Saber Combat Academy Ltd.
Longsword Syllabus
Level 3: ‘Contratagli’ – Countercuts
Posta di Donna la Soprana – The Over-Head Countercut
This counter works well against the most common of cuts, the
Mandritto Fendente towards your head, on your backhand side. In
principle, the counter is a block, blind, redirect and counter all
rolled into one smooth movement. It encourages the use of a new
posture that is rarely seen, the La Soprana variation of Posta di
Donna. It is important to remember your own power when countering,
as you made need more power to bind and redirect your opponent than
is required to strike them with. Manage your control.
· Begin with your opponent in any right-sided guard, ready to
cut with a Mandritto Fendente to your helm.
· You are to hold Posta di Donna (by the right).
· As your opponent begins their attack, Discrescere offline to
your right and enter the La Soprana posture.
· Catch the incoming blade on your sword and bind with it by
pulling it over your head and away to the right.
· Passare in towards your opponent and disengage with your
opponent’s blade, leading with your true edge to strike across the
face of their helm.
You will need to have your blade held correctly in La Soprana or
the block will fail. Contact against your back with your own blade
is negated as it is almost impossible to cut yourself in this
manner.
La Soprana Counter – Countering the Over-Head Countercut
As the attacker, you must be aware of this movement and how best
to counter it with a solid block. Instead of a solid block, you can
offer your opponent the same counter by using the La Soprana
Countercut. Remember, this is the counter to the Countercut and you
are now the attacker from the first exercise.
· From any right-sided guard, attack your opponent with a
Mandritto Fendente to their helm.
· Your opponent enters La Soprana and binds, forcing the
redirect and starts the counter.
· To counter the La Soprana, you must enter the same posture.
Discrescere offline, to your right and lift the pommel towards the
ceiling, pulling your sword into the La Soprana position.
· You can hold a block here and withdraw, or use the La Soprana
Countercut in turn.
Here you will see that one La Soprana leads into the next, into
the next etc. There is a remedy to the La Soprana Countercut and
the solid block which we have covered before. It is the yielding
pommel strike.
Yielding Pommel Strike Remedy – To counter the La Soprana
Countercut
As previously taught, the pommel strike leads with the
counter-weight at the bottom of the sword handle, opposite to the
blade. It is to be placed squarely on the helm and with the correct
pressure to avoid injury. The remedy requires you to enter very
closely to your opponent so courage is a big factor in this
movement.
· You have performed the La Soprana Countercut to a Mandritto
Fendente towards your helm. You have made a Passare towards your
opponent but they have begun the counter movement against your
Countercut.
· As they lift into the La Soprana posture, yield to their blade
and let your tip be pushed back to behind your right side. As this
happens lift your hands and extend the arms.
· Position the pommel to strike your opponent’s helm and Passare
towards your opponent to complete the strike.
· Add pressure on your opponent by using your lower hand to grab
their dangling blade, disabling the ability to counter your pommel
strike.
Angulated Riposte – Countering cuts with an angulated strike
Used against most descending strikes, you will require a strong
block to withstand the strike and decent timing on your footwork to
avoid the impact. Being covered is key as a falter will allow your
opponent to strike.
· From Dente de Zenghiaro, intercept an incoming descending
strike with your sword. Enter the defence with a relatively
horizontal blade, flat to your body but extended away.
· Step offline with a Mezza Volta or Passare in the direction of
where the strike was going.
· Maintain contact with your opponent’s blade and angulate your
blade to land a strike on their upper arm, chest or helm.
