COMBAT SEQUENCES AND SET PRACTICE

Linking Patterns to Form Sequences

The precision and elegance of individual combat techniques shown in martial arts magazines or even in live performances, where one person executes an attack and freezes for the demonstrator to exhibit the pre- arranged response, is meant for demonstration, and does not normally happen in free sparring or a real fight. An opponent in real life does not stop after each attack to wait for your reaction; he or she may shower you with a rain of attacks before you can recover from your first movement.
That does not mean that your free sparring or real fighting cannot be precise and elegant; it can if you are trained. If you are not properly trained, you are unlikely to bring out your best in combat, even though you may execute individual attack and & fence patterns beautifully. Thus in free sparring, we often see students merely moving forwards and back- wards, and exchanging blows, instead of applying the beautiful attack and defence patterns which they have learned in their set routines or specific technique training. The reason is that they have not learned the methods and developed the skills for free sparring.
Training in specific techniques, which we looked at in the previous chapter, supplies both the fundamental methods and the skills upon which free sparring is built. Two further stages, with substages, are necessary before we arrive at the point where we are free sparring competently:
combat sequences, which we shall study in this chapter, and combination sets, which will be described in Chapter 10.
A combat sequence is a short series of attack and defence patterns. If you execute Black Tiger Steals Heart by itself, we call it a pattern. If you use it to strike someone, it is a specific technique. In this case it is specif- ically used to attack your opponent's heart. Your opponent can respond in numerous ways to this particular combat situation; one way which we learned in the previous chapter is Single Tiger Emerges from Cave, which is in this case a specific technique to counter the BlackTiger attack. Ifyou continue from your Black Tiger attack, either before or after your oppo- nent's response, leading to an exchange of attack and defence patterns, this becomes a combat sequence.
A combat sequence can be free, ie you and your training partner can execute patterns according to the demand of each situation. This becomes a short series of free sparring. From their long experience, Shaolin mas- ters discovered that if students were asked to attempt a free combat sequence without adequate preparation, they would be hesitant and inde- cisive in their exchange. From years of study and experimentation, they devised a series of steps to lead the students from a prearranged to a free combat sequence. In this way the students not only learned attack and defence patterns linked in a logical, advantageous manner, but also devel- oped important skills useful in such combat.
Let us study some ways in which patterns are linked together to form sequences, and the skills that are essential for their effective application. Obviously your chance of defeating your opponent is greater if you use two consecutive attacks instead of one. Your chance is further increased if, instead of deciding what second attack to use only after you have implemented your first attack, you have both ready as soon as you move in to your opponent. For example, as soon as you implement your Black Tiger punch to the heart, you implement the second Precious Duck punch to the abdomen, irrespective of whether your opponent defends effectively against your first attack, and irrespective of what form that defence takes. Opponents who fail to defend against the first attack, will be hit twice; those who succeed with the first defence will be hit in the second attack before they can recover.
You can increase the number to three consecutive attacks. For exam- ple, you may start with Poisonous Snake to the throat, then Precious Duck to the abdomen, followed by Black Tiger to the heart. You need not confine yourself to hand attacks; you may introduce kicks, felling tech- niques or holds at appropriate times. You can have even more consecutive attacks but it is not advisable to do so unless you are specially trained for this kind of attack, because it is easy to fall into the danger of concen- trating so hard on attack that defence is neglected.
Even ifyou use only two consecutive attacking patterns, it is possible that your opponent will counter-attack after your first pattern. Indeed, he or she may surprise you by attacking you first as you move in, even before you have executed your first attack. So you must be prepared for counter- attacks at any time.
Theoretically there are countless ways to counter an attack, and count- less ways to continue from an attack or defence pattern. But in practice, the range of responses and of subsequent patterns can usually be narrowed down to a dozen favourite moves, because these give certain technical advantages. For example, if you land a Black Tiger punch, unless your opponent is a master capable of responding in some outlandish way, it is most likely that he or she will either block or dodge your attack. Again there are countless ways of blocking in theory, but in practice the block will usually fall within a range of some preferred patterns. Similarly there is a range of preferred patterns for dodging. Hence, a master with wide experience and understanding will devise combat sequences that will take advantage of these expected movements.
This ability is beyond most students, who are also at a lost when faced with all the possible variations of patterns and sequences. Hence, instead of leaving students in the lurch, masters have chosen appropriate patterns and arranged them in suitable sequences for students to practise. Gradually, as they progress, the control of prearranged patterns and sequences is reduced until eventually they spar freely.

Various Sequences for Practice

If we leave aside defence patterns for the time being, and use X andy to indicate the attack patterns of the two participants, we may represent some useful sequences for practice as follows:

1- XX 2 –XYX 3- XY XY XY 4 -XYXXYXX 5 –XXX

Suppose that in the combat sequence training, you assume the role of X, and your parmerY. In the sequence X X, you attack twice consecutively and your partner defends accordingly. In X Y X you intend to execute two consecutive attacks, but before you can start the second attack, your partner counter-attacks; thus you defend against his counter-attack and then carry on with your planned second attack. You should have no dif- ficulty working out the meaning of the other sequences.
The following are some examples for your training, starting with sim- ple patterns and proceeding to more complex ones, and using the patterns you learned in Chapter 6. You can use either the left or the right mode of the patterns, whichever is best or most convenient. Practise each sequence at least 10 times per training session, then reverse roles and prac- tise another l0 times.
As the patterns are prearranged, you should focus on developing skills like anticipation,judgement and decisiveness. Later, devise your own pat- terns according to the suggested sequences above, and then devise your own sequences. Initially do not try to perform the sequences fast, for this may distract you from correctness of form and good balance. As you practise the sequences over and over again, speed will be gradually developed.
Start and complete each combat sequence with any suitable poise patterns, like Lohan Asks the Way or Single Tiger Emerges from Cave (see Chapter 6). If a training partner is not available, use an imaginary opponent.

Sequence I – X Y X. Move in to your partner, simultaneously opening or taming his or her hand, and execute Black Tiger Steals Heart. Your opponent responds with Single Tiger Emerges from Cave and immediately counters with Black Tiger Steals Heart. You respond with Single Tiger Emerges from Cave, and then Poisonous Snake Shoots Venom. Your partner defends with Beauty Looks at Mirror.

Sequence 2 – X Y X. You attack with Black Tiger and your partner responds with Single Tiger, then Poisonous Snake. You respond with Beauty Looks at Mirror, then Naughty Monkey Kicks Tree. Your partner responds with Swimming Dragon Plays with Water.

Sequence 3 – X Y X Y X Y. You attack with Poisonous Snake, and your partner responds with Beauty Looks at Mirror, followed by Precious Duck Swims Through Lotus. You reply with Fake-Leg Hand Sweep, then Happy Bird Hops up Branch. Your partner attempts to strike your leg with Lohan Strikes Drum, followed by _Poisonous Snake. You counter with Beauty Looks at Mirror, then Naughty Monkey' Kicks Tree. Your partner respond with Swimming Dragon.

Sequence 4 – XY X XY X X. You attack with Golden Star at Corner, to which your partner replies with Immortal Emerges from Cave, followed byYellow Oriole Drinks WVater. You counter with Cut Bamboo with Branches, and Poisonous Snake. As soon as your partner defends with a Mirror Hand, you move forward swiftly and apply UprootingTree to fell him or her. Your partner responds with Naughty Monkey, which is a defence and counter pattern. You respond with Tame Tiger with Beads, then move in with Precious Duck. Your partner lowers his or her kicking leg to the back, and simultaneously holds the wrist of your attack- ing arm. You reply with Rolling Thunder Cannon Punch, which is a defence and counter pattern. As your partner moves back with Single Tiger Emerges from Cave, you continue with Yellow Oriole. Your partner defends with False-Leg Hand Sweep.

Sequence 5 – X X X. You attack with Poisonous Snake, to which your partner responds with Beauty Looks at Mirror. You immediately follow up with Yellow Oriole. As soon as your partner defends with either False-Leg Hand Sweep or Cut Bamboo with Branches, you kick him or her with your other leg in the Happy Bird Hops up Branch pattern. Your partner quickly retreats a small step to the sideways Bow-Arrow Stance and counters with Lohan Strikes Drum. When you are familiar with a combat sequence, you can change or add one or two patterns. Gradually this changing or adding of patterns is increased until eventually you are free sparring. If you want to be proficient in your sparring or fighting, you must spend time and effort in combat sequence training. You should practise this course of combat sequences, including your own modifications and compositions, for at least six months.

Relieving Injuries Sustained in Sparring

Despite taking great care not to hurt one another ill sparring practice, stu- dents are sometimes injured by unintentional hits. When the injury is external, such as a bruise or a swelling, applying some Kung Fu medicine like the medicinal wine described in Chapter 11 can relieve the problem.

If it is internal, such as pain in the chest or abdomen, taking a herbal concoction can overcome the problem. The Harmonizing Chi and Generating Blood concoction is effective for curing internal injuries of a traumatic nature. Its ingredients, named in Chinese, are as follows: su geng, su mu, hou bu, sa ren, gui wei, mu xiang, chuan hong hua, zhi ke, chi yao, tao ren, xiangfu. Obtain 8g of each ingredient, and slowly brew the mixture in an earthen pot with three bowls of water. When about a bowl of the mixture remains, pour it from the pot into a bowl, and drink it when it is luke warm. The ingredients may be brewed again the next day, and the mixture taken a second time. If the injury is serious, take three doses (ie six times, brewing new ingredients after every second time) with an interval of three days between doses. (Remember that a dose is a bowl full on two successive days, the second being a brewing of the same ingredients.) Do not worry if you feel more pain the day after you have taken the concoction; that is the effect of the medicine clearing internal blockages. If you have not sustained any obvious injury, it is still advisable to take the concoction once a month if you practise sparring.
Another way to relieve injuries is to practise the appropriate Chi Kung exercises, like Lifting the Sky and Self-Manifested Chi Movement, which will be explained in Chapter 14. Such exercises not only relieve both external and internal injuries, but also enhance many aspects of Kung Fu.

Linking Sequences to Form Sets

One helpful way to remember the Kung Fu patterns that you have learned, like the 24 specific techniques which provide the ingredients for your combat sequence training, is to link them into a meaningful set and supply supplementary patterns for such functions as the greeting poise at the beginning and end of the set.
You may link the patterns in any way you find suitable. The following is one way of joining the eight patterns of hand attack and defence (see Chapter 6) into a short set in a simple, but elegant and systematic manner.
Start at a ready position. Move your right leg slightly forward, then your left leg in front of your right leg to form a left False-Leg Stance. Simultaneously place your left palm and right fist together in front of your chest in the typical Shaolin greeting. This pattern is called Dragon and Tiger Appear. Then retrace your steps and move back to the ready position.
Move your right leg slightly backwards to form a left False-Leg Stance, and simultaneously hold your left palm in front, with elbow slightly bent, while your right fist is still at your right waist. This is a poise pattern, called Lohan Asks the Way. Breathe out gently.
Move your left leg forwards into a left Bow-Arrow Stance, simultane- ously taking a quick, deep breath, then punch out your level right fist powerfully with an explosive 'her-it' sound coming from your abdomen. This is the pattern Black Tiger Steals Heart. Pul1 back your left leg slight- ly to form a left False-Leg Stance, and move your left Tiger Claw in an arc to the front in the pattern Single Tiger Emerges from Cave, simultan- eously making a tiger-like 'yaa...' sound vibrating from your lungs.
Move the left leg forwards again into a left Bow-Arrow Stance, and shoot out your right snake form, making a sharp 'shss' sound, corning from your kidneys, while your left palm is held near your right breast. This pattern is Poisonous Snake Shoots Venom. Without moving your feet, block with your left hand in the pattern Beauty Looks at Mirror, with your right palm near your left elbow. Then gently breathe in.
Bring your back right leg a big step forwards so that it now becomes your front leg, and sit low on a sideways Horseriding Stance. Simultaneously punch out your level right fist in the pattern Precious Duck Swims Through Lotus, with an explosive 'her-it' sound. Then bring your right leg a small step backwards to form a right False-Leg Stance, breathing in at the same time, and sweep your right pahn diagonally downwards in the pattern False-Leg Hand Sweep, simultaneously breathing out.
Move the right leg forwards into a right Bow-Arrow Stance, and simultaneously hook out your left Horn Punch, with your right palm guarding your exposed left ribs, in the pattern Golden Star at Corner. Float your right palm towards your upper right, and bring your left fist back to the left of your waist, in the pattern hnmortal Emerges from Cave.
These eight basic patterns comprise the first section of the short set as shown in figure 8.6.(No Picture available)
Figure 8. 7 illustrates the second section, which is the same as the first, except that left and right are reversed. Move your right front leg a small step in front and drag your left back leg accordingly a small step forward to remain at a right Bow-Arrow Stance. Simultaneously punch out your level left fist in the Black Tiger pattern, with an explosive 'her-it' sound coming from the abdomen. Take back your right leg into a right False- Leg Stance, and move out your right Tiger Claw with a 'yaaa...' sound.
Continue with Poisonous Snake and Mirror Hand, then move your back left leg a large step forward and execute the Precious Duck punch, followed by False-Leg Hand Sweep. Move a small step forwards to a left Bow-Arrow Stance, and execute a right Horn Punch, followed by Immortal Emerges from Cave with your left hand. Complete this second section with a right Black Tiger Steals Heart, with an explosive 'her-it' sound coming from your abdomen. The BlackTiger punch here is a connecting pattern, added to make the second section connect smoothly with the third.

The third and the fourth sections are the same as the first two except that they are performed in opposite directions, and left and right are reversed. Figure 8.8 shows the third section. After the right Black Tiger punch at a left Bow-Arrow Stance in the last pattern of the second sec- tion, without moving the legs make a right about turn to form a right Bow-Arrow Stance and strike out your left BlackTiger punch. Move your right leg back slightly to stand at a right False-Leg Stance and execute Single Tiger Emerges from Cave.
Continue with left Poisonous Snake and right Mirror Hand. Then move your left leg a big step forward for the left Precious Duck punch, followed by a left Hand Sweep standing at a left False-Leg Stance. Move forwards with a right Horn Punch, followed by Immortal Emerges from Cave. This completes the third section.
The fourth section is similar to the third except that the left and right modes are reversed, as shown in figure 8.9.Without moving your feet, exe- cute a right Black Tiger punch, followed by a left Tiger Claw in Single Tiger Emerges from Cave. Next, shoot out your right snake hand, fol- lowed by a left Mirror Hand. Move your right leg a big step forward to execute the right Precious Duck punch, then a right Hand Sweep. Move to a right Bow-Arrow Stance to execute a left Horn Punch, followed by a right Immortal Emerges from Cave. Complete this fourth section with a left Black Tiger punch, which is an additional pattern.
Without moving your legs, make a left about turn, and punch out a right Black Tiger Steals Heart, which is an additional pattern. Remaining in this position, change from a left Bow-Arrow Stance to a Horse riding Stance, with your body facing right, your face looking in front at right angles to your body, and your straight left arm extending forward with the One-Finger Zen hand form, and making a 'shss...' sound. Gently sink your Chi, or vital energy, down to your abdominal dan tian, and remain in this poise for a few seconds. This pattern is called Stabilizing Cosmos with One-Finger Zen. The One-Finger Zen hand form is a typical Shaolin symbol, and the pattern is sometimes used by masters as a poise pattern, although beginners will find that remaining in a Horseriding Stance is too grounded for fighting.
Change to a left False-Leg Stance with the Shaolin greeting in the pat- tern Dragon and Tiger Appear. Step back into a ready position to complete this set. For the sake of reference we may call this set Shaolin Hand Attacks.

Composing Your Own Kung Fu Sets

You may arrange these eight basic patterns in any other way you like to compose your own set, and choose your own name for it. You should try arranging the basic patterns for kicks and for falls and holds into suitable sets.You can have one set for one category of attack, as we have done for hand attacks, or a mixture of categories in the same set. You may, if you like, use the Shaolin Hand Attacks as the basis and add patterns for kicks, felling techniques and holds at appropriate places.
Composing your own Kung Fu set will be an interesting and rewarding exercise, even though the resultant set may contain many weaknesses, because you will be experiencing what great masters thought and did with the classical Kung Fu sets which have now become our inheritance.
In the Shaolin Hand Attacks, the movements are forwards and then backwards in one line. This linear arrangement is suitable because the set is short and its patterns are simple. But if your set is long and the patterns varied, you can try other arrangements, such as moving in four directions, in circles, or in asymmetrical designs.
Practising a set gives us other, more important, benefits than just enabling us to remember some patterns. The Shaolin Hand Attack set, for example, helps us to learn breath control, see the relationships in logical sequences, and develop stamina, speed and fluid movement. Whenever you perform the set, you practise all the basic hand patterns four times, which is not only more time-efficient than practising the same patterns separately four times, but also enables you to practise their connecting movements, which will be helpful in combat, when an opponent is like- ly to attack you not in staccato patterns but in a continuous sequence. You may initially use one breath for each pattern, but as you develop better breath control you may perform a whole section of eight patterns in only one breath, which means not only that your stamina is better, but also that your movements are faster and smoother.
You should spend at least six months on elementary set practice, with Shaolin Hand Attacks and other short, simple sets you may compose. Since practising a set takes only a few minutes, you can follow other courses at the same time. For example, during the six months that you have allotted to developing the skills and techniques associated with set practice, you can also develop other aspects of Kung Fu, like combat application and specific force training, which will be explained later.
Set practice is a basic aspect of Kung Fu training, but unfortunately many students think it is all that Kung Fu represents. Not surprisingly, such students achieve little, even though they may spend many years on Kung Fu. To avoid this mistake, you should define the course and personal objectives for your set practice, as well for other training courses in future.
When you are proficient in simple sets, you may proceed to more complex ones like Shaolin Five Animals, which will be described in the next chapter.