard positions

Safety & Intent Reminder1. SAFETY: number ONE concern. Everyone should keep the safety of everyone else in mind at all times. Do not break your training partners. Do not take wide-open, or cheap shots.

2. INTENT: move, act and strike with appropriate, realistic force and motion. Keep range in mind. Avoid exagger-ated motions. Partners must be fully cooperative or resistant when learning techniques.

3. TARGETING: Use precise targeting and be mindful of edge placement and control. Do not lose sight of the wounds that would be caused to un-armored opponents by sharp swords.

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Tactical Advice

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Block & strike are simultaneous. Turn your body to adopt the “Squint-ing” position.

Your feint must look like it is going to be powerful

Step to stay out of range of his weapon.

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Step to stay out of range of his weapon.

Step in to get enough height

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Intermediate Guards DrillVom Tag - Kumphau -> Schrankhut - Unterhau -> Ochs - Zwerchau -> Phlug - Stich -> Kron - Oberhau -> Ne-benhut - Zornhau -> Alber - short edge Unterhau -> pivot (Repeat on opposite side)

D. Play TimeCounters to oberhau and unterhau using Zornhau, Krumphau, Zwerchau, Schielhau & Scheitelhau plays

E. Focused Sparring to Improve Timing, Followed by Open Sparring✤ Work on various Schielhau & Scheitel-

hau plays, counter plays

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7. Four Displacements: VersatzungenGuard Breaking Drills & Applications

A. Review Key Concepts from Previous Sessions✤ Five Master Strikes✤ Winden, Duplieren, Mutieren✤ Intermediate Guards Drill

B. Introduce New MaterialHistorical Source & Background

7. The Four Displacements (Versatzungen) You have heard previously, that you shall fight only from four guards. Now, you shall get to know the four displacements, which are four strikes. The first strike is the "crooked strike" (Krumphau). It counters (liter-ally "breaks") the guard (Hut) ochs. The second strike is the Zwerchhau. It counters the guard Vom Tag. The third strike is the "squinter" (Schielhau). It counters the guard Pflug.The fourth strike is the parting strike (Scheitelhau). It counters the guard Alber. And beware of all displacements used by bad fencers. Note: Strike, when he strikes, thrust, when he thrusts. And in this chapter and in the chapter on the five strikes you shall find written down how you shall strike and thrust.A Technique against a Displacement: If a strike of yours has been displaced, note: if an Oberhau of yours is displaced, stay in the bind, move your pommel over his forward hand and tear it down; and strike him on the head simultaneously. A Second Technique against a Displacement: If you strike an Unterhau from the right side and he falls on your sword (i.e., he pushes it downwards), so that you cannot lift it up, move the pommel over his sword and, with a snapping motion, strike him on the head with the long edge. Or, if he falls on your sword on your left side, strike him with the short edge (Kurze Schneide). A Third Technique against a Displacement: If you strike an Oberhau from the right and if you want to end the fight, then note: when he displaces, immediately strike around (i.e., to the other side) with the Zwerchhau. Grab the blade of you sword with the left hand and thrust into his face. Or attack one of the other openings you can reach best. A Fourth Technique against a Displacement: If you thrust at his face at the Halb Schwert (half-sword) and he dis-places this, immediately strike him on the other side of the head with the pommel. Or jump with the right foot behind his left foot, move your pommel around his neck from the right shoulder (i.e., his right side) and tear him down over your right leg. From Goliath:That is you should not displace as the common fencer does. When they dis-place then they hold their point high or to one side, so understand that they do not know how to use the point in the displacement to seek onward and are of-ten hit. Thus when you would displace, then displace with your strike or with your stab and Immediately search for the next opening with the point, thus you will not be mastered and struck to your damage.

Safety & Intent Reminder1. SAFETY: number ONE concern. Everyone should keep the safety of everyone else in mind at all times. Do not break your training partners. Do not take wide-open, or cheap shots.

2. INTENT: move, act and strike with appropriate, realistic force and motion. Keep range in mind. Avoid exagger-ated motions. Partners must be fully cooperative or resistant when learning techniques.

3. TARGETING: Use precise targeting and be mindful of edge placement and control. Do not lose sight of the wounds that would be caused to un-armored opponents by sharp swords.

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Tactical Advice

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2

3

4

5

Tactical Advice on using the hanger point for all blocking to defeat a foe who does not.

Stepping in to your left as you wind your pommel around his sword.

Both of these are after your sword has been driven down following a strike

Release your left hand and move toward the half-sword as you zwerch.

Footwork and range are the keys to this play. You really don’t need to move more than your feet.

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C. DrillsIntermediate Guards DrillVom Tag - Kumphau -> Schrankhut - Unterhau -> Ochs - Zwerchau -> Phlug - Stich -> Kron - Oberhau -> Ne-benhut - Zornhau -> Alber - short edge Unterhau -> pivot (Repeat on opposite side) Guard Breaking Drill (from Ochs: Longsword DVD)One partner adopts each of the Primary Guard positions, and the other partner responds with the appropriate Master Strike. Partners alternate this role for each stroke.

D. Play TimePush Me, Pull You (from Schola St. George)Each partner grips a sword handle in his right hand. He then grips his partner’s sword blade about 8” from the tip in his left hand. The players are now connected by two swords. The goal is to push and pull on one, or both of the swords in an attempt to get the other player off balance. This game may be played with stationary feet, or with both partners moving and circling.

E. Focused Sparring to Improve Timing, Followed by Open Sparring

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8. Fight TacticsUsing Initiative Theory, Sprechfenster & Feints

A. Review Key Concepts from Previous Sessions✤ Five Master Strikes✤ Intermediate Guards Drill✤ Versetzen at quick speed

B. Introduce New MaterialHistorical Source & Background

Tactical Basics When you are closing to an opponent, do not watch his blows and do not wait for what he might use against you. Because all fencers, who just wait for their opponents blows and do not do anything else than warding them off, do not succeed very often. They are defeated very often. Note: Always fence using all of your strength! When you're close, strike at his head and at his body, so he may not be able to change through (Durchwechseln) in front of your point. After the blow, from the bind, strike light blows at his next opening, as is de-scribed in the section about different blows and other techniques. Note: This tenet is addressed to left-handers and right-handers. If you are a right-handed fencer and you are closing to an opponent and you think you can hit him, do not strike the first blow from the (your) left side. Because you are weak there and you cannot resist, if he binds strongly against your blade. Because of this, strike from the right side, you can work strongly "Am Schwert" ("on the sword") and you can use all techniques you like. So, if you are left-handed, do not strike from the right side, since left-handers are usually not used to strike effectively from the right side and vice versa. Note: Above all other things, you must understand the principles of "before" (Vor) and "after" (Nach), because the entire art of fencing is based upon it. "Before" means, pre-empting him with a blow or a thrust against an opening before he can hit you, so he must defend/displace (Versetzen). So, be flexible in your defense and aim with your sword at one opening after the other, so he cannot get through with his own techniques. But, if he rushes in, start wrestling."After" means: If you do not succeed with the "before", wait for the "after". These are the defenses against all techniques he uses against you. So, if you have to displace him, make the displacement ‘simulta-neously" (Indes) and from the bind, strike immediately at his nearest opening. So you win the "before" and he remains in the "after". Also, you should –during the "before" and "after" –notice ‘simultaneously" (Indes) how you can "work" against the strong or the weak of his sword. This means: The strong of the sword reaches from the crossguard to the middle of the blade, with it, you can hold opposed, if somebody binds against it. The weak reaches from the middle of the blade to the point. Here you cannot hold opposed. If you firmly understand this, you can "work" and defend yourself very well. Princes and Lords learn to survive with this art, in earnest and in play. But if you are fear-ful, then you should not learn to fence. Because a despondent heart will always be de-feated, regardless of all skill. The "Fault" (Feint): All fencers who rely on displacing are deceived and defeated with the fault. When you close with him, feint any Oberhau to his left side. From there (when he wants to displace it) you can easily hit another opening.

Safety & Intent Reminder1. SAFETY: number ONE concern. Everyone should keep the safety of everyone else in mind at all times. Do not break your training partners. Do not take wide-open, or cheap shots.

2. INTENT: move, act and strike with appropriate, realistic force and motion. Keep range in mind. Avoid exagger-ated motions. Partners must be fully cooperative or resistant when learning techniques.

3. TARGETING: Use precise targeting and be mindful of edge placement and control. Do not lose sight of the wounds that would be caused to un-armored opponents by sharp swords.

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1

Always watch for opportunities to exploit the weak part of his weapon.

Tactical Advice

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3

4

Sword physics. The flat is also weak in the standard grip.

5

Use Indes to restore Vor

Feint and watch his reaction for an opening.

Use light blows to probe for an opening.

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The "Verkehrer": If you bind at your adversaries sword with an Oberhau or an Unterhau, turn your sword so that your thumb is down and thrust to his face from above. So you force him to displace the thrust. While he displaces, grab his right elbow with your left hand, place your left leg in front of his right leg and toss him over.The Double Feint: Here, you must deceive him twice while closing in. When you come close to him with the Zuefechten, jump towards him with the left foot and feint a Zwerch to the left side of the head. But then turn the blow over and strike to the right side of his head. If you have attacked him on the right side of the head as described, strike immedi-ately at the same spot. Then go over his sword with the short edge and your hands not crossed, jump to your left side and cut through his face with the long edge. The SprechfensterNote: It is called the speaking window. If he binds your sword with a strike or a parry, then remain strong at the sword with extended arms (Langenort) using the long edge. Keep the point of the sword at his face and calmly note what he intends against you.Note: If he strikes around with an oberhau to your other side, then follow and bind strongly with the long edge toward his head. Or if he strikes around with a zwerchau, then hit on his arms with a high cut. Or if he yanks the sword to himself and wishes to thrust to your lower openings, then travel after him at the sword and thrust high.Note: If he neither wishes to withdraw, or strike around, then you will work with the sword using duplieren and other techniques as you find out if he is weak or strong at the sword.

Instructor Demonstration & Explanation Followed by Whole Class Step ThroughReview master strike techniques and comment on initiative type.✤ Zornhau: displace with power & thrust (Nach)✤ Krumphau: leap out and strike hands of oberhau (Indes)✤ Zwerchau: displace oberhau & cut head (Indes)✤ Scheilhau: displace buffalo & cut head (Indes)✤ Sheitelhau: Step back & cut scalp (Indes)

C. DrillsGuard Breaking Drill (from Ochs: Longsword DVD)One partner adopts each of the Primary Guard positions, and the other partner responds with the appropriate Master Strike. Partners alter-nate this role for each stroke.

D. Play TimePush Me, Pull You (from Schola St. George)Each partner grips a sword handle in his right hand. He then grips his partner’s sword blade about 8” from the tip in his left hand. The play-ers are now connected by two swords. The goal is to push and pull on one, or both of the swords in an attempt to get the other player off balance. This game may be played with sta-tionary feet, or with both partners moving and circling.

E. Focused Sparring to Improve Timing, Fol-lowed by Open Sparring

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Step in quickly

Duplieren behind his sword

Probe his defense for weakness

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9. Advanced Techniques 1Nachreissen, Fuhlen, Abnahmen, Ueberlauffen, Absetzen, Durchwechseln and Zucken

A. Review Key Concepts from Previous Sessions✤ Five Master Strikes✤ Intermediate Guards Drill✤ Versetzen at quick speed

B. Introduce New MaterialHistorical Source & Background

8. The "Traveling After" (Nachreissen): There are two kinds of Nachreissen, and you should learn both. Use the first against an Oberhau. If he raises the sword to strike, travel after him with a strike or a thrust and hit him in the upper opening before he can complete the strike. Or fall on his raised arms with the Lange Schneide (long edge) and push him away from you.Another Nachreisen When he strikes an Oberhau and brings the blade down with the strike, travel after him with a strike on the head before he can get his sword up again. But if he wants to thrust at you and pulls the sword back to prepare for the thrust, travel after him and thrust at him, before he can do it himself. A third Nachreisen When he strikes short in front of you, travel after him with a strike to the high opening. If he moves up and winds against your sword from below, note: as soon as the swords clash together, fall on his arms with the long edge and push him away from you. Or cut through his face. Practice this from both sides. The "Abnahmen" from the outside Note, there are two "Abnahmen" from the Outside, which are two "Nachre-isen" at the sword (am Schwert). Do them like this: If his strike falls short, travel after him. If he displaces that, stay at the sword (maintain blade con-tact) and check whether he's hard or soft in the bind. When he pushes up your sword with strength, place your blade on the outside of his blade and thrust at his lower opening. The second Abnahmen from the outside Also, if you fence against him with low strikes or other techniques, and he forestalls this and winds against your sword from above, so that you cannot move it up, maintain strong contact with his sword from below. If he then at-tacks your high opening follow with your sword, take the weak of his blade with your long edge, push it down and thrust into his face.The "Fuhlen" ("feeling") and the word "Indes" ("while" or "during") You shall learn and understand both the word "Fuhlen" and the word "Indes", because these two belong together and together they account for the greatest art and skill in fencing. Therefore remember: if one binds against the others sword, you shall notice right in the moment when the blades make contact- whether he has bound hard or soft. And as soon as you have noticed this, remember the word "In-des": this means that you should attack the next opening immediately and nimbly, hard or soft. So he will be defeated before he knows it himself. Likewise, you shall remember the word "Indes" during all binds at the sword, because "Indes" dupliert" and "Indes" mutiert, "Indes" rushes through and "Indes" takes the 'Schnitt', "Indes" wrestles and "Indes" dis-arms him, "Indes" –in the art of fencing- does, what your heart desires.

Safety & Intent Reminder1. SAFETY: number ONE concern. Everyone should keep the safety of everyone else in mind at all times. Do not break your training partners. Do not take wide-open, or cheap shots.

2. INTENT: move, act and strike with appropriate, realistic force and motion. Keep range in mind. Avoid exagger-ated motions. Partners must be fully cooperative or resistant when learning techniques.

3. TARGETING: Use precise targeting and be mindful of edge placement and control. Do not lose sight of the wounds that would be caused to un-armored opponents by sharp swords.

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He is fencing with his arms, not his body. His point is not on line.

Void his attack, and then strike after his blade in the same arc.

Do this as he lifts his sword from a lower / Alber position. If you are in his strong, step in deeply as you cut his arms.

Strike his flat as his blade comes up and Mutieren, or scoop his blade aside.

Tactical advice.

Feel his intent in the bind.

As he winds toward your upper opening, step in as you wind over the top of his sword.

Fuhlen is the physical knowl-edge of what he intends to do.

Indes is the moment outside of the rhythm in which you are free to attack.

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"Indes" is a sharp word, which cuts all fencers, that don't know anything about it. And "Indes is the key, which unlocks the art of fencing.

Fighting Techniques. The Overrunning. When he crosses swords, with a cut or thrust to the lower openings, then you will not set him aside. Rather wait, until you may strike or cut at his head. So you defeat him because the oberhau and thrust have longer reach then unterhau. The Absetzen You must learn the art of setting aside so that his cuts and thrusts may be broken. Do it like this. When he stands before you, as though to strike your lower opening, then take the guard of the plow on your right side to open your left. When he strikes to your left wind against his sword to your left and take one step with your right foot toward him: so you achieve your thrust and he has been displaced.The Second Set-aside. When you stand opposite him in the guard of the plow on your left side and he strikes towards your open left side move your sword high to your left side, with the hilt before your face. Take one step towards him with right foot and thrust through his face. The Change Through Do it like this: if he wants to engage you in a bind against Cut or Thrust, so let the point/thrust slide through under his sword and stick/stab him in the other side. There you find him exposed. The Twitching. When you move in to strike him from your right with an Oberhau to the head and he binds your sword, take a single step towards him, maintaining pressure against his sword. Then jerk your sword backwards and away from his to disengage. Then strike his head from the other side. If he sets this aside, then hit him on the other side and work skillfully to his up-per openings with Duplieren and other pieces.

Instructor Demonstration & Explanation Followed by Whole Class Step Through✤ Nachriesen is a principle, not a set of techniques.✤ In general, aim at his hands when using most Nachriesen techniques.

C. DrillsFühlen Drill (from Fighting with the German Longs-word)Partners agree to a strike and counter-strike tech-nique (I.e. Zornhau v. oberhau from the right). The attacking partner then varies the degree to which he is “at the sword,” and the responding partner must use an appropriate technique based on the attacker’s level of commitment. You will want to pre-plan the level of commitment the attacker will use at first. Start slowly and carefully as this skill takes a lot of time and practice.

D. Play TimePush Me, Pull You (from Schola St. George)Each partner grips a sword handle in his right hand. He then grips his partner’s sword blade about 8” from the tip in his left hand. The players are now connected by two swords. The goal is to push and pull on one, or both of the swords in an attempt to get the other player off balance. This game may be played with stationary feet, or with both partners moving and circling.

E. Focused Sparring to Improve Timing, Fol-lowed by Open Sparring

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Geometry play

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10. Advanced Techniques 2Wrestling at the Sword

A. Review Key Concepts from Previous Sessions✤ Five Master Strikes✤ Intermediate Guards Drill✤ Versetzen at quick speed

B. Introduce New MaterialHistorical Source & Background

The Walkthrough. When he holds his sword aloft to strike you a powerful blow then will you hold your sword with the left hand on the pommel above your head and the blade over your back. Duck under his right arm and spring your right foot behind his right foot. In the spring grip him with your right arm around his body. Take him on the right hip and throw him to the ground. A Second Walkthrough. When he holds his sword aloft to strike you a powerful blow then will you hold your sword with the left hand on the pommel above your head and the blade over your back. Duck under his right arm, leave your right leg in front of his and grip him with your right arm around his back, then throw him behind you. First Sword Wrestling. When you come in, let you sword out in your left hand and hold it in with your right. Knock his sword away with the hilt out of your right side. Spring your left foot in front of his right, grip him with your left arm about his body take him on the left hip and throw him to the ground. Be careful to make no mistake. Second Sword Wrestling. When you come in, let you sword out in your left hand and hold it in with your right. Knock his sword away with the hilt out of your right side. Spring with the left foot behind his right. Grip him with the left arm around the chest, throw him over your leg behind you. A Third Sword Wrestle When you come in, let you sword out in your left hand and hold it in with your right. Throw the pommel over his right arm, and tear it downwards. Grab his right elbow, spring your left foot before his right and pull him over your leg so that he goes over your right side. A Fifth Sword Wrestle. If someone comes in close to you, then use your left hand and drive with it over his right arm. Seize his sword at the handle between his two hands and pull it to your left side. Thus you take the sword from him and it will go badly for him. Taking a Sword. If he binds your sword by engaging it or by other means, then seize both swords in the centre of the blades with the left wrong hand. Hold them to-gether firmly, and drive through with your right hand to your left side with the pommel down, over both of his hands. And then pull upward to your right side thus you take both swords.

Instructor Demonstration & Explanation Followed by Whole Class Step ThroughC. Drills

Fühlen Drill (from Fighting with the German Longsword)Partners agree to a strike and counter-strike technique (I.e. Zornhau v. oberhau from the right). The attacking partner then varies the degree to which he is “at the sword,” and the responding partner must use an appropriate

Safety & Intent Reminder1. SAFETY: number ONE concern. Everyone should keep the safety of everyone else in mind at all times. Do not break your training partners. Do not take wide-open, or cheap shots.

2. INTENT: move, act and strike with appropriate, realistic force and motion. Keep range in mind. Avoid exagger-ated motions. Partners must be fully cooperative or resistant when learning techniques.

3. TARGETING: Use precise targeting and be mindful of edge placement and control. Do not lose sight of the wounds that would be caused to un-armored opponents by sharp swords.

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This ‘spring’ must be a large enough step to take you nearly past him.

Use this one if you cannot spring all the way past him.

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Always pull the weapon out through the weakest part of the grip.

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technique based on the attacker’s level of commitment. You will want to pre-plan the level of commitment the attacker will use at first. Start slowly and carefully as this skill takes a lot of time and practice.

D. Play TimePush Me, Pull You (from Schola St. George)Each partner grips a sword handle in his right hand. He then grips his partner’s sword blade about 8” from the tip in his left hand. The players are now connected by two swords. The goal is to push and pull on one, or both of the swords in an attempt to get the other player off balance. This game may be played with stationary feet, or with both partners moving and circling.

E. Focused Sparring to Improve Timing, Followed by Open Sparring

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Appendix A: Ringeck’s CommentariesThis is the beginning of the interpretation of the Knightly Art of the Langenschwert, written down in rhymes by the grand Fechtmiester of the Medieval German school, Johannes Liechtenauer. He recorded his teachings in secret words, so that the art may not be commonly spread. These secret phras-ings were later interpreted and commented on in a book by Sigmund Ringeck, at the time Fechtmiester of Albrecht, Count Palatine of Rhine and Duke of Bavaria.

FootworkNote: This is the first tenet of the long sword: learn to strike blows equally well from both sides if you want to learn to fence well. Note: If you want to strike from the (your) right side, make sure, your left foot is forward (at the beginning); if you want to strike from the left side, the right foot must be forward. If you strike an Oberhau from the right side then, follow the blow with your right foot. If you do not the blow is wrong and ineffective, because your right side stays behind. Because of this the blow will fall short and cannot travel in its proper arc towards the left side. If you strike from the left side and you do not follow the blow, it too is wrong. That is why no matter from which side you are striking follow the blow with the same foot. So you will suc-ceed in all techniques. This is how you shall strike all blows.

Tactical Basics When you are closing to an opponent, do not watch his blows and do not wait for what he might use against you. Because all fencers, who just wait for their opponents blows and do not do anything else than warding them off, do not succeed very often. They are defeated very often. Note: Always fence using all of your strength! When you're close, strike at his head and at his body, so he may not be able to change through (Durchwechseln) in front of your point. After the blow, from the bind, strike light blows at his next opening, as is described in the section about different blows and other techniques. Note: This tenet is addressed to left-handers and right-handers. If you are a right-handed fencer and you are closing to an op-ponent and you think you can hit him, do not strike the first blow from the (your) left side. Because you are weak there and you cannot resist, if he binds strongly against your blade. Be-cause of this, strike from the right side, you can work strongly "Am Schwert" ("on the sword") and you can use all techniques you like. So, if you are left-handed, do not strike from the right side, since left-handers are usually not used to strike effectively from the right side and vice versa. Note: Above all other things, you must understand the princi-ples of "before" (Vor) and "after" (Nach), because the entire art of fencing is based upon it. "Before" means, pre-empting him with a blow or a thrust against an opening before he can hit you, so he must defend/displace (Versetzen). So, be flexible in your defence and aim with your sword at one opening after the other, so he cannot get through with his own techniques. But, if he rushes in, start wrestling."After" means: If you do not succeed with the "before", wait for the "after". These are the defenses against all techniques he uses against you. So, if you have to displace him, make the displacement ‘simultaneously" (Indes) and from the bind, strike immediately at his nearest opening. So you win the "before" and he remains in the "after". Also, you should –during the "be-fore" and "after" –notice ‘simultaneously" (Indes) how you can "work" against the strong or the weak of his sword. This means: The strong of the sword reaches from the cross-guard to the middle of the blade, with it, you can hold opposed,

if somebody binds against it. The weak reaches from the middle of the blade to the point. Here you cannot hold opposed. If you firmly understand this, you can "work" and defend yourself very well. Princes and Lords learn to survive with this art, in earnest and in play. But if you are fearful, then you should not learn to fence. Because a despondent heart will always be defeated , regard-less of all skill.

Overview of The Fighting Techniques Note: these are the names of the main techniques of the art of the long sword, whose names are chosen in such a way that you may understand them better. There are seventeen tech-niques and they start with the five strikes. 1. The first strike is the strike of wrath (Zornhau) 2. The second one is the "crooked strike" (Krumphau) 3. The third one is the Zwerchhau 4. The fourth one is the squinting strike (Schielhau) 5. And the fifth one is the "parting strike" (Scheitelhau) 6. Sixth there are the four basic guards 7. Seventh there are the four techniques of displacement (Ver-setzen) 8. Eighth there is the Nachreissen ("Traveling after") 9. Ninth there is the Overrunning (Ueberlaufen) 10. Tenth there is the setting aside (Absetzen) 11. Number eleven is the changing through (Durchwechseln) 12. The twitching (Zucken) 13. The running through (Durchlaufen) 14. The cutting off (Abschneiden) 15. The pressing of the hands 16. The "Hanging" 17. And finally there is the Winding

The Fighting Techniques: The Strike of Wrath and the Winding Note: When your adversary strikes at you from his right side with a strike from above (Oberhau), then hit with a strike of wrath from your right shoulder against it. Strike with your true edge and in your strong. When he is weak at the sword then, thrust into his face along his blade. When you thrust against his face from the strike of wrath and he notices this and displaces the thrust with strength, pull your sword upwards, away from his. And then strike to the head from the other side, also along his blade. When you strike a strike of wrath and he displaces it and remains strong at the sword, hold strongly against it. With the strong of your sword, slide up to the weak (schwech) of his blade, wind the hilt in front of your head while remaining on the sword (am schwert) and thrust into his face from above. When you thrust from the Winding as described and he dis-places the thrust by lifting up his arms and his hilt, stay in the Winding and take the Ort (point or thrust) down between his arms and breast. Note: When you engage at the sword ("binden") with strength and your adversary pulls his sword upwards and strikes at your head from the other side, then bind strongly with the true edge and strike him on the head. You must notice immediately, if someone is weak or strong at the sword if he binds at your sword with a strike or a thrust. If you have noticed that, you shall know simultaneously, if it is better to fight him in the "before" (Nach) or the "after" (Vor). But don’t engage rashly in close-combat (Krieg), this is nothing else than Winding (Winden) at the sword.

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In close-combat you should do the following: if you strike him with the strike of Wrath and he displaces it, lift up your arms and, at the sword, wind the point to the upper opening. When he displaces (Versetzen) the thrust, stay in the winding and thrust to the lower opening. If he follows your sword in the dis-placement (Versatzung), lead your point through under his sword (disengage under "durchführen") and thrust to the other opening on his right side. This is how you can defeat him in close-combat.

Mutieren and Duplieren against the four openings: These are the four openings you should aim at in combat. The first opening is the right side, the second opening is the left side above the belt. The other openings are the right and left side below the belt. Already pay attention to the openings when you are closing in, aim at the ones he (your adversary) exposes. Thrust with the "long point" (Langer Ort), use the "traveling af-ter" (Nachreissen) and all other opportunities. Don’t pay atten-tion to what he’s up to, fence securely and you’ll hit so out-standingly, that he’ll not be able to get through with his own techniques.If you want to break one of the four openings by force, then "Dupliere" at the upper opening, against the Starke (strong) of his sword, and then "Mutiere" to another opening. Against this, he cannot defend himself and he will not be able to either strike or thrust. Duplieren: When you strike a strike of wrath (Zornhau) or any other Oberhau and he displaces it with strength, with the left hand, immediately thrust the pommel of your sword under your right arm. With crossed hands, behind his blade and in between the blade and his body, strike him diagonally through the face. Or strike him on the head. Mutieren: If you bind against his sword, with an Oberhau or otherwise, wind the short edge at his sword, raise your arms and thrust at the lower opening from the outside along his blade. You can use that from both sides. The Krumphau:This is how you should strike the Krumphau at the hands. When he attacks you from his right side with an Oberhau or Unterhau, jump out of the strike with your right foot towards his left side and with crossed hands strike against his hands using the point. This is how you can Absetzen ("set aside") the cuts from above with the Krumphau: If he attacks you from his right side with an Oberhau, step towards his left side with your right foot and put your point in the Schrankhut. Practice this from both sides. From the setting aside you can strike him on the head. If you want to weaken a master, then while he strikes an Ober-hau from his right side strike a Krumphau with crossed hands against his sword. When you strike him with the Krumphau against his sword, from the sword immediately strike upwards against his head with the short edge. Or after the Krumphau wind the short edge at his sword and thrust him into the breast. When he strikes an Oberhau from his right shoulder, pretend as if you are going to bind against his sword with a Krumphau. But let your strike fall short, lead your point trough under his sword and wind your hilt over your head and to your right side. Then thrust him in the face. This is how you can break the Krumphau: If you attack him from your right side with an Oberhau and he displaces this with a Krumphau with crossed hands from his right side, then strongly hold your sword against his. And "shoot" (thrust) the point at his breast with your arms extended. Another defense against the Krumphau: If you attack him from your right side with an Oberhau and he displaces (Versatzung)

this with a Krumphau with crossed hands from his right side and if he pushes your sword to the ground, then wind towards your right side, raise your arms over your head and thrust at his breast from above. If he displaces that,stand as you are, with the hilt in front of your head and nimbly work with the point from one opening to the other. This is called the "noble war" and with this you’ll confuse him so much , that he will not know how to defend himself against your attacks.

The Zwerchhau The Zwerchhau counters (literally "breaks") all downward strikes made from above. Do it like this: If he strikes an Oberhau at your head, "jump" (make a large, explosive step) to his left side with your right foot, while you jump, turn your sword, so that your hilt is high in front of your head and your thumb is down (on the flat of the blade) and strike at his left side with your short edge. So you catch his strike with your hilt and hit him simultaneously on the head. This is how you can work with the stark (strong) from the Zwerch: If you strike with the Zwerch, pay attention to strike strongly with the strong of your sword against his blade. If he strongly holds against it, strike him -at the sword- on the head behind his blade with your hands crossed. Or cut him trough the face. When you bind at his sword with the strong of your sword with the Zwerch and he strongly holds against it, push down his sword to your right side with your hilt. And immediately strike again with the Zwerch to the right side of his head.If you bind against his sword with the Zwerch and he is "soft" at the sword, place the short edge at the right side of his neck, jump behind his left foot with your right foot and tear him over with the sword. If you bind against his sword with the Zwerch and he is "soft" at the sword, push his sword down with the Zwerch and lay the short edge at his throat. A defense against the upper Zwerch:When you bind at his sword with an Oberhau or another strike from your right side and he strikes with the Zwerch at your other (left) side, forestall this with a Zwerch to his neck under his sword. This is how you can strike to the four openings with the Zwerch: When you close in with your adversary with the "Zufechten", at the right moment, jump towards him and strike with the Zwerch to the lower opening of his left side. This is called "striking to-wards the plow" ("zum Pflug schlagen").When you have attacked the lower opening with the Zwerch, immediately strike another Zwerch to the other side, at his head. This is called "striking towards the ox" ("zum Ochsen schlagen"). And then strike swiftly alternating the Zwerch to-wards the plow and the ox, crosswise from one side to the other. Then you can disengage from him with an Oberhau to the head.When you strike the Zwerch, you shall always jump to his flank, namely towards the side on which you want to hit him. So you can hit his head. And pay attention that you cover the front of your head with the hilt while jumping.

The "Fault" (Feint): All fencers who rely on displacing are deceived and defeated with the fault. When you close with him, feint any Oberhau to his left side. From there (when he wants to displace it) you can easily hit another opening.

The "Verkehrer": If you bind at your adversaries sword with an Oberhau or an Unterhau, turn your sword so that your thumb is down and thrust to his face from above. So you force him to displace the

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thrust. While he displaces, grab his right elbow with your left hand, place your left leg in front of his right leg and toss him over.

The Double Feint: Here, you must deceive him twice while closing in. When you come close to him with the Zuefechten, jump towards him with the left foot and feint a Zwerch to the left side of the head. But then turn the blow over and strike to the right side of his head. If you have attacked him on the right side of the head as de-scribed, strike immediately at the same spot. Then go over his sword with the short edge and your hands not crossed, jump to your left side and cut through his face with the long edge.

The "Squinter": The Squinter is a strike which primarily "breaks" the strikes and thrusts of those fencers, who rely only on their strength. Do it like this: If he attacks you from his right side, strike from your right side with the short edge and extended arms against the weak of his sword and hit him on the right shoulder. If he changes through, thrust him into his breast with your arms ex-tended. You should strike like this, too, if he faces you in the guard of the plough or if wants to thrust you from below. Note: You should always deceive him with your line of vision. Pay attention, if he fights short (feints).You will know this when he does not extend his arms when striking. You should strike then, too, move your point trough under his sword and thrust him into the face. Note: The Squinter breaks the "long point" and this is done as follows: When he faces you and points his point against your breast or face with extended arms, place your left foot forward and look at his point. Feint a strike against his point, strike strongly against his sword with the short edge and "shoot" (thrust) , with a forward step with the right foot, your point against his throat, with your arms extended. When he strikes an Oberhau, look at his head, as if you intend to strike him there. But then strike against his blow with the short edge and then strike at the hands with your point, along his blade.

The "Parting Strike" Note: the parting strike is aimed at the face or breast. Do it like this: If he is in the guard Alber, strike vertically downward with the long edge. And while striking, keep your arms up high and move your point to his face. If you move the point at his face from above with the parting strike and he displaces the point with the (his) hilt up, turn your sword, lift the (your) hilt high above your head and thrust him down into the breast. When you strike a parting strike and he displaces with the hilt high above his head, then this displacement is called "the crown". From there you can rush in. If he breaks the parting strike or any other Oberhau with the crown and tries to rush in, cut him in the Arm under his hands and push upward, so that the crown is broken. Then turn your sword from the low cut into a high one and free yourself in this way.

The Four GuardsThere are only four basic positions which are useful in combat, this are Ochs, Alber, Pflug, and vom Tag.The first guard: Ochs (the Ox) Stand with your left foot forward, hold your sword at the right side of your head, your point directed at his face. The second guard: Pflug (the Plough)

Stand with the left foot forward and hold your sword at your right side above your knee,with your hands crossed, your point directed at his face.The third guard: Alber (the Fool)Stand with your right foot forward and hold your sword in front of you with your arms extended, your point directed at the ground. The fourth guard: vom Tag ("From the Roof") Stand with your left foot forward and hold your sword at the side of your right shoulder or above your head with your arms extended. And in this book, you’ll find written down how to fence from these guards.

7. The Four Displacements (Versatzungen) You have heard previously, that you shall fight only from four guards. Now, you shall get to know the four displacements, which are four strikes. The first strike is the "crooked strike" (Krumphau). It counters (literally "breaks") the guard (Hut) ochs. The second strike is the Zwerchhau. It counters the guard Vom Tag. The third strike is the "squinter" (Schielhau). It counters the guard Pflug.The fourth strike is the parting strike (Scheitelhau). It counters the guard Alber. And beware of all displacements used by bad fencers. Note: Strike, when he strikes, thrust, when he thrusts. And in this chapter and in the chapter on the five strikes you shall find writ-ten down how you shall strike and thrust.

A Technique against a Displacement: If a strike of yours has been displaced, note: if an Oberhau of yours is displaced, stay in the bind, move your pommel over his forward hand and tear it down; and strike him on the head si-multaneously.

A Second Technique against a Displacement: If you strike an Unterhau from the right side and he falls on your sword (i.e., he pushes it downwards), so that you cannot lift it up, move the pommel over his sword and, with a snapping mo-tion, strike him on the head with the long edge. Or, if he falls on your sword on your left side, strike him with the short edge (Kurze Schneide). A Third Technique against a Displacement: If you strike an Oberhau from the right and if you want to end the fight, then note: when he displaces, immediately strike around (i.e., to the other side) with the Zwerchhau. Grab the blade of you sword with the left hand and thrust into his face. Or attack one of the other openings you can reach best.

A Fourth Technique against a Displacement: If you thrust at his face at the Halb Schwert (half-sword) and he displaces this, immediately strike him on the other side of the head with the pommel. Or jump with the right foot behind his left foot, move your pommel around his neck from the right shoulder (i.e., his right side) and tear him down over your right leg.

8. The "Traveling After" (Nachreissen): There are two kinds of Nachreissen, and you should learn both. Use the first against an Oberhau. If he raises the sword to strike, travel after him with a strike or a thrust and hit him in the upper opening before he can complete the strike. Or fall on his raised arms with the Lange Schneide (long edge) and push him away from you.

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Another Nachreisen When he strikes an Oberhau and brings the blade down with the strike, travel after him with a strike on the head before he can get his sword up again. But if he wants to thrust at you and pulls the sword back to prepare for the thrust, travel after him and thrust at him, before he can do it himself.

The "Abnahmen" from the outside Note, there are two "Abnahmen" from the Outside, which are two "Nachreisen" at the sword (am Schwert). Do them like this: If his strike falls short, travel after him. If he displaces that, stay at the sword (maintain blade contact) and check whether he's hard or soft in the bind. When he pushes up your sword with strength, place your blade on the outside of his blade and thrust at his lower opening. The second Abnahmen from the outside Also, if you fence against him with low strikes or other tech-niques, and he forestalls this and winds against your sword from above, so that you cannot move it up, maintain strong contact with his sword from below. If he then attacks your high opening follow with your sword, take the weak of his blade with your long edge, push it down and thrust into his face.The "Fuhlen" ("feeling") and the word "Indes" ("while" or "dur-ing") You shall learn and understand both the word "Fuhlen" and the word "Indes", because these two belong together and together they account for the greatest art and skill in fencing. Therefore remember: if one binds against the others sword, you shall no-tice right in the moment when the blades make contact- whether he has bound hard or soft. And as soon as you have noticed this, remember the word "Indes": this means that you should attack the next opening immediately and nimbly, hard or soft. So he will be defeated before he knows it himself. Likewise, you shall remember the word "Indes" during all binds at the sword, because "Indes" dupliert" and "Indes" mutiert, "Indes" rushes through and "Indes" takes the 'Schnitt', "Indes" wrestles and "Indes" disarms him, "Indes" –in the art of fenc-ing- does, what your heart desires. "Indes" is a sharp word, which cuts all fencers, that don't know anything about it. And "Indes is the key, which unlocks the art of fencing.

A third Nachreisen When he strikes short in front of you, travel after him with a strike to the high opening. If he moves up and winds against your sword from below, note: as soon as the swords clash to-gether, fall on his arms with the long edge and push him away from you. Or cut through his face. Practice this from both sides.

Fighting Techniques. The Overrunning. When he crosses swords, with a cut or thrust to the lower openings, then you will not set him aside. Rather wait, until you may strike or cut at his head. So you defeat him because the oberhau and thrust have longer reach then unterhau.

The Absetzen You must learn the art of setting aside so that his cuts and thrusts may be broken. Do it like this. When he stands before you, as though to strike your lower opening, then take the guard of the plow on your right side to open your left. When he strikes to your left wind against his sword to your left and take one step with your right foot toward him: so you achieve your thrust and he has been displaced.

The Second Set-aside. When you stand opposite him in the guard of the plow on your left side and he strikes towards your open left side move your sword high to your left side, with the hilt before your face. Take one step towards him with right foot and thrust through his face.

The Change Through Do it like this: if he wants to engage you in a bind against Cut or Thrust, so let the point/thrust slide through under his sword and stick/stab him in the other side. There you find him exposed.

The Twitching. When you move in to strike him from your right with an Oberhau to the head and he binds your sword, take a single step to-wards him, maintaining pressure against his sword. Then jerk your sword backwards and away from his to disengage. Then strike his head from the other side. If he sets this aside, then hit him on the other side and work skillfully to his upper openings with Duplieren and other pieces.

The Walkthrough. When he holds his sword aloft to strike you a powerful blow then will you hold your sword with the left hand on the pommel above your head and the blade over your back. Duck under his right arm and spring your right foot behind his right foot. In the spring grip him with your right arm around his body. Take him on the right hip and throw him to the ground.

A Second Walkthrough. When he holds his sword aloft to strike you a powerful blow then will you hold your sword with the left hand on the pommel above your head and the blade over your back. Duck under his right arm, leave your right leg in front of his and grip him with your right arm around his back, then throw him behind you. First Sword Wrestling. When you come in, let you sword out in your left hand and hold it in with your right. Knock his sword away with the hilt out of your right side. Spring your left foot in front of his right, grip him with your left arm about his body take him on the left hip and throw him to the ground. Be careful to make no mistake.

Second Sword Wrestling. When you come in, let you sword out in your left hand and hold it in with your right. Knock his sword away with the hilt out of your right side. Spring with the left foot behind his right. Grip him with the left arm around the chest, throw him over your leg behind you.

A Third Sword Wrestle When you come in, let you sword out in your left hand and hold it in with your right. Throw the pommel over his right arm, and tear it downwards. Grab his right elbow, spring your left foot before his right and pull him over your leg so that he goes over your right side.

A Fifth Sword Wrestle. If someone comes in close to you, then use your left hand and drive with it over his right arm. Seize his sword at the handle between his two hands and pull it to your left side. Thus you take the sword from him and it will go badly for him.

Taking a Sword. If he binds your sword by engaging it or by other means, then seize both swords in the centre of the blades with the left wrong hand. Hold them together firmly, and drive through with your right hand to your left side with the pommel down, over both of his hands. And then pull upward to your right side thus you take both swords.

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Appendix B: Class StructureThis Class Structure has been adapted from Schola St. George.

Review Previous Key Concepts & DrillsThis part, at the beginning of each class serves to remind students of what has been covered thus far.There is also a safety lecture each and every ses-sion.IntroduceThe first step in presenting the material to students is to provide the historical background for the mas-ter involved and for the weapon at hand.  Next, elements of the techniques are distilled and presented, verbally, physically and recorded in at least written--if not photographic--form to key the student's memory. This presentation will over time become ever-more refined, and will incorporate much of what is continually learned from new stu-dents with diverse martial backgrounds.  The instructor then steps through the technique with the students, correcting gross and subtle errors.  Drill Next, the students follow drills designed to build muscle and intellectual memory for the movements involved. Usually these are repetition drills that should be done outside of class as well as within. It often takes hundreds, or even thousands of repeti-tions for a student to integrate a technique; hence it is absolutely critical that students do key drills at home--daily if possible.  Generally, it is good to review drills for a couple of weeks after introducing them, encouraging stu-dents to do extra repetitions or custom drills to cor-rect specific issues.  Often, drills incorporate extremely slow move-ments. Speed gains little except at the very end of the process; when moving slow, you're working on position. To work on timing, use focused sparring. Students should not, in drill, attempt to "win" the engagement, but must be cooperative or resistant according to the instructor's direction.  Drill creates the how of a particular fighting tech-nique; focused sparring teaches when.  Play TimePlay Time exercises not only work physical skills, but also build the mental aspects of the fight, in particular initiative, timing, balance, and endurance. Such play helps to keep the students involved in the hard work that is training. Focused Sparring to Improve TimingMany schools excel at teaching historical tech-nique. However, the historical manuals do not say much with respect to teaching the mental aspects of the fight, or to the integration of technique into the fighting psyche. 

Integration is the bridge step between doing the technique in drill or practice and executing it under the stress of a fight. Two very different things!  To internalize the ‘when’ of using a technique in a fight, a combatant enters into a sparring engage-ment looking only for the time when a specific thing can be done with a resistant opponent under the stress of a fight.  In the first step, the opponent is aware of the stu-dent's objective and will execute maneuvers spe-cifically to invite the technique, but at speed and with increasing resistance.  In the second step, the opponent will be unaware of specifically what the student is working on. The student is challenged to see the moment for the new technique. One or more sparring sessions may pass without the proper time for the technique ap-pearing. This is where the student must resist the urge to worry about the win/loss outcomes of the fight and focus instead on seeing that fleeting mo-ment when the technique in question can be used. Once the time does show up, then it will become more quickly apparent the second time, and still easier to see the third, etc.  Focused Sparring is not a quick phase, but it does integrate the technique sufficiently so that it can be employed under the stress of a fight, whether in competition or in earnest.  Open Sparring To finalize the benefits and to work on initiative, timing, courage and the other virtues, open spar-ring is extremely beneficial as well as being reward-ing and entertaining. Students should spar in what-ever tradition they come to the WMA through, at-tempting to integrate focused sparring-built tech-niques into their fights whenever possible.  Open sparring usually comprises only a small po-tential of class time.ARMA's four general rules free-play: Placement: using good edge alignment and target-ingIntent: striking with some degree of force in proper range to ensure actual contact and in a manner that has sufficient motion to simulate the inertia of a real damaging blow Control: not hitting too hard or too fast to prevent injury, plus not hitting off target Time-on-Target: connecting with a sufficient interval of time whereby the weapon makes contact in order to simulate the energy that would have impacted or penetrated

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Appendix C: Class Drills & GamesBaton Striking with Edge Control Game (from Ochs: Longsword DVD)One partner wears a mask and protective gloves. He grips a baton in both hands so that there is at least 8” of space between them. As he circles and moves, he will present the baton in front, or beside himself representing target openings. The other partner strikes the baton with an appropriate strike, cut, or Master Strike. Careful at-tention should be paid to range, staying in an appropriate guard, striking power, and edge placement.Vier Leger DrillRight Vom Tag -- Left Phlug -- Right Ochs -- Left Alber -- Right Langort -- pivot -- Left Vom Tag -- Right Phlug -- Left Ochs -- Right Alber -- Left Langort - pivotIntermediate Guards DrillVom Tag - Kumphau -> Schrankhut - Unterhau -> Ochs - Zwerchau -> Phlug - Stich -> Kron - Oberhau -> Ne-benhut - Zornhau -> Alber - short edge Unterhau -> pivot (Repeat on opposite side)Fühlen Drill (from Fighting with the German Longsword)Partners agree to a strike and counter-strike technique (I.e. Zornhau v. oberhau from the right). The attacking partner then varies the degree to which he is “at the sword,” and the responding partner must use an appropriate technique based on the attacker’s level of commitment. You will want to pre-plan the level of commitment the attacker will use at first. Start slowly and carefully as this skill takes a lot of time and practice.Guard Breaking Drill (from Ochs: Longsword DVD)One partner adopts each of the Primary Guard positions, and the other partner responds with the appropriate Master Strike. Partners alternate this role for each stroke.Master Strikes DrillsStep through each Master Strike from right & left sides using ALL guard positionsPush Me, Pull You (from Schola St. George)Each partner grips a sword handle in his right hand. He then grips his partner’s sword blade about 8” from the tip in his left hand. The players are now connected by two swords. The goal is to push and pull on one, or both of the swords in an attempt to get the other player off balance. This game may be played with stationary feet, or with both partners moving and circling.Roman Focus GameUsing good hand protection, partners attempt to slap each other’s hands with the boffer dagger. Only the hands are valid targets. Both hands must stay in front of your body at all times. Free advice: keep moving!Striking Pattern Drill (from Ochs: Longsword DVD)✤ First set starts in Right Vom tag: UpR, LowL, LowR, UpL✤ Second set starts in Right Nebenhut: LowR, UpL, UpR, LowL✤ Third set starts in Left Vom tag: UpL, LowR, LowL, Upr✤ Fourth set starts in Left Nebenhut: LowL, UpR, UpL, LowRThrust Targeting Game (from Ochs: Longsword DVD)This game is just like the Baton Striking game, but uses thrusting target as the focus.Winden Drill: Clockwise & Counter-Clockwise (from Ochs: Longsword DVD)Work large circles moving through the eight windings clockwise and counter-clockwise. Keep pressure on the blades, and maneuver toward a position from which a good thrust could be executed.Winden GameUsing boffer swords, masks and gloves, partners attempt to wind against each other in order to execute a thrust from the bind. The swords should remain in a bind at all times, and players may not step out of range at any time.Kali Drills✤ Sombrata✤ Down & Back✤ Heaven’s Six

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Appendix D: German Martial GlossaryAblauffen  :(“Running Off”) Withdrawing the blade from an at-tack, before or after contact, by rotating it around the hilt to hit with the false edge on the other side. Can be done singularly or doubly.  One of the primary ways of using a Kurze Schneide attack.  See Duplieren. Abnemen :To move away or free yourself from a bind and make another attack. Abrayssen / Abraisen :(to “break away”) To push the oppo-nent’s hand or weapon downward with the Gehiltz (hilt). Abschnappen :(“to snap off”) To get free of a Band (bind) by sliding or batting the blade away with a strong, controlled blow. Abschneiden / Abschnyden :(“cutting aside” or “cutting off’ or “to slice off”) 1. Short drawing cuts known also as Schnitt (“slices”), called Rakes in English, used at closer distances against the opponent’s forearms and hands, they can be made with both the lead and the back edges. These are drawing cuts generally used against the opponent’s arms at close range.  Made singly or doubly (i.e., upwards and then down, or down-wards and then up.) 2. To Slice over the arms from below or above; usually with Langer Schnyde  (Long edge). Abschneid = Cut Away Absetzen / Absezen :(“setting aside”) 1. The principle of timed counter attack to deflect a thrust or parry a cut. While Absetzen in a specialized sense refers to thrusts with opposition the word can also be used to mean a simple parry, usually followed by a thrust. It is also used to denote a type of trapping move in which the sword is hooked over the opponent’s blade, dragging the opponent’s blade down to the ground.  2. To parry an attack on the lower Blossen (openings), the attack is put down by leading his weapon with the Langer Schnyde (long edge) while moving towards the side that the attack came from. Abwenden :("turning aside") To “ward off” a blow as with a deflecting strike. Abzug :(“Withdrawal”) According to Meyer, a stage of engage-ment where the combatant tries to disengage without being hit, usually delivering a retreating strike to cover the withdrawal. Alber :(“fool’s guard”) A low middle stance with point down.This stance takes its name from Liechtenauer’s belief that only a fool stays on the defensive, relinquishing the initiative to his opponent.  He acknowledged the superior defensive qualities of this stance by including it among his four. See Posta Tuta di Ferro. Alter Schnitt :(“After Slice” or “The Ancient Slice”) A cut over the arm of the opponent when he has repulsed a Nachreissen. To move in to slice on the opponent’s extended arms as a Nach action following the completion of his strike.  Part of the “se-crets” of fencing –in contrast to the fundamentals of the art. Am Schwert : (“on the sword”) Attacks made while maintaining constant pressure on the opposing blade, also known as the Winden (winding or turning).  The second grouping of attacks made in the Krieg phase of combat.  These are attacks made without leaving the opposing blade, maintaining constant blade contact throughout the course of the attack.  Better known as the Winden (Winding or Turning). Anbinden / Ambinden :(“crossings of the blade” or “tied up”) The engaged position with weapons crossed in which the weapons collide together in their moment of contact.  Called Incrosar a Mezzo Spada (“crossed at half-sword”) by Fiore. Ansetzen :(“place”) An attack (or thrusts) aimed at a certain body part. Auffangen  :(“Catching”) According to Meyer, a simple block, wherein the opponent’s attack, rather than deflected off or struck down, is stopped by interposing your own weapon in its path.  Essentially an edge parry. Meyer recognized it conferred no particular advantage and recommended against it (in favor of setting aside, Absetzen, and warding off, Abwenden). But he

acknowledged it was sometimes necessary. Aureissen:("Pull away"). According to Leckchner, “When somebody binds at your sword and remains strong in the bind-ing, move with your hilt over both his hands and pull them down towards you again. You create an opening and hit him.”Aussernym :(“Outertaking” or “Outerwinding”) In a crossed sword position, to pressure the opponent’s blade in a bind so as to press it aside or down, thereby creating a small opening to which you suddenly reverse pressure and slice forward. Bainbruch :(“leg break”) A wrestling-grip made exclusively or partially at the legs, which throws an opponent to ground. Bedebern / Bedebren :To defend with stabs or blows. Bleiben :(“Remaining”) In a binding position to maintain the blades pressing in contact and thereby sense the opponent’s intentions through feeling the pressure on his blade (i.e., Fhlen). Binden / Band :(“bind”) The moment of contact between weapons and the actual contact of two weapons.  A bind or trapping action by pressing blade upon blade (usually edge on edge at the ricasso). See Band. Binden an das Schwert:("binding on the sword") A term from the Codex Wallerstein.Blizen / Blitzen :(“flashes”) To strike with a shower of sparks.  See Glutzen and Klitzen. Blossen / Bloen :(“openings”) The fencer’s body divided by two imaginary lines –across the belt and vertexes –into four Blossen: a right and left upper and lower Blossen. The name probably came from organized fight practice, particularly from the instructions and theory part, where it was in the first lesson as a term for any unprotected body parts. The Four Openings are areas to aim at in combat, the first opening is the oppo-nent’s right side, the second opening is their left side above the belt, and the other openings are their right and left sides below the belt. Liechtenauer first proposed the idea of there being only “four quarters” or openings” high and low, left and right.  English text MS. 39564 also refers to “smyting” the quarters or to “pley a quarter”. Blossfechten :Unarmored combat in the Fechtschulen as dis-tinguished from armored fighting. Brechen :(“breaks”) To penetrate by force, to wound, or to de-fend effectively. Brechfenster:“breaking window”, see SprechfensterDas Brentschirn / Das Brentschrn :According to Talhoffer, a bind or an entanglement with the shortened sword during Halb-Schwert. Also a state of battle in which the edges of the swords rub together in the Band. In attempt to usurp the opposing sword from this position. Bruch :(“break”) In swordplay, the action of an effective defense being a counterattack that “breaks “ the adversary’s own strike.  See Stuck. Brysen :(“breezes”) A defensive push, to press hard, cornering. Buffel / Pffel :(“buffalo”) An expletive for fighters without the art of defense, those who use the virtue of strength alone. Cuts:The German schools recognized three major forms of cut: Oberhau (over cuts) downward diagonal or vertical, Unterhau (under cuts) upward or rising, and Zwerchhau or Mittelhau, (crosscuts) horizontal right-to-left and horizontal left-to-right. Diagonal cuts were Zornhau and vertical were Scheitelhau. There were several names for various specific individual cuts such as: Streithau (the “battle cut”), and Vater Streich (the “fa-ther strike”). draw cuts and slicing pulls were usually known as Schnitt. The grand master Johannes Liechtenauer distinguished five principal cuts: Zornhau (“rage cut” or “strike of wrath”), made diagonally from behind the right shoulder; Krumphau (“twisted” or “crooked” cut), made downwards with the false edge, and effected with crossed or twisted wrists; Zwerchhau (horizontal side cut); the Schielhau (“squinting cut”), made

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downwards with the false edge at the enemy’s shoulder or neck; and Scheittelhau (the “crown cut” or “parting strike”), made vertically downwards and literally aimed at the crown of the head. See Segno cuts. Sigmund Ringeck (c. 1440) refers Liechtenauer’s cuts as the “five strikes”.  Meyer calls all blows delivered with the true edge “straight blows”.Dal Wegbinden:(“The sling-away” or the “sling-behind”) In Tal-hoffer, the act of puling the sword blade away from contact or opposition and turning or withdrawing the body to use the sec-ond hand to seize or strike. Das Gayszlen :The “Spring” –throwing a cut from one hand to increase its range by clutching the pommel with the second hand.  English text MS. 39564 frequently refers to the use of blows from the “spryng”. “DGZPS” :An acronym used by Duerer meaning, Das geht zu paiden seiten (“that works on both sides”).  This refers to the bilateral symmetry of German fighting arts that multiplies the number and variations of techniques. Doppelhau :Liechtenauer’s  “double-cut”.  Cutting the same way again or by following around or reversing the strike. Doppelrundtstreich :(“double round-strike”) Quickly striking through with two left-to-right horizontal cuts delivered from the elbow (or half-arm and following around to strike again.) See Rundstreich. Equivalent to the English Double Rownde Strike. Doppelstich :(“double thrust”) From Joachim Meyer, 1570. Drey Hewe :(“three blows”) A series of three main blows: an Oberhau from the right, followed by an Unterhau from the left, then a powerful Scheitelhau, or vertical downward blow. Drey Wunder  :(the “three wonders”) The three principle actions used in the Krieg or Handarbeit phase of sword close combat, the cut (Hau), the thrust (Stoss), and the Schnitt (a slicing or drawing cut). The thrust was used primarily at longer range, the cut at medium range, and the slice more at closer range. Duplieren / Doplieren  :(“Doubling”) To instantly follow up a parried true-edge strike with a false edge strike around the op-ponent’s blade.  A Winden variant; or an Oberhau that turns into a Dupliert (snatch), through a swift crossing over of the arms - the left hand, that guides the sword pommel, goes under the right - in this position your sword is between the weapon and body of the opponent, hit with a backhand with the Kurtzen Schnyde against his unprotected head and a Zeckruroren against the arms. See also Abluaffen. Durchfhren :(“Changing Through”) In close-combat, to disen-gage under by moving your point under the opponent’s sword to thrust at an opening on the other side. Durchfuehren means “continuing”,  “going along” and “pressing through”, and could also mean “to lead through”. Durchlauffer / Durchlauffen :(“pass through”, “running through” or “to run though”) A term for two actions: 1. To run under a highly directed attack of the opponent, while you keep the hilt of your sword on the left side of your head and put the blade across the back, and move through under the opponent’s weapon.  2. To pass all the way under the opponents raised right arm, so that you can reach his back and do a wrestling throw. Durchsetzen :(“pushes through” or “to push though”) A timed thrust from above or below that passes between the opponent’s held out arm and his body. Durchstreychen / Straichen :(“Striking Through” or “Stretch Through”) A falsing action by a  circling-motion along the op-posing sword, that disengages from one opening and stabs or cuts into another.   Also a type of Durchwechselns.  According to Meyer, sweeping or flourishing the sword in front of the op-ponent, to stall, confuse, intimidate, or provoke. Durchwechseln / Wechslen :(“changing through”) The move of evading contact with the opponent’s blade as you strike (e.g., changing line of attack).  To change into another opening with the point. Also called Durchwechsel. Einhorn :(the “unicorn”) A posture similar to the Ochs, but with the point aimed high like a unicorn’s horn.  Also, from the Sprechfenster straight thrust to the face; a Valsch Ortt, a thrust,

that was regarded as dangerous and malicious The term instills a visual image that the executing fencer leaves behind his weapon.  The position may be equivalent to Fore’s Posta Fin-estra. Einlauffen :(“Running In”) To duck under the opposing weapon or employ closing and entering techniques (Einlauff). Eiserne Pforte :(“Iron Gate” or “Iron Door”). Another name for Alber, the “Fool’s Guard”.  See Low guard. In the German schools, the may be made in the center, left or right. Ernst Fechten :(“fighting in earnest”) The idea of practicing real killing techniques and not play or show fighting. Falso Filo :The false edge. Also filo falso. Opposite of filo dritto, true edge. Fechtbuch :(“fight book” or “fencing book”) a German manual on fighting techniques and methods, particularly swordsman-ship, (plural Fechtbuecher), among the more famous are those by the masters Johannes Liechtenauer’s of 1389 (by Hanko Doebringer), Sigmund Ringneck of c. 1440, Hans Talhoffer of 1443, Peter von Danzig of 1452, Paulus Kal of c.1460, Johan-nes Leckuechner (“Lebkomer”) of 1482, Peter Falkner of 1490, H. von Speyer of 1491, Joerg Wilhalm of 1523, Andre Pauer-feindts of 1516, and Gregor Erhart from the early 1500’s. (plural is Fechtbucher). Medieval Italian fighting manuals include those of Tarcirotti of c. 1400, Fiore dei Liberi from 1410, Boris Ferres of 1428, Fillipo Vadi of c. 1480, and Pietro Monte of 1509, and there is also the Spaniard Diego de Valera’s of c. 1490. Fechtmeister :(“Fight Master”) - a German Master of Defence or martial arts expert   (Italian Meastro de’ Arme’ or Master of Arms) Fechtschule :(“Fight School”) A Medieval or Renaissance fenc-ing school or public fighting exhibition and competition in Ger-many. Federfechter :A German Renaissance fighting guild which fa-vored the rapier among other weapons. Ferzcken:Sudden abrupt changes of the direction of the attack (i.e., “changes in line”). Filo Dritto :The true edge. Opposite of filo falso, false edge. Fixura :A sword & buckler technique from the anonymous Ger-man MS. I.33 or “Tower Fechtbuch” (c. 1295).A thrust either crossed over or under the buckler or occasion-ally without crossing the buckler at all (not always distinguish-able from the Stich). Flech :German for the flat of the blade. Fliegender :(“flying thrust”) From Joachim Meyer, 1570. Fuehlen :(“Feeling”). Feeling or gauging an opponent’s pres-sure. To judge or “sense” the Harte or Weiche (hard or soft) through the feel of your weapon when pressed in Anbinden. Also called Fullen / Fulen / Fuhlen. Fusshau :Liechtenauer’s  “foot-cut”. Gaukler :(“juggler” or “acrobat”) A derogatory term for those masters who taught flowery, ineffective forms of swordsman-ship as opposed to Ernst Fechten.  See Leichmeister and Klopf-fechter. Gefechten :Foot combat. As contrasted with mounted combat. Geferte :The intended attacks and their manner of execution; the movement of blow combinations. Gevert and Vart with sig-nificant adaptation and application in a fight. Also called Gefarte / Gefahrte. Gehiltz / Gehultz :The cross guard of the hilt.  See Croce. Gemechstich :(“groin thrust”) From Joachim Meyer, 1570. Geschrenckt Ortt :  A thrust, in which the hands are held crossed over, the left hand under right. See Langer Ort. Gesicht Stich :(“face thrust”) From Joachim Meyer, 1570. Gewapent Stehen / Gewappnete Hand :A half-sword (Halb Schwerdt) stance where the sword becomes a barrier in front of the body, by grasping the middle of the blade with the left hand and the hilt in the right hand. The Term expresses the idea that the position covers and protects the body against attacks. Gewappet Ort / Gewappent Ortt :To thrust forth from the Ste-hen or shielded half-sword position. Gleich Fechten :Attacking at the same time as the opponent or

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In des Fechten (as opposed to Nach Reissen and Vor Fechten). Glietzhaw  :(“Clashing Blow”)  According to Meyer a forehand blow in which the right hand comes in with knuckles upward to catch an opponent’s blow on the flat, then rolls counterclock-wise to deliver a false edge blow. Glutzen (glow) :To make a shower of sparks. Also Klutzen. Gurgelstich :(“throat thrust”) From Joachim Meyer, 1570. Halb Schwert / Halbem Schwert :(“half-sword”) techniques of gripping the middle of the blade itself with the second hand or typically left hand (often by gloves or armored gauntlets). Also called Halt-Schwert or Kurzen Schwert, they allow a wide range of offensive and defensive striking and deflecting actions as well as thrusts. It is used for the more powerful and more accu-rate stabs. The term comes from the pose of the left hand on the blade cutting the sword in half.  Called Mezza-Spada in Ital-ian. Halbschilt :(“half shield”) A sword & buckler technique from the anonymous German MS. I.33 or “Tower Fechtbuch” (c. 1295).  A defensive position with both arms extended close together and the sword pointing upwards at approximately forty-five degrees. Hals Fahen :A Winden variant. Also known as a Zu Legen.  The swordsman on the left lifts his arms up into the left Ochs posi-tion, pressing his Starck / Stark against the opponent’s Schwech.  He then slides his back edge down between the opposing blade and the opponent’s head, striking to his neck.  The opponent’s instinctive parry adds force to the blow.  From here, the swordsman levers up with his back hand the slicing pressure of the back edge on his neck forces the defender over the attacker’s right leg, which is placed in a tripping or barring position next to the defender’s leg. Halshau / Halsshau :Liechtenauer’s  “neck-cut”. A horizontal strike to the throat Handarbeit :(Handwork). Phase of sword combat where the swordsmen have closed distance and the blades have crossed, follows from Anbinden, both Schwertnemen and Abschneiden are often used here. Also known as Kreig or Mittel (Middle). Handhabe :“Hilt”. See also Gehiltz. Handhau :Liechtenauer’s “hand-cut”. Harnischfechten :(“harness fighting”) Combat in plate armor or “harness fighting” in the Fechtschulen as distinguished from light or unarmored fighting, called Spada in arme’ in Italian. Hart / Horte :(“hard”) A strongly aimed or forcefully controlled cut, blow, attack or bind.  The principle of hardness or force rather than softness or yielding. Hart und Weich :(“hard and soft”) The idea when ever contact is made of gauging the pressure the opponent places upon your blade (either strong or weak), oppose strength with weak-ness and weakness with strength to control and exploit. Leckuechner stated to “Test “Weych” (soft) or “Hert” (hard)”. Hende Trucken / Hande Drucken :(“pressing the hands” or “to press the hand”). A term of Liechtenauer likely meaning stop cuts to the opponent’s hands or forearms. The term refers to the pressure of the hands exerted by means of the sword-blade against the arms of the opponent. Das Hngen / Hengen / Hen / Hangend :(“The Hanging” or “to hang”) An important and very versatile long-sword movement referring to positions or actions where the point “hangs” down-ward from above, covering the body. The Hngen is not a guard (but in a sense, results in one), but an action, or more precisely a series of techniques delivered from the Ochs or Finestra posi-tion, usually as a Winden. Sigmund Ringeck described a classic hanging action. Ringeck describes two hanging techniques used when the blades are pressed or crossed, and the point can thrust from under or over. It may be delivered from the Pflug by raising the hilt and closing as the opponent strikes. He also instructs to learn all cuts, thrusts, and slices while in the hang-ing. Meyer also calls the Hengen a technique.  Also called: Hanging Point, Hangetort, Hengetort, hengeten Ort. Herzstich :(“heart thrust”) From Joachim Meyer, 1570. Hochort :(“high thrust/point”) Possibly the “Fenster” or Window

guard (Italian Finestra). Hffthau :Liechtenauer’s  “hip-cut” Hut / Huot :See Leger. The expression is based on the idea of the “ protective vigilance “, that the fencer occupies in the Huten. Huten :For the Medieval long-sword in the German schools there are various fighting guards/stances/wards/postures (Leger or “position”). Of these four are major universal ones of Liechtenauer correspond to High, Middle, Low, and Outside positions. Editions of Talhoffer show high, middle, low, outside, back, plus three Halb-Schwert and a few other postures not exactly clear. In Des Fechten / In Des :(“meanwhile” or “in the middle of”) Attacking during the adversary’s own attack, one of the three ways of overcoming an opponent’s attack along with Vor Fech-ten and Nachreissen. The concept In des or Indess means to strike "just as" they do rather than actually simultaneously with them. Kampfplatz / Kampfring :An enclosed area where judicial du-els and some foot challenges took place, it was made up of a square wooden barrier or “ring”, equivalent to the Champ Clos. Klitzen  (claps) :To collide with noise. Klopffechter :(“clown-fighter”) itinerant, crude fighting swordsmen performers during the later 1500s and 1600s in Germany, not considered a true Fechtmeister Knopf :The sword pommel. Krawthacke  :(“garden hoe”) A swift sequence of vertical blows to the upper and lower Blossen (openings) during which you step towards the opponent. The term comes from the resem-blance to the motion of a garden hoe. Kreuz :(“Cross”). The long sword’s cross hilt.  See Gefe and Croce. Krieg :(“war”) The phase of sword combat where the swords-men have closed distance and the blades have crossed at close combat. The meaning comes from war, the effort, going against, the resistance. See Handarbeit. Kron / Krone :(“Crown”) The German Kron is not a stance, but actually a strike of Liechtenauer described by Sigmund Ringeck (c. 1440). This action is essentially that of lifting the blade to stifle and bind an on coming blow with the ricasso and guard prior to counter-cutting.  Also type of Halb Schwert (half-sword) parry against a vertical downwards cut with the sword held point forward over the head, used against a vertical downwards cut to the head.  Holding the sword over the head with the point forward, catching the incoming cut on the portion of the blade between the hands.  Can be followed by a thrust over the op-ponent’s right arm at his face as a single-time or double-time technique. In this posture the sword is “crowning “ and protec-tive over the head.  Leckuechner’s definition of the Kron from c. 1482 is similar: “Step and strike from above with your true edge to his left ear. The other step and strike from above with your short edge to his right ear.”    See also Corona or Posta di Fronte. Kronhaw  :(“Crown Blow”) According to Meyer, a false-edge blow made from the Kron position after catching the incoming attack with on the ricasso or cross. Krucke :(“crutch”) A sword & buckler technique from the anonymous German MS. I.33 or “Tower Fechtbuch” (c. 1295). A movement in which the sword is held almost vertically, point downward with the buckler turned outward and very close to the sword hand. Krumpen / krumphawen :To execute a Krumphau. See Krum-phau. Leckchner described that from the tailgaurd: "When somebody strikes from above, or elsewhere, step out of line and strike krump to his opening." Krumphau / Krump :(“Crooked” or “Twisted Cut” or "Bend Strike") 1. A downwards curt with the false edge made with crossed or twisted wrists. 2. Any strike with crossed hands. One of the Meisterhau. The Krumphau may be delivered with a slicing or pulling action by the back edge of the blade while close-in and blades are crossed. The German system taught

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cuts in the opening phase of combat not to be made from the offside, so that the arms & wrists would not be twisted. Kunst des Fechtens :The German Medieval (and Renaissance) art of fighting, consisting primarily of the arts of the lan-genschwert or long-sword, the Messer (a sort of falchion), and Ringkunst or Ringen (wrestling). Unarmored combat was known as Blossfechten. Combat in plate armor was known as Har-nischfechten (or “harness fighting”). Fighting on foot was also distinguished from Rossfechten, or mounted combat. Similar distinctions appear to have been made in Italy and elsewhere in Europe. Kurtze Schneide / Kurze Schnyde :(“short edge”) The back or “false” upper edge of the sword, proceeding in the extension of the thumb. The controlled upward backhand blow with the Kurtzen Schnyde can only hit short distance. Opposite of the Long edge (Lange Schnyde or “true” edge).  Also called falso filo in Italian. Kurtzes Schwert :In half-swording, to shorten the sword-edge with the left hand. Langer Schnyde / Langen Schnyde :(“long edge”) The forward or true edge of the sword, opposite of the Kurtze Schnyde (Short back or “false” edge). Also called filo dritto in Italian. Langer Ort / Langortt / Lang Ortt :(“long guard” or “long point”) To thrust over a long distance with stretched out arms. The Ort in means “tip of the weapon “ and “direction aimed”. Also a defensive thrusting position with the blade horizontal and arms extended straight forward more, designed to create safer distance between the opponent and ideal for warding and mak-ing stabbing attacks or stop-thrusts. Also Das lang Zorn ortt (“The Long Thrust of Wrath”) according to Talhoffer. Lazen varn :To miss with a cut or thrust. Legen :To take a position like one of the Hutens or Legers. See Hut. Also, in the Codex wallerstein, placing the blade at the adversary’s neck), followed either by a slicing cut or a throw. Leger / Ligen / Lger :“Position” in German, referring to a fight-ing posture or guard. Another name for Hut; vantage ground or ground-position with the weapon from which a change-hit be-gins and attacks can be advantageously repulsed.  In contrast to hut, Leger doesn’t indicate the function of the position but the position, the “ appropriate storage “ of the weapon. See Huten. Leng und Masse:("length and reach") A term from the Codex Wallersten,  referring to properdistance and stance.Leichmeister / Leychmeister :(“dance-master”) a derogatory term used by the German master Doebringer of 1389, for those instructors who taught flashy but impractical and ineffective fighting techniques,  particularly for arms-dance and arms-plays. Also possibly known as Knopfmeistern.  See Gaukler and Klopffechter.    Lincke Clinge :To control the blade with the Kurze Schneide using only short, quick, nimble, yet “clumsy” cuts.  Akin to mak-ing small upward beats. Linker Ochs : (“left ox”) From Joachim Meyer, 1570. Luxbrueder / Luxbrder :(Company of St. Luke) – another major Medieval German fighting guilds, similar to later English schools of defence, they were headed by four adepts and a captain. “Man muss fleissig nachdencken”  :A frequent Fechtmeister saying that, “one must think about this diligently”, meaning to ponder the meaning of a technique or principle. Meisterhau :(“master cuts”) The most prized techniques de-scribed by the grand-master Liechtenauer, mostly in which the swordsman strikes in a manner so that his sword deflects the incoming blow while simultaneously hitting the opponent. The 5 Meisterhau consist of: Zornhau, Zwerchhau, Scheitelhau, Krumphau, and Schielhau. They essentially correspond to a diagonal, horizontal, vertical, crossed-hand, and false-edge cut. Mittelhau / Mittelhaw :(“middle cut”) A left-to-right horizontal or slightly diagonal side cut. In contrast to that directed Ober-hau from above and the strokes or, Unterhau from below, the Mittelhau lies in a middle position. Mortschlag / Mordschlag :(“death blow” or “the Murder-

stroke”) A type of rare Halb Schwert blow made by holding the sword blade itself with both hands and striking with the pommel or guard, used to slam a foe in heavy armor. The name came to be, because of the dangerousness of choosing to direct a blow to face or head. See Schlachender Ort. Mutare Gladium :(“exchanging the sword”) A sword & buckler technique from the anonymous German text, MS. I.33, or “Tower Fechtbuch” (c. 1295) to indicate a disengage by passing over or under the opponent’s blade so it is engaged in the line opposite to the original position. Mutieren :A Winden variant. To direct the course of attack from the upper to the lower Blossen. After the Anbinden with the Langen Schneide, wind the Kurze Schneide into a Band, lift your arms and the hilt high and change means Schiessen, with a thrust into the lower Blossen, sliding away, over the opponent’s sword. Nach :(“After”) The defensive or countering principle of fighting, opposite of Vor (“before”), Nach und Vor are two important con-cepts in the Fechtschulen. If the opponent attacks first, the swordsman is left with the Nach, or defensive principle.  Liechtenauer taught that a swordsman who accepts this turn of events passively and merely parries his opponent’s blows will eventually be struck and defeated.  On the contrary, a good swordsman seeks to turn the tide by somehow regaining the initiative and going on the offensive. Nachreisen / Nachraisen :(“traveling after” or “attacking after”) A timed attack immediately after the adversary’s own attack. One of the three ways of overcoming an opponent’s attack (contrasted with Gleich Fechten or In Des Fechten and Vor Fechten).  An advanced concept of inviting the opponent to attack rather than taking the offensive, as is the general tenet of German swordsmanship.  These are techniques in which the opponent is allowed to attack first, then counterattacked when he is either in the middle of his strike, or after his strike has missed. Nebenhut :(“Near Ward”) The name for the “Tail” or low under guard. Ringeck says it is used best on the left, but can be per-formed on the right with the long edge forward. Also meaning “beside” or “at your side” in Lecküchner in 1488 and Joachim Meyer in 1560s. See Post Coda Longa. Noterczunge :A fast repeated series of thrusts over the Gehiltz of the opposing sword, by which a Durchwechseln (change through) is initiated again and again, but is not executed, until the opponent is overwhelmed and leaves a Blossen (opening) for a thrust. The sword in its movement is like the “hissing tongue of an adder”. Obere Ansetzen :Techniques or thrusts delivered from above or over the opponent’s guard (opposite of Untere Ansetzen).  Essentially a Stoccata. Oberhau :(“Over cut”).  Any cut or strikes made from above the waist (Oberhuten) either diagonal (Zornhau) or vertical (Scheitel-hau). Any blow directed from above usually made with the Lan-ger Schneide (long edge). Also called Oberhawen. Oberhut :(“upper guard”) The high or roof guard/stance in the German schools, usually referred to as Vom Dach or Von Tag (“from the roof”). Oberschnitt :Downward slices made from above. See Schnitt. Ochs :(“Ox”) One of the two upper Huten or Leger, with a left or right side. In this stance, the swordsman holds the weapon next to his head, with the point sloping down toward his opponent’s face.  This drooping blade position gives the stance its name, as it resembles the lowered horns of an ox or protrudes from the fighter’s head like a horn. They are confused and misunder-stood more than any other. One variation places the blade di-agonal and the other more horizontal as in the Finestra.   Offen :(“open”). The Germans preferred cuts in the opening phase to be made from the right side, with the arms & wrists uncrossed (open) so as to deliver more power and prevent the hands from being tied up. Ort :German for the point of the sword. Also spelled Ortt. See Langer Ort.

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Pflug :(“plow”). One of the two lower Leger. A middle stance of a slightly bent position with the arms and the hilt close to the body next to the upper thigh, and the blade on a 45-degree angle pointed at the adversary’s face. It is well suited to making thrusts and defending against middle cuts. This is the funda-mental “middle” stance and may appear to be more “left” or “right” depending upon which leg leads.  However, the arms are only extended when an action or counter-action is executed. The posture is similar to the position taken when walking be-hind a yoke or a plow, hence giving the stance its name. Pfoberr Zagel :A circular-motion with the Ort in front of the opponent’s eyes, until a favorable Blossen (opening) is discov-ered; corresponds approximately to the Redel. With the Pfoberr Zagel (foper zagle), the fencer executes a sword-movement that resembles a pummeling wheel from the tail of a peacock. Pforte :(“Door”) A defense-position, where you place the Ort in front pointed towards the ground, like the Schrankhut and the Alber. Often called the Eiserne Pfortes, since the idea is that the sword is placed before the body like an “iron door” and deny the enemy attack access to any Blossen. Platzen :(“burst through”) To meet with an attack that reaches the target. The noise of the entering weapon is described. Rauschen :(“rustles”) To attack with a swift series of hits. This expresses the swiftness of movements and the sound of the attacks. Rawsch :A wild attack. See Rauschen. Rechter Ochs :(“right ox”) From Joachim Meyer, 1570. Redel :To hold the sword with outstretched arms and execute a swift circular-motion of the blade in front as a falsing. The name comes from similarity to the rotation of a wheel. Religando :(“binding”) A sword & buckler technique from the anonymous German MS. I.33 or “Tower Fechtbuch” (c. 1295) to indicate sword contact (engagement of opposing blades). Ringen am Schwert :(“Wrestling at the sword”) Close-in tech-niques based essentially on a handful of key actions: reaching out to grab the opponent’s hilt or arm, striking with the pommel or guard, trapping their forearms with your second arm, slipping the blade against or between their forearms, using the second hand to hold the blade while binding/striking/slicing, and trip-ping and kicking, involved throws or grappling and disarming moves known as or Schwertnemen (“sword-taking”) there was also ground-fighting (Unterhalten, “holding down”). Also re-ferred to as the Durchlauffen “running through”. Ritterliche Kunst :“The knightly art”, i.e. noble martial skills such as jousting, poleaxe, and swordplay Rossfechten :Mounted combat in the Fechtschulen as distin-guished from fighting on foot (Blossfechten) or strictly heavy armored combat (Harnischefechten) Rundstreich :(“round-strike”) Striking through with a horizontal cut delivered from the elbow (or half-arm) and recovering by bringing the weapon around from one side or the other to strike again. Also to strike by bringing the weapon up around one way and hitting from the other, acquiring power and deceiving the line of attack. See Doppelrundtstreich. Equivalent to the English Rownde Strike. Ruren :To reach with a cut or thrust to the body. Ryssen :To tear with the Uebergesetzten Gehiltzes at the body joints or on the arms. Schaide :Any kind of Band (bind), even between a hand and a weapon. The idea of a close contact lies, in the grounds, as well as that which exists between a sword and a sword-scabbard. Scheitelhau / Schedelhau :(“scalp cut”, “crown-cut”, or “skull cut” or the “parting strike” or "vertex strike") Liechtenauer’s short, quick, high horizontal blow at the opponent’s forehead.  Also a vertical downward cut, from either side, and aimed liter-ally at the crown of the head. A vertical Oberhau. One of the Meisterhau.  Also called Schaytler, Scheytelhau, or Schaittelhaw.  It may be called the “parting” strike because it is delivered as you pass back away from the opponent and the blades momentarily engage.  According to Meyer, a vertical downwards cut with the true edge, also called an Oberhaw

(“over blow” or “high blow”). Schaitler = Apex Schielhau :(the “squinting cut” or “squinter”) A downward cut with the false edge at the enemy’s shoulder or neck. 2. A side-ways cut (from above) with the back or short edge (Kurze Schneide) of the blade, delivered with only one eye on your opponent due to the manner in which the head and torso turn in delivering the blow. Used mostly to deflect the opponent’s blade and at the same time inflict an injury with the point. One of the Meisterhau. Also called Schilhaw, Schiller, Squinters, Schilcher. The Schielhau may be delivered by bringing the blade back around behind the head to strike with the false edge and passing with the leg. Schiessen / Schussen :To execute a sudden and powerful stab; in close combat, slide your weapon along the opponents and use theirs as a guide. Schiller:(the “squinting cut” or “squinter” or "glance strike") One of the Meisterhau. 1. According to Ringeck, to step in and strike at the opponent’s weak when they are in the Pflug in or-der to knock it aside and then thrust or cut. Often used to break the Langen Ort. 2. A downward cut with the false edge at the enemy’s shoulder or neck. 3. A sideways cut (from above) with the back or short edge (Kurze Schneide) of the blade, delivered with only one eye on your opponent due to the manner in which the head and torso turn in delivering the blow. Used mostly to deflect the opponent’s blade and at the same time inflict an injury with the point. The Schielhau may be delivered by bring-ing the blade back around behind the head to strike with the false edge and passing with the leg. Also called Schilhaw, Schiller, Squinters, Schilcher.Schiltslac :(“shield blow”) A sword & buckler technique from the anonymous German MS. I.33 or “Tower Fechtbuch” (c. 1295). The use of the buckler to strike an opponent’s sword and/or buckler to one side, while instantaneously delivering an attack of one’s own. To knock aside the opponent’s buckler and leave him open to an attack. Schlachender Ort :Another form of Mortsclag but one that grasps the blade in both hands in order to make a thrust. Schlaudern  :(“Slinging”) An overhand slinging blow akin to Das Gayszlen. Schlssel  :(“Key”)   A ward from Joachim Meyer where the sword is held horizontally in front of the upper chest with the point forward and the false edge resting on the forward arm. Schnall :(“flick”) A flicking blow with the tip of the sword, equivalent to the Italian stromacione. Schnappen :(“to snap”) To execute a sudden movement of the weapon from the bind by using the hard press of the oppo-nent’s own weapon to lift off and hit back. The suddenness and noise of the movement are described. Schnitt :(“slice”) Draw cuts and slicing pulls.  To direct with strength and bodies movement, Bruch over the arms or the joints with the sword-edge, from above Oberers Schnitts, or from below Unterer Schnitts.  One of the “three wonders (Drey Wunder) Schnitt durch die kron:(“slice through the crown”) A horizontal slice from below with the Langer Schneide and your hands or arms raised over the Kron.  Schrankhut / Schranckhut :(“Crossed Ward” or “Barrier Ward”)  Leading with the left leg, the blade is held before the body on the right side, pointing down and with the arms un-crossed. Cuts are made stepping forward with the right foot.  According to Meyer, a position equivalent to a low Hengen usu-ally with the left foot forward. Meyer indicates that this is also called the “Iron Gate”.  Perhaps equivalent to the Italian “Boar’s Tooth”. Schut :The disruption that results when touching weapons in the Band. Schutten :To jar, to knock together, with strength and noise, and Anbinden. Schutze :(“protection”) A sword & buckler technique from the anonymous German MS. I.33 or “Tower Fechtbuch” (c. 1295). A form of parry or deflect which is less well-defined and inconsis-

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tently illustrated. Schwech :(“weak”) German masters divided the long-sword into two portions, the weaker section of blade from middle to point was known as Schwech (or Schwche, i.e. foible), used for most thrusting and slicing but not parrying or binding (equiva-lent to the Foible of later renaissance fencing), opposite of Stark (Starck). The further you move from the center-of-percussion towards the hilt (Stark or forte’), the weaker the strength when cutting and parry. The blade middle was regarded as the start-ing point of the Schwech that increased further towards the ort. Schwert Wechszlen :(“Shifting the sword” or “sword change”) In Talhoffer, reversing the grip and grabbing the blade in Halb-Schwert. Schwertnemen / Schwertsnehmen :(“Sword taking”) Close-in disarming or trapping actions. In the German schools close-in techniques for “wrestling at the sword” or Ringen Am Schwert, involved throws or grappling and disarming moves known as or Schwertnemen (“sword-taking”) there was also ground-fighting (Unterhalten, “holding down”). Called Gioco Stretto (Close Play-ing) in Italian, very useful and effective moves in long-sword fighting, called Grypes and Seizures in some later Renaissance styles. Schwuch :A lever-grip on the arm, with momentum that forces the opponent to fall. To “Schwuchten”, is to “teeter-totter”. Sprechfenster :(“Talking Window”) The action of staying on guard in a strong bind (Band) after an Oberhau is parried with an upper Hengen, keeping the point directed at the opponent’s face in order to forestall his action. The two weapons form a kind of close window-cross. Ringeck describes it as useful for anticipating the opponent’s action. Also called Brechfenster ("breaking window"). Stark / Starck :The stronger part of the blade nearer the hilt (i.e., the forte’) less effective for cutting but used for parrying and binding. Opposite of Schwech.  Also, powerful, effective attacks or operations in the moment of contact between two weapons (i.e., “the Band”). Stercken :Attacks of particular effectiveness and those exe-cuted with skill (art); to linger in the Band with strength. Stich :A sword & buckler technique from the anonymous Ger-man MS. I.33 or “Tower Fechtbuch” (c. 1295). A special kind of Langort thrust in which the buckler is drawn back to the left hip and the right elbow is advanced but sharply bent so that the sword (held in supination) points down and backwards. Storck / Sterck / Sterk :1. A strong Anbinden on the weapon.  2. The part of the sword-blade from the Gehiltz up to the middle of the blade. 3. Attack of particular effectiveness and skill (art). Also called Sterck, Sterk. Streithau :(the “battle cut”) One of Liechtenauer’s blows. Streychen / Straichen :To direct a blow from below against the opponent’s blade to cancel their action. See Rota. Stcke / Stuke :(“device” or “piece”, “fighting trick”).  Tech-niques or attack combinations designed to get past an oppo-nent’s defenses.  A chain of techniques possibly in the manner of a series of attack and counter drills.  Key was the idea of knowing the opponent’s likely response to each attack, and attacking the opening that it creates.  As the German masters would say, one technique paves the way for the next. This was not used initially, but appears in the later manuals. See Bruch. Stcke und Bruch :(“performance/maneuver and stopping”) Moving to strike so that the opponents attack is “broken” or blocked before you strike. 2. “Technique and counter” or the idea that every technique has a counter and every counter has a technique, two major components of the German systems of swordsmanship. Sturtzhaw / Sturtzhow :(“plunging cut”, “plunge blow”, or “shifting cut”) According to Talhoffer, a straight thrust from the Hengen.  According to Meyer a high strike used in Zuefechten and made with the false edge with the hands high and the point aimed at the opponent’s face.  See also Talhoffer’s Prelhaw. Taschenhaw :A Versatzung for mounted combat - a blow with the Langen Schneide from the chief hut from mounted combat,

with which the sword is held in the “ bag “ of the slightly bent left arm. Tenner :The palm, the side of the hand that is not protected by armor. “Through the roses” :A 1555 edition of Johannes Leckuech-ner’s late 15th century fechtbuch, defines this as circular strike with the lowest point of the arc aimed at the thigh.   Tuck lauff :A fast, secretive movement for the purpose of gain-ing a wrestling grip. Tunrschlag :(“From the Thunderclap”) A close-in throw or wrench according to Talhoffer. Uberfallen :A cutting or thrusting over the opponent’s weapon when it is held too low and his upper openings then become exposed. Also, to hook and pull down, with your right hand close to the Gehiltz, on the inside or outside of the opponents’ weapon over his hilt, in the proximity of or directly over his hand. See Uberlauffen. bergreiffen  :(“Gripping Over”)  Using the fingers of the right hand to wrap around or over the quillon (i.e., fingering). Leckuechner’s late 15th century fechtbuch described it from the Ochs position as: “Grip with your right hand over your cross guard into the blade, so that your fingers are standing in the flat of the blade. If somebody is hitting at you, hit him with strength that you just outdo his sword and twitch him your flat of the blade at his right ear and go high in a displacement.”Ueberlauffen / berlauffen :(“overrunning”) 1. The concept of timed counter-attack by outreaching the adversary just as they attack, you move into or out of their action and strike their closer targets exposed by their own attack. To outreach an op-ponent who attacks a distant target by targeting one closer.    If the opponent attacks a lower target, the swordsman doesn’t bother to parry; rather, he simply attacks a higher (and therefore closer) target, outreaching the opponent.  Typically a thrust, or a cut using the very tip of the blade. 2. Any cut or thrust over the opponent’s weapon, when he attacks the lower openings. Umschlagen  :To pull away after a blow for another to the op-posite side. Similar to Talhoffer’s Dal Wegbinden.  Untere Ansetzen :Thrusts or techniques delivered under or below the opponent’s guard (opposite of Obere Ansetzen) Unterhalten / Underhalten :(“holding down”). Ground-fighting techniques wresting or grappling moves included in the curricu-lum of the German systems of fighting, entering techniques involving stepping in to trap the opponent’s forearms or grip with you second hand or arm. Also a series of wrestling holds used to immobilize and opponent once the opponent was thrown to the ground. Once immobilized, the knight used his dagger to kill the opponent, or tied his arms and feet with cord, taking him prisoner. Also to hang on with a particular grip to an opponent already thrown to the ground. Unterhau :(“under cuts”) Any upward or rising strikes made from below the waist (Unterhuten), either diagonal (Zornhau) or vertical (Scheitelhau). Usually made with the Langer Schneide (long edge). Unter Schnitt / Undern Schnitt :To slice upward from below. Valsch Ortt :A thrust to the face.  A dishonest and dangerous attack, that was only allowed in serious combat. Vater Streich : (the “father strike”) One of Liechtenauer’s Meis-terhau. Verborgenes Ringen :(“wrestling secrets”) Dangerous wrestling-grips that were allowed only in serious fights and not for the public during fight school; Introductory remarks to their use were demonstrated but not allowed to be used. Verfhren  :(“Misleading”) Meyer said Misleading enables many moves and to remember when you show your intent, as if to strike to one of your opponent's openings, do not do so, but instead strike at another opening. Misleading is performed not only with the sword, but also by presenting various false stances to the opponent to lure or bait him into acting. The term might also cover provoking tactics in this sense, similar to Vadi’s falsit’. Verhawen :An offensive cut, made before the opponent can

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attack. Verkehren / Das Verkehrer :According to Ringeck, a technique where if you bind at the adversaries sword with an Oberhau or an Unterhau, turn your sword so that your thumb is down and you thrust to his face from above, forcing him to displace the thrust, then grabbing his right elbow with your left hand place your left leg in front of his right leg and to toss him over.  Also, a trapping technique of Joachim Meyer  where the swordsman hooks the opposing blade and carries it down to the ground, sensing soft pressure from his opponent in engagement.  Once the opponent’s blade is trapped, he can strike at his head or use a variety of other techniques.  Verkerer / Verkehrer :To thrust from the Band with swords ro-tated about 180 degrees. The expression refers to the sword-posture. (backwards upside-down, turn or turning) Veller / Fehler :To fake a cut or thrust from an upper Blossen (opening) to a lower one, the concept of feinting high to low. Verschieben  :(“Sliding”)  From the Zornhut (Guard of Wrath) to lift your hilt over your head with your thumb on the blade (or ecussion) and catch a blow on the flat, then immediately wind in and slice. Versetzen / Versatzung :(literally “displacement” or “to dis-place”) The concept of a defensive action to put off an attack by a deflecting blow or counter strike as opposed to an opposi-tion block, employed with evasive stepping (or the “displace-ments” are four of these cuts). Ringeck stated there were four Versatzungen techniques. Abwenden and Absetzen are exam-ples of Versetzen. Verstllen  :According to Meyer, the action of keeping the blade’s stark pressed against the opponent’s arm or weapon until an opening appears and a quick slice is used.  See Bleiben and Umschlagen. Verzuckter Hau:(“twitched strike”)  A term from the mid-15th century Codex Wallerstein text.Vidilpoge :(literally the “fiddle-stick”) A sword & buckler tech-nique from the anonymous German MS. I.33 or “Tower Fecht-buch” (c. 1295).  A movement in which the fighter holds his sword essentially at right angles across his outstretched left arm. Vom Dach / Vom tag :(“from the roof” or “from above”)  A high guard, with the arms high over the head and the left foot is for-ward. Best suited for delivering strong cuts and threatening blows. Vom Schwert :(“from the sword”)  The first group of techniques allocated to the Krieg phase. These are made by suddenly lift-ing off pressure or moving away from the opponent’s blade.  Vor :(“before”)  The offensive principle of fighting, aggressively taking the initiative, opposite of Nach (After).According to Liechtenauer’s teachings, a good swordsman al-ways attacks first, seizing the initiative before his opponent has the chance.  Vor Fechten :(“attacking before”) One of the three ways of overcoming an opponent’s attack. Vorfechter :A provost or advanced student in the Fecht-schulen. Waage :("scale" or “balance”) A low firm body position of bal-ance in whatever stance you use.  The standard fighting posi-tion with legs and arms slightly bent. Also: To make a Wrestling grip on the elbow of the opponent and throw over your left foot, before he puts his right foot down and is in a delicate equilib-rium. The term assumes that the throw - like with a scales - is only possible through the delicate balance-relationship corre-sponding. “Was sehrt, das lehrt” :(“What hurts, teaches”) The idea in the Fechtschulen that pragmatic knowledge follows only from real-istic instruction and earnest practice (i.e., “no pain, no gain”). Wechsel :(“Change”) A term used by Joachim Meyer when re-

ferring to turning over the blade in a Tail guard from one edge to the other. Wechsel can mean a change of the stance from a position with short-edge facing the opponent (right leg lead, the blade forward, point down and to the left). This is a position which actually results from a diagonal right-to-left downward (Zornhau) cut. Similar to Fiore’s Boar guard. Wechselhau / Wechssler :(“changing cut” or “Changer”  ) An attack, that is parried/deflected, suddenly changes into a cut directed against another unprotected target.  Weckemeister :From the Pflug stance, to displace an attack then deliver an upward thrust to the face from below. Winden / Wennden / Wenden :(“winding” / “wind” or “turning”) Any turning of the point or pommel around to strike or ward. Close actions to maintain pressure and dominate the opposing blade to get in and use either edge to slice (also allows you to bind, trap, close, and seize). Any turning of the blade while pressing on the opponent’s blade in order to bring one end or the other of your sword (point or pommel) against them. To wind the opponent’s weapon by the wrists before attacking. Hallmarks of the Kunst des Fechtens. They typically involve the application of superior leverage against the opponent’s blade. The name is derived from the winding, turning motion of the sword. Major variations of the Winden are the Duplieren, Mu-tieren, and Hals Fahen. Werffen:("throwing" or "armlocks") From the Codex Wallerstein, techniques, performed usually, although not always, with the help of the blade.Zeck / Zeckrur / Zecke / Zecken / Zeckruroren :(“tick”) To deliver a slight hit with the weapon when in close combat. A distracting hit or provocation. A light cut as a result of a “Win-den” that often catches the opponent by surprise. Zecken :Taps with the sword as a result of a “Winden” that are comparatively light, but often catch the opponent by surprise. Zornhau / Zorenuhau /  Zorn haw :(“rage cut” or “anger cut”) A powerful diagonal cut delivered from behind the right shoul-der or back, either Oberhau (above the waist) or Unterhau (be-low the waist). Also any diagonal cut. One of the Meisterhau. Zornhut :(“guard of wrath” or “rage guard”) A sparingly used and vulnerable posture with the weapon pulled all the way point down behind the back, but which allows the most powerful blows such as Zornhau. Zornort :To swing the sword back wide and then lifted over the head to thrust. This is done with good body control. Zu Legen :(“laying on”). A Winden variant, also known as a Hals Fahen (“neck catching”). Zucken :(Drawing) Generally applied to side-to-side cutting, in a “rownde” or wind-milling/moulinet-type fashion.  Alternately a linear disengage or blade evasion. Zucken :(“twitches”) A jerky freeing of the weapon from the Band. When an opponent has over-stepped in the Band bring-ing himself nearer to you, you may take renewed cuts or thrusts at the first opening. You will notice that during this, you remain for another moment in the Band. Zuefechten :(“The Approach”) The initial phase of combat, the pre-fight or in pre-fencing before any engagement of weapons. One of the two phases of combat where the combatants are closing distance together to engage and an attack is made or their weapons make contact (prior to Anbinden or else Handar-beit). Zulaufent Ringen :Wrestling techniques used when first run-ning together.  Analogous to Zuefechten. Zwerchhau / Zwerchhaw / Zwerch :(“Thwart Blow”) A hori-zontal or “cross cut” (also a “slanting cut”) made from either side. A horizontal-strike to displace downward blows from above. One of the Meisterhau. Also called Zwerch, Zwer Twere-haw, Twerchhau, or Geschrenckt Ort. Zwer = Thwart Zwerchen :to execute a Zwerchhau

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Appendix E: Assorted ResourcesOnline Historical Manuals

ARMA’s Historical Manuals Library: http://www.thearma.org/manuals.htmHiggin’s Armory Library: http://www.higginssword.org/guild/study/index.htmlSchielhau’s Online Resources: http://schielhau.org/Das Solothurner Fechtbuch: http://mhewer.club.fr/Library/SFB/page_01.htm

Chivalry BookshelfChivalry Bookshelf Web Site: www.chivalrybookshelf.comSecrets of German Medieval Swordsmanship, Christian Henry Tobler, ISBN 1-891448-07-2Fighting with the German Longsword, Christian Henry Tobler, ISBN 1-891448-24-2The Longsword of Johannes Liechtenauer, Part I, DVD, Hans Heim, Alexander Kiermeyer, ISBN 1-891448-20-XIn Service of the Duke: The 15th Century Fighting Treatise of Paulus Kal, Christian Henry Tobler,

Paladin BooksPaladin Press Web Site: www.paladin-press.comSigmund Ringeck's Knightly Art of the Longsword, David Lindholm & Peter Svärd: ISBN 1-58160-410-6Sigmund Ringeck’s Knightly Arts of Combat, David Lindholm & Peter SvärdCodex Wallerstein, Grzegorz Zabinski with Bartlomiej Walczak

HMA Group Web PagesStahlstadt Fechtschule: http://web.mac.com/perrywrogers/iWeb/FightingArts/Rocky Mountain Historical Combat Guild: http://lamar.colostate.edu/~kenelson/RMHCGSchola St. George: http://www.scholasaintgeorge.org/AEMMA: http://www.aemma.org/ARMA: http://www.thearma.orgChicago Swordplay Guild: http://www.chicagoswordplayguild.com/Sword Forum: http://www.swordforum.com/

Internet Video ResourcesEric Largo’s Video Site: http://www.ericwargo.com/sword/bouts/index.htmlEric Largo’s Schielhau Video: http://www.ericwargo.com/sword/bouts/using_the_schielhau.mov

Equipment SuppliersArms & Armor: http://www.armor.com/index.htmlAlbion Swords: http://www.albion-swords.com/Hollow Earth Swordworks: http://www.hollowearthswordworks.com/Sword Crafts Aluminum Wasters: http://www.swordcrafts.com/

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