Angles of attack
ñ Direct
ñ Indirect
ñ Rhythm
change
ñ Immobilization
ñ Draw
ñ Combination
of attacks
Direct attack
is built on being able to move faster than your opponent can
respond
Components
ñ speed
◦
initial inhibit the tell
◦
MPH stay relaxed
◦
timing
exercise – Partner holds up hand and you attempt to beat the
partner moving their hand
time commitment, reaction time, critical distance, attack
distance
Indirect attack
either use an available opening (probe) or create one. This
utilizes preconditioned and natural responses
Components
ñ Information
processing theory and overload
◦
fingerprinting your opponent
ñ the
commitment (to fake or not to fake)
◦
full commitment
◦
half commitment (probe)
◦
extension commitment
exercise
hold arm mid level with forearm horizontal while other tries
to punch or fake to move the defenders arm.
partner holds arm vertical and you fake inside and hit them
from outside
partner holds arm vertical and you fake outside and hit them
on inside.
Rhythm change of even intention/behavioral change
exercises
attack on every 4th count change to 1st
count
change up attack – fast, fast, fast, slow or slow, slow, slow
fast
mix in a background stimulus by making a foot drag noise
every time you attack and then just make the foot drag to see if they react. Then
omit the foot drag to slip past the partners defense.
Destabilization & immobilization
the ability to keep your opponent from moving or the ability
to keep an opponent’s limbs from moving
pin arm
sweep leg
exercise – trap arm and punch over it
cross check and control height, width and depth
check with pain
over both hands and front foot sweep
Combination
two direct attacks
two direct attacks with a pause
indirect with a fake
The 25 Principles
JOE LEWIS
FREEFIGHTING SYSTEM
1.
Setups
2.
Positioning
3.
Independent Movement
4.
Initial Speed
5.
Critical Distance Line
6.
Line of Attack
7.
Bridging the Gap
8.
Five Primary Techniques
9.
Leading Side Versus Rear Side
10. Economy of Motion
11. Relaxation Versus Tension
12. Mobility Versus Immobility
13. Extension, Hyper-Extension, Double Hyper-Extension
14. Leading Centers
15. Unpredictability Versus Classical Form
16. Straight Line Versus Curved Line
17. Defensive Choices
18. Initial Speed Versus Combinations
19. Faking
20. Constant Forward Pressure
21. Time Commitment Theory
22. Defensive Movement Patterns
23. Angle of Attack Versus Technique Variation
24. Half Commitment, Full Commitment, Extension
Commitment
25. Theory of Broken Rhythm
1. Set yourself up physically and
mentally.
ñ Raise
your energy level.
ñ Use
sparring partner for timing and distance.
ñ Practice
external focus.
2. Set up opponent verbally.
ñ Confuse
him.
ñ Psyche
him out.
3. Set up your opponent through body
language.
ñ Mislead
him.
ñ Frighten
him.
1. Position for mobility.
ñ Keep
in mind Constant Forward Pressure.
ñ Be
capable of moving offensively or defensively.
2. Position for distance.
ñ Keep
in mind your opponent's critical distance line when positioning.
ñ Be able to
bridge the gap effectively from your position.
3. Position for best defensive
capability.
ñ Keep
in mind your defensive choices.
ñ Keep
all vital areas covered constantly.
4. Position for best offensive
capability.
ñ Keep
in mind your line of attack.
ñ Be
in a relaxed state that you can explode out of.
5. Position with the right
psychological attitude.
ñ Be
assertive.
ñ Be
active or passive according to how you want to set him up.
1.
Strike moves independent of body and body
follows.
2.
No tell-tale leading centers.
3.
Keep in mind relaxation versus tension.
4.
Keep in mind initial speed and direct angle of
attack.
5.
Independent movement should be used with all
five primary techniques.
1.
Relax--Explode.
2.
More important that timing speed or natural
speed (MPH).
1.
Your opponent's effective killing range is the
critical distance line.
2.
Your ability in bridging the gap will determine
where you position yourself in relation to your opponent's critical distance
line.
1.
INSIDE.
2.
OUTSIDE.
3.
MIDDLE.
1.
Initial speed and proper footwork are the two
most important principles involved in bridging the gap.
2.
Keep in mind critical distance line.
3.
Keep in mind extension, hyper-extension and
double hyper-extension.
4.
Keep in mind half commitment, full commitment
and extension commitment.
1.
Sidefist or backfist (Leading side).
2.
Inverted close punch (Leading side).
3.
Reverse punch (Rear side).
4.
Side kick or roundhouse (Wheel) kick (Leading
side).
5.
Spinning rear kick (Rear leg).
1.
Economy of motion in terms of shorter distance.
2.
Bridges the gap faster.
3.
Helps cut out leading centers.
4.
Most of the five primary techniques come off the
leading side.
1.
Keep in mind straight line versus curved line.
2.
Keep in mind leading side versus rear side.
3.
Concentrates on the direct angle of attack
because economizes on movement and lessens the time commitment.
1.
Initial speed increases.
2.
Time commitment is less with fast initial speed.
3.
Conserves energy.
4.
More deceptive with less leading centers.
1. Footwork.
ñ Basic
stepping
ñ Hopping
ñ Switch
stepping
ñ Creeping
ñ Shuffling
2. Directions.
ñ Vertical.
ñ Horizontal.
ñ Arcing
(Off angle).
3. With mobility there is more
deceptiveness and unpredictability.
1.
Your own critical distance line increases if
double hyper-extension is used.
2.
Your ability to bridge the gap is more
effective.
3.
Keep in mind half commitment, full commitment,
extension commitment.
1.
In most of your techniques you should use
independent motion and cut out all leading centers.
2.
Leading centers can be used purposely in faking
and broken rhythm.
1.
Use leading centers for faking and keeping your
opponent off balance and jumpy.
2.
Mobility is more unpredictable, keep moving
using different kinds of
3.
footwork and directions.
4.
Use different kinds of broken rhythm.
5.
Be interchangeable with straight lines and
curved lines.
6.
Be flexible with the different angles of attack.
1.
The most direct route to your target is a
straight line.
2.
A straight line attack is more powerful and
economizes motion.
3.
Most of the five primary techniques utilize a
straight line of attack.
1.
Hand and body positioning is a matter of
preference with the individual as long as the vital areas are covered at all
times.
2.
There are four defensive movement patterns that
can be used according to the size, structure and fighting attitude of the
person using them; your opponent's size, technique, and footwork should also be
a determining factor in what kind of defense you choose.
3.
Be unpredictable and switch back and forth
between the different defensive movement patterns to keep your opponent unsure
of himself.
1.
Initial speed and the direct angle of attack are
more spontaneous when you are externally focused.
2.
Practice combinations is future thinking which
is negative thinking.
3.
Initial speed ties in with independent movement
which gives us more
4.
economy of movement.
5.
There is less time commitment in the initial
speed of the direct angle of attack.
6.
A good portion of our practice and programming
should be spent on initial speed and the direct angle of attack because it is
one of the most important principles of them all.
1.
The main leading centers used in faking are:
ñ Hip
ñ Body
ñ Shoulder
2.
Faking is used in the direct angle of attack.
3.
Faking makes your opponent commit himself and
throws off his timing.
4.
Faking is used in broken rhythm also and helps
to increase your unpredictability.
1.
Mental - assertiveness and external focus.
2.
Physical - forward movement, offensive body
positioning, and aggressive body language.
3.
Result - Confusion.
1.
Keep in mind initial speed.
2.
Bridge the gap with straight lines and direct
angles of attack.
3.
Keep in mind your opponents timing and reaction
time, how much time does your technique take to complete in comparison to the
time it takes for your opponent to react and counter.
1. Jammer - moves forward.
ñ Use
the direct angle of attack against a Jammer.
ñ Use
broken rhythm (move in with a body fake to draw him, move back as he tries to
jam, and kick him as you retreat or move back into him).
2. Blocker - stays in position or
moves a half step back.
ñ 80%
of all fighters are blockers.
ñ Use
all five angles of attack against a blocker.
3. Runner - moves backward out of
original position.
ñ Use
the direct angle of attack and hit him before he runs.
ñ Use
a combination and follow him.
ñ Use
broken rhythm (active - he runs, active - he runs, passive - hit him before he
runs).
4. Elusive runner - moves all over
and is unpredictable.
ñ Set
him up.
ñ Wait
until he comes to you.
5. Name your opponent by his
footwork and by where he is at your point of contact with him.
ñ He
may be a jammer and intended to jam your move, but if you nailed him before he
moved he is a blocker.
1.
If you can't make a technique work, change your
angle of attack rather than change to a less effective technique.
2.
Direct - Initial speed and independent motion.
3.
Indirect - Fakes.
4.
Combinations - Direct and Indirect.
5.
Broken rhythm.
1.
Set your opponent up with broken patterns (Full
commitment-doesn't reach him, full
2.
commitment-doesn't reach him, extension
commitment-nail him by bridging the gap.
3.
Be unpredictable and throw his timing and
distance off.
4.
Keep in mind extension, hyper-extension, and
double hyper-extension.
1.
Change target (low, low, high).
2.
Change body rhythm (active, active, passive).
3.
Change body motion (forward, backward, forward).
4.
Change speed fast to slow to fast).
5.
Change movement (stop, go).
6.
Change angle of attack.
7.
Change techniques.
8.
Change positioning and set him up.
9.
Change patterns of any sort.
10.
Change attitude (aggressive, passive).
11. Change your defensive choice.
12. Change your footwork.
13. Change your commitment.
14. Change your line of attack (inside, inside,
outside).
15. Be totally unpredictable with broken rhythm and
throw your opponents timing totally off.
