Tobikomizuki- my mission

[majin29]

Sorry- I meant the lead arm that does the junzuki. When that gets pulled back I wasn't sure what that was for. My sensei says I should only have about a fist space between the elbow and ribcage in that end position. Makes sense to me- protect the ribs.

That is the explanation I use, the one fist bit.

I would avoid the word "pull" though. Think more on the fact that you are not fixated in the limit of the punching action, and that you have taken off the tension so that the arm can drop (which it does naturally if you do not hold it up).

If you were asked to perform backfist, palm heel, knife hand strikes in quick succession afterwards you will not be too quick if you go into a push/pull model. thrust/relax/drop and thrust again. Try it but don't inhale/exhale on each technique!

That's terrific! This is the perfect illustration of what I need to work on. Thanks so much!

[WadoAJ]

@majin

although the explanation is in Dutch, this is an example of what Wadoka is talking about. I'm showing it with Uraken though but the principle is the same

http://www.youtube.com/watch?v=EaZfIItOWJI&t=12s

[majin29]

@majin

although the explanation is in Dutch, this is an example of what Wadoka is talking about. I'm showing it with Uraken though but the principle is the same

http://www.youtube.com/watch?v=EaZfIItOWJI&t=12s

If I'm not mistaken, I believe you've posted something else on YouTube where you're performing this waza on its own. I found it helpful (I subscribed to your YouTube page).

[WadoAJ]

@majin

although the explanation is in Dutch, this is an example of what Wadoka is talking about. I'm showing it with Uraken though but the principle is the same

http://www.youtube.com/watch?v=EaZfIItOWJI&t=12s

If I'm not mistaken, I believe you've posted something else on YouTube where you're performing this waza on its own. I found it helpful (I subscribed to your YouTube page).

Thats right, I recorded the whole set (6). But in this example it is more clear. Actually I'm doing similar here:
http://www.youtube.com/watch?v=ifRHUYyWWjE&t=1m43s

basic practice of gyakuzuki. Of course, you need kime, but holding on to it results in delay and gets in the way of fluid smooth movement. in this case I'm also applying the principle, without dropping the arm before continue with mawashigeri. the uraken maegeri combi I'm saying something like protect seichusen and i'm showing a follow up technique after nukeru. Point being, these kind of elements are and should be practical. jodan uraken to chudan gamae, chudan gyakuzuki to chudan gamae. I will not drop my arm to gedan from that position unless maai allows to do so.

AJ

[claas]

Hi,

In tobikomizuki you should use dropping, advancing, twisting, leaning and closing (two hands working) and all should happen fast. How much you drop from which leg should be analysed in a way that allows the advancing and the punch to become good. Also drawing with the front leg is important as is having a soft front knee at the time of the impact. So many things are difficult that I strongly suggest you take a few elements out from the ecuation when you work on it and bring them back in from time to time and test have you improved. Even more than the other fundamentals this (and "basic" nagashizuki) seems to be more of a challenge instead of just a way to train.

I think it is a good idea to get the hands correct first of all. Many people do not even practice that one and it only takes a few hundred relaxed repetitions to get it on the right track = you notice it's the natural way. Might even take less, but the point is the other stuff take a little longer.

I quoted myself here from the first page and now I underlined three parts because I found a name for an analogy to the phenomenon I try to explain there. It seems to be sometimes called The Falling Chimney Problem.
http://www.usi.edu/science/physics/pick ... himney.jpg


Here
http://www.physicsforums.com/showthread.php?t=81477
is some theoretical approaching to the phenomenon, but I don't have the energy now to start thinking about the formulas. What is essential is the assumption or theoretical value of the height where the cimney will break. On the page it is said to be on a height of 1/3 of the total height. The picture above supports it. In a human body this would perhaps be somewhere in between the hips and knees. So my conclusion would be in tobikomizuki you should drop in a way that the knees fall a little faster than the upper body. This is a combination of falling and dropping. (Here I call ending up leaning "falling" and the direct downward movement "dropping".) The feeling is taking away the legs so that you take everything from the front leg and almost everything from the back leg. Soft ankles are needed. Then the next step (happening mostly simultaneuosly) is drawing with the front foot.

[kyudo]

Here
http://www.physicsforums.com/showthread.php?t=81477
is some theoretical approaching to the phenomenon, but I don't have the energy now to start thinking about the formulas.

The formula for a perfect tobikomizuki is:
ddxL˙=−mLθ˙θ¨(L−x)2+43mxθ˙θ¨ ˙(x)=13mLθ˙θ¨

Simple. No?
;-)

[oneya]

In terms of Tobikomizuki I would think the problem is *How to raise the broken chimney to that position in the first place?*

oneya