Nice video, I just discovered your channel, I see more and more new channels growing this days. Looking forward to see more of your work in the future, cheers!!
Good work! The discordant parry is probably one of the best parts of Vadi, and I'm excited to see you do more stuff with it in the future! Two things i noticed tho and if you'd be interested in some advice I'd love to send your way if you'd have it, either way, you're totally on the right track, keep it up!
@@petritzky Hey friend, apologies for the delay, I'm just getting over being sick the day I left this comment (great timing as always) and I haven't had the energy to do anything else except lay in bed. So! I'm gonna do what i can best to describe what i noticed here, if you need video of anything im talking about you can get in touch with me on discord, i can send you my info somewhere more private Tournament footage: Your parries at are super tight and damn near perfect but i think there is a way you could optimize them by making your cutting angle steeper and trying to hit the opponent behind their blade after you've parried or after they've parried your blow. Now it could just be the camera angle not showing the whole thing since i can only see a little bit of your opponent, but they throw their descending cut with this horizontal arc that leaves their head exposed in a very juicy way (this works just fine against a steeper angled cut), and since your sword is already coiled into that posta di donna-like position it is well primed to hit them behind the blade as soon as their blade connects to your parry. Knowing this you can, set up an opponent to fall right into this parry by throwing a direct attack or strong beat to the blade to provoke a cut around, knowing you can counter riposte. If you force the opponent to make a committed parry and their hands don't rise up too high or they end up in a hanging position, you can also do the same action from a lunged with the non-dominant foot forward. Sparring footage: Chambering into sagittaria or breve longeza for a cut is legit. works all of the time for me, this advice is really little, but when you're throwing the cut don't be afraid to bring your backfoot forward or parallel with your lead foot, this will keep you much more stable and adds a smidge of helpful rotation I've found (edit: adding a forward recovery after the lunge to put you in a good range to fence from mezza spada is super good this way as well since you wont over commit yourself into measure). Bonus advice: when throwing a cut from sagittaria/breve longeza the same little umph coming from bringing the back leg forward can be gained by using a wheeling cut instead of just bringing the edge online and throwing the touch. it looked like you were sniping here tho and you had that lined up pretty well. strong work My students fucking loved this video btw, it also falls well in line with our focus coming back to longsword after two months of sidesword. anyways, hope this was actionable advice, cheers man
@@Sinestrahema First, thanks man. I'm very glad your students liked this video. I really don't strike behind my opponents blade in these cases. Frankly I didn't try it, since I still don't feel to comfortable doing it especially under tournament pressure, but I'm surely working on it. I this particular case I noticed my opponent parries with his hands quite high, which I took advantage off. To the second advise I have a question. Are you suggesting to bring the back leg to my leading leg in the thrusting, or in the cutting around? I am aware of this action in the thrusting, but can't quite think of it in the cutting action. I will give it a try in the future.
@@petritzky 1. Thought that was likely the case but still wanted to put it out there! it was a good hit, always take'em where you can get'em 2. I am suggesting you step the backfoot out with the cut around as well yes
Sometimes I get these really fast and powerful hits, and I've been trying to replicate them but couldn't figure it out... it's this. I'm parrying across my body, then stepping through just before I uncross. I think my leg movement is driving my hip movement, and then the hip movement pulls the slightly lagged uncrossing and drives the power through in combination with the speed. Thank you so much for this, I'm definitely going to train parrying crossed much more.
Glad I could help! What can work really well too, is thrusting in a crossed body position(like left Ochs with left leg forward), waiting for the thrust to be displaced and then uncrossing for the umschlagen.
Awesome! That's very interesting with the same side foot explicitly stated. We have practiced just hip rotation cutting, but generally used opposite foot placement. Definitely gonna try it out and see what the changes are.
Thanks, I found it a very interesting take on body mechanics. It is a little weird at first, but you get used to it. I found a lot people already use this way of power generation, on this tournament as well. Often people avoid passing steps due to the high commitment and this is a solid way to create power without one. It's a different thing to beware and train it though.
It was a great exchange and you fought well with lots of initiative! Shame about the judging. I am going to have to do a compilation of the most amazing calls. Funny, as I dipped into Vadi recently. It was actually via a comment on John Clements's "TURN THE KEY" video where Vadi says the legs are keys that turn the lock or something (I didn't go into it that deep haha). I like the idea of parrying the mandritto with the left leg forward though, thanks for pointing it out! I like to mix in a bit of Italian with the German. Let's fence soon.
nice video Bruv! fine movement analysis and source work. Great Display of the concept of snappy ripostes via twisting upper body. To improve your Riposte Game: Adding tempo breaks, and level-chages to your ripostes and a little bit footwork would to wonders
Yeah I'd recommend so. You will have to do lot's of the pedagogy by yourself. It's written quite abstract and in concepts which I personally really appreciate. There are very few pieces like the Hauptstuecke in Lichtenauers sources though. Stuff like that ends up in your hands, so it is a lot about understanding the concepts and knowing how to translate this into exercises.
These feathers are so lite that you can do whatever you want I guess lol, so it doesn't matter. If they were using heavier swords, it would be different. as for the source, maybe but .....
It wouldn't be different. I have blunts and it works perfectly fine with them. Good body mechanics don't care whether you hold a feather, a blunt, or a sharp.
Nice video, I just discovered your channel, I see more and more new channels growing this days. Looking forward to see more of your work in the future, cheers!!
Thanks!
Yes these are great days for HEMA content and more are to come.
Especially regarding other weapons than longsword popularity seems to rise.
Good work! The discordant parry is probably one of the best parts of Vadi, and I'm excited to see you do more stuff with it in the future!
Two things i noticed tho and if you'd be interested in some advice I'd love to send your way if you'd have it, either way, you're totally on the right track, keep it up!
Thanks a lot,
Feel free to send me the advice!
Do you want to have a chat, or wanna do it here?
@@petritzky Hey friend, apologies for the delay, I'm just getting over being sick the day I left this comment (great timing as always) and I haven't had the energy to do anything else except lay in bed. So! I'm gonna do what i can best to describe what i noticed here, if you need video of anything im talking about you can get in touch with me on discord, i can send you my info somewhere more private
Tournament footage: Your parries at are super tight and damn near perfect but i think there is a way you could optimize them by making your cutting angle steeper and trying to hit the opponent behind their blade after you've parried or after they've parried your blow.
Now it could just be the camera angle not showing the whole thing since i can only see a little bit of your opponent, but they throw their descending cut with this horizontal arc that leaves their head exposed in a very juicy way (this works just fine against a steeper angled cut), and since your sword is already coiled into that posta di donna-like position it is well primed to hit them behind the blade as soon as their blade connects to your parry. Knowing this you can, set up an opponent to fall right into this parry by throwing a direct attack or strong beat to the blade to provoke a cut around, knowing you can counter riposte. If you force the opponent to make a committed parry and their hands don't rise up too high or they end up in a hanging position, you can also do the same action from a lunged with the non-dominant foot forward.
Sparring footage: Chambering into sagittaria or breve longeza for a cut is legit. works all of the time for me, this advice is really little, but when you're throwing the cut don't be afraid to bring your backfoot forward or parallel with your lead foot, this will keep you much more stable and adds a smidge of helpful rotation I've found (edit: adding a forward recovery after the lunge to put you in a good range to fence from mezza spada is super good this way as well since you wont over commit yourself into measure). Bonus advice: when throwing a cut from sagittaria/breve longeza the same little umph coming from bringing the back leg forward can be gained by using a wheeling cut instead of just bringing the edge online and throwing the touch. it looked like you were sniping here tho and you had that lined up pretty well. strong work
My students fucking loved this video btw, it also falls well in line with our focus coming back to longsword after two months of sidesword. anyways, hope this was actionable advice, cheers man
@@Sinestrahema First, thanks man. I'm very glad your students liked this video.
I really don't strike behind my opponents blade in these cases. Frankly I didn't try it, since I still don't feel to comfortable doing it especially under tournament pressure, but I'm surely working on it.
I this particular case I noticed my opponent parries with his hands quite high, which I took advantage off.
To the second advise I have a question. Are you suggesting to bring the back leg to my leading leg in the thrusting, or in the cutting around?
I am aware of this action in the thrusting, but can't quite think of it in the cutting action. I will give it a try in the future.
@@petritzky 1. Thought that was likely the case but still wanted to put it out there! it was a good hit, always take'em where you can get'em
2. I am suggesting you step the backfoot out with the cut around as well yes
@@Sinestrahema 1. And I hope I can get it done by the next tournament.
2. I think it would probably be a good setup to keep the initiative.
Sometimes I get these really fast and powerful hits, and I've been trying to replicate them but couldn't figure it out... it's this. I'm parrying across my body, then stepping through just before I uncross. I think my leg movement is driving my hip movement, and then the hip movement pulls the slightly lagged uncrossing and drives the power through in combination with the speed.
Thank you so much for this, I'm definitely going to train parrying crossed much more.
Glad I could help!
What can work really well too, is thrusting in a crossed body position(like left Ochs with left leg forward), waiting for the thrust to be displaced and then uncrossing for the umschlagen.
@@petritzky yeah even miming that sat down i can feel the tension in my body just waiting to snap into a different position, that's a good one
Awesome! That's very interesting with the same side foot explicitly stated. We have practiced just hip rotation cutting, but generally used opposite foot placement. Definitely gonna try it out and see what the changes are.
Thanks, I found it a very interesting take on body mechanics. It is a little weird at first, but you get used to it. I found a lot people already use this way of power generation, on this tournament as well. Often people avoid passing steps due to the high commitment and this is a solid way to create power without one. It's a different thing to beware and train it though.
It was a great exchange and you fought well with lots of initiative! Shame about the judging. I am going to have to do a compilation of the most amazing calls.
Funny, as I dipped into Vadi recently. It was actually via a comment on John Clements's "TURN THE KEY" video where Vadi says the legs are keys that turn the lock or something (I didn't go into it that deep haha). I like the idea of parrying the mandritto with the left leg forward though, thanks for pointing it out! I like to mix in a bit of Italian with the German. Let's fence soon.
nice video Bruv! fine movement analysis and source work.
Great Display of the concept of snappy ripostes via twisting upper body.
To improve your Riposte Game: Adding tempo breaks, and level-chages to your ripostes and a little bit footwork would to wonders
I like your stuff, where are you from?😃
Thanks,
I'm from germany, bavaria.
@@petritzky bin aus dem Harz (Goslar)
🆗🆗 I'm giving Vadi a second chance.
Yeah I'd recommend so.
You will have to do lot's of the pedagogy by yourself. It's written quite abstract and in concepts which I personally really appreciate.
There are very few pieces like the Hauptstuecke in Lichtenauers sources though.
Stuff like that ends up in your hands, so it is a lot about understanding the concepts and knowing how to translate this into exercises.
These feathers are so lite that you can do whatever you want I guess lol, so it doesn't matter. If they were using heavier swords, it would be different. as for the source, maybe but .....
It wouldn't be different. I have blunts and it works perfectly fine with them. Good body mechanics don't care whether you hold a feather, a blunt, or a sharp.