sword

Rhythm Exercise

The rhythm exercise was given to help improve the coach's technique. At advanced level, it was found that the coach's technique was lower than that of the proposed lesson. The exercise was

This exercise was first practised in the on-guard position, then with a lunge. The coach's technique improved where the following points were concerned:
  1. Depth of point.
  2. Distance.
  3. On-guard as a fencer.
When this was working effectively, footwork was added
  1. Step back, parry quarte, riposte direct.
  2. Parry quarte, riposte with disengage and lunge.
  3. Recovery forward with the parry, one-two with step and lunge.
  4. Recovery back with parry quarte, flèche with doublé.
The coach should emphasise the following points:
In a) the parry is completed as the front foot hits the ground.
In b) the parry is completed and the riposte is made when the coach gives a clean lateral pressure.
In c) recovery forward and parry; the coach must ensure that the back foot movement and the parry are completed together. The sword arm should not be moved back close to the body to compensate for the forward action.

At this stage the pupil has moved to riposting distance and has put the pressure on in the fight. However, a top fencer who is able to recover correctly, will still be able to move away. The pupil must be well balanced and able to move his blade and legs in co-ordination, as most fencers rapidly lose balance when retiring. This action of recovery forward is a useful means of breaking from defence, keeping pressure on the opponent all the time.

At this stage the lesson was developed using the first three actions until they were working well. But, distance was still causing problems.

Coaching Points

The coach should always help the fencer to position quarte correctly. In some cases he should hold the point to keep it down and to stress that the fencer must not recover with his arm going back towards his body. If he was deceived in quarte with his arm locked back, then it would be impossible for him to take another parry. But, if the hand is correct then other parries can always be taken. We must ensure that one action does not create problems later on.

The step forward should be short, the deception clean and the lunge correct. Although the coach is moving all the time (keeping distance), each action is executed in the correct technical manner.

In d) the recovery and flèche were added. This stresses not only a balanced recovery by the pupil but, also the foot action of the master. The master must now be aware of the -total distance covered and therefore move his legs as a fencer. The distance will obviously vary, but four or five metres is usual in order to ensure that the pupil's head is up and that the coach is at the correct measure. Another parry and riposte were added in quarte to make the pupil take a counter-riposte en flèche.

Advantages gained from this Lesson

Coach It gives the coach practice in keeping distance and in building up a series of actions. i.e. must ensure that his movements are smooth and that he concentrates on the finer technical points i.e. that the parries are formed correctly and the timing of all actions.

Pupil The pupil learns concentration, blade work and the timing of his actions. In the end, this must help to build his confidence,

Cadence This was discussed and the difference explained, as we approached it.

e.g. the class took
  1. The coach made the pupil hit on both ripostes.
  2. Pupil hit on the 1st riposte but not on the 2nd.
  3. The coach only let the pupil hit on the final riposte.
  4. The coach did not let the pupil hit at all.
Each exercise altered the cadence of the phrase, causing the pupil to vary his speed each time. This simple exercise at advanced level meant that the coach had to control the blade, and that a competitive fencer must be ready to continue the phrase, and not to stop when he believes he as scored a hit. Looking at the box loses many hits in every competition.

This exercise also trains the fencer to vary his own speed and to react correctly to a change of speed by his opponent. The coach can make this exercise competitive therefore making the pupil increase his work rate. At this stage the coach alters the cadence of the lesson without telling the fencer, and many times the fencer will not know that the actions are different. This, in effect, shows the difference between a coach and a human lunging-pad.

Immediately this pressure was put on the pupil many mistakes began to appear, and the coach had to control and correct these actions. It also achieved an understanding of related fencing actions i.e. teaching this action at a basic level would achieve little. But, as an advanced coach, over a period the fencer would achieve an excellent standard and an ability to use the action. effectively. At this stage, it was found to be of value to make the fencers work with an electric foil.

The coaches now devised rhythm lessons of their own. Examples of these are;

The coaches then practised using different parries with the same riposte and the same parries with different ripostes

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