Liechtenhauer’s

Longsword Fighting
A Ten Week Course of Study

by Perry W. Rogers
Revised: January 20, 2012
 Table of Contents
1. History & Basics! 3
2. Strikes, Cuts & Thrusts! 5
3. Master Strikes, Pt 1! 6
4. Master Strikes Pt 2! 8
5. Master Strikes, Pt 3! 10
6. Master Strikes, Part 4! 12
7. Four Displacements: Versatzungen! 14
8. Fight Tactics! 16
9. Advanced Techniques 1! 18
10. Advanced Techniques 2! 20
Appendix A: Ringeck’s Commentaries! 22
Appendix B: Class Structure! 26
Appendix C: Class Drills & Games! 27
Appendix D: German Martial Glossary! 28
Appendix E: Assorted Resources! 35

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 1. History & Basics
A historical introduction to Liechtenhauer and German longsword fighting traditions. Work through
the Veir Leger.
A. Historical Origins Safety & Intent Reminder
Source Material 1. SAFETY: number ONE concern.
✤ The teachings of Master Johannes Liechtenhauer, mid 14th century, as Everyone should keep the safety of
written down by Sigmund Ringeck, a fencing master to the Duke of everyone else in mind at all times. Do
Bavaria in the early part of the 15th century not break your training partners. Do
✤ The Goliath Fechtbuch c.1500, whose verse is strikingly similar to Pe- not take wide-open, or cheap shots.
ter von Danzig’s of 1452.
✤ Hanko Dobringer Fechtbuch from 1389 2. INTENT: move, act and strike with
✤ Hans Talhoffer 1467 Fechtbuch appropriate, realistic force and motion.
✤ We have roughly two dozen surviving manuscripts attributed to the Keep range in mind. Avoid exagger-
teachings of Liechtenhauer, but none are in his hand that we know of. ated motions. Partners must be fully
✤ It is a complete system that is based on the mechanics introduced in cooperative or resistant when learning
the longsword teachings including: Dagger fighting, Wrestling, and Ar- techniques.
mored Combat on foot and on horseback 3. TARGETING: Use precise targeting
✤ References to the Liechtenhauer works continue to show up in manu- and be mindful of edge placement and
scripts all the way to the 17th century works of Jacob Sutor. control. Do not lose sight of the
Current Interpretations wounds that would be caused to un-
✤ The original Ringeck commentaries were in an archaic German lan- armored opponents by sharp swords.
guage (Swaibian), and was presented in mnemonic verses called
merkverse
✤ Christian Tobler: Secrets of Medieval German Swordsmanship & Fighting with the German Longsword
✤ Ochs Video: Liechtenhauer’s Longsword, Part 1
✤ David Lindholm: Sigmund Ringeck’s Knightly art of the Longsword
B. Veir Leger (Four Primary Guards)
Demonstrate the four guards. Explain the origins of their names, and their potential uses.
The Four Guards
There are only four basic positions which are useful in combat, this are Ochs, Alber, Pflug,
and vom Tag.
The first guard: Ochs (the Ox) / Stand with your left foot forward, hold your sword at the
right side of your head, your point directed at his face.
The second guard: Pflug (the Plough) / Stand with the left foot forward and hold your
sword at your right side above your knee,with your hands crossed, your point directed at
his face.
The third guard: Alber (the Fool) / Stand with your right foot forward and hold your sword
in front of you with your arms extended, your point directed at the ground.
The fourth guard: vom Tag ("From the Roof") / Stand with your left foot forward and hold
your sword at the side of your right shoulder or above your head with your arms ex-
tended.
And in this book, you’ll find written down how to fence from these guards.
✤ Discuss the traditional use of the term ‘Guards’ as opposed to ‘positions.’
✤ Stances generally refers to foot placement and weight distribution.
✤ Any position in which you can stand, or move with the sword has a corresponding position name.
✤ Lines of attack and defense are opened and closed based on which guard is adopted.
C. Footwork
✤ Basic foot placement in the stances
✤ Center of balance and body stance
Footwork
Note: This is the first tenet of the long sword: learn to strike blows equally well from both
sides if you want to learn to fence well. Note: If you want to strike from the (your) right
side, make sure, your left foot is forward (at the beginning); if you want to strike from the
Page 3
 left side, the right foot must be forward. If you strike an Oberhau from the right side then,
follow the blow with your right foot. If you do not the blow is wrong and ineffective, be-
cause your right side stays behind. Because of this the blow will fall short and cannot
travel in its proper arc towards the left side. If you strike from the left side
and you do not follow the blow, it too is wrong. That is why no matter from Stepping is not just a matter
which side you are striking follow the blow with the same foot. So you will of improving power, but range,
succeed in all techniques. This is how you shall strike all blows. and edge placement as well.

Types of Stepping
✤ Gathering or Lunging is generally done on the tightrope (i.e. on line forward or backward), and is used merely
to change the range between you and your opponent. This step does not tend to
alter your defensive profile. Skeletal power is generated by the leading foot. Strikes should be timed
✤ Passing can be done on or off line. Your defensive profile changes with each step. so that impact power is
Skeletal power is generated with each step. maximized by foot /
✤ Exchanging your feet is done in place. Exchanging is used to alter the feet position, hip / shoulder motion
and generate skeletal power with the sword. Generally, the front foot is brought and alignment.
backward, and placed next to the rear foot, which is then moved forward and/or
outward. Skeletal power is generated when the second foot lands.
✤ Compass Stepping is used to move drastically off line. It is a passing step in which the rear foot first passes
forward and outward. The second foot then follows off line, and swings outward before it lands. The swing-
ing motion of the second foot generates a lot of skeletal power as it lands.
D. Drill
Explain the purpose of Drilling (See Appendix B: Class Structure)
Vier Leger Drill
Right Vom Tag -- Left Phlug -- Right Ochs -- Left Alber -- Right Langort -- pivot -- Left Vom Tag -- Right Phlug --
Left Ochs -- Right Alber -- Left Langort - pivot

E. Play Time
Explain the purpose of Play Time (See Appendix B: Class Structure)
Roman Focus Game
Using good hand protection, partners attempt to slap each other’s hands with the boffer dagger. Only the hands
are valid targets. Both hands must stay in front of your body at all times. Free advice: keep moving!
F. Open Sparring
Explain the purpose of Open Sparring (See Appendix B: Class
Structure) Recommended Minimum Sparring Gear
✤ Modified shanai longsword
BE SAFE! Review Safety & Intent Reminder from the Begin- ✤ Three Weapons Fencing Mask / Helm
ning of class ✤ Padded gloves / gauntlets
✤ Neck protection / gorget
✤ Cup

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 2. Strikes, Cuts & Thrusts
Nebenhut, Targeting, Edge Control & Ansetzen
A. Review Key Concepts from Previous Sessions Safety & Intent Reminder
✤ Vier Leger Drill
1. SAFETY: number ONE concern.
B. Strikes, Thrusts & Cuts Everyone should keep the safety of
✤ Oberhau & Unterhau everyone else in mind at all times. Do
✤ Releasing forward hand for extra thrust distance not break your training partners. Do
✤ Pull & push cutting not take wide-open, or cheap shots.
Body Mechanics 2. INTENT: move, act and strike with
✤ Footwork for range change and increased power appropriate, realistic force and motion.
Footwork Keep range in mind. Avoid exagger-
Note: This is the first tenet of the long sword: learn to strike blows ated motions. Partners must be fully
equally well from both sides if you want to learn to fence well. cooperative or resistant when learning
Note: If you want to strike from the (your) right side, make sure, techniques.
your left foot is forward (at the beginning); if you want to strike from 3. TARGETING: Use precise targeting
the left side, the right foot must be forward. If you strike an Ober- and be mindful of edge placement and
hau from the right side then, follow the blow with your right foot. If control. Do not lose sight of the
you do not the blow is wrong and ineffective, because your right wounds that would be caused to un-
side stays behind. Because of this the blow will fall short and can- armored opponents by sharp swords.
not travel in its proper arc towards the left side. If you strike from
the left side and you do not follow the blow, it too is wrong. That is
why no matter from which side you are striking follow the blow with the same foot. So you
will succeed in all techniques. This is how you shall strike all blows.
✤ Skeletal alignment with arms, hips & shoulders
Keep tip on line and threat-
Ansetzen: The Hanger Point ening the face of the oppo-
✤ The dangers of powerful strokes and following through too far nent.
✤ Sword tip is in position for immediate thrust
✤ This is unarmored combat.
Edge Control
✤ Swords do not cut with the flat.
✤ With any thrust, cut or strike, you want the tip or edge to be perpendicular to
the impact target to ease the breaking of the skin, and the entry into the flesh.
C. Striking Pattern Drill Move your
✤ First set starts in Right Vom tag: UpR, LowL, LowR, UpL feet, control
✤ Second set starts in Right Nebenhut: LowR, UpL, UpR, LowL your edge,
✤ Third set starts in Left Vom tag: UpL, LowR, LowL, Upr Watch your
✤ Fourth set starts in Left Nebenhut: LowL, UpR, UpL, LowR
tip
D. Play Time
Baton Striking with Edge Control Game (from Ochs: Longsword DVD)
One partner wears a mask and protective gloves. He grips a baton in both hands so that there is at least 8” of
space between them. As he circles and moves, he will present the baton in front, or beside himself representing
target openings. The other partner strikes the baton with an appropriate strike, cut, or Master Strike. Careful at-
tention should be paid to range, staying in an appropriate guard, striking power, and edge placement.
Thrust Targeting Game (from Ochs: Longsword DVD)
This game is just like the Baton Striking game, but uses thrusting target as the focus.
E. Open Sparring Recommended Minimum Sparring Gear
Explain the purpose of Open Sparring (See Appendix B: Class ✤ Modified shanai longsword
Structure) ✤ Three Weapons Fencing Mask / Helm
Review Safety & Intent Reminder from the Beginning of class ✤ Padded gloves / gauntlets
✤ Neck protection / gorget
Work on hanger point, and edge control ✤ Cup

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 3. Master Strikes, Pt 1
The Zornhau Plays including Abnemen, Mutieren, Duplieren, and basic Winden.
A. Review Key Concepts from Previous Sessions Safety & Intent Reminder
✤ Vier Leger Drill
✤ Stepping & Striking 1. SAFETY: number ONE concern.
✤ Striking Pattern Drill Everyone should keep the safety of
everyone else in mind at all times. Do
B. Introduce New Material not break your training partners. Do
not take wide-open, or cheap shots.
Introduction to Master Strikes
✤ Special ways of swinging the sword to alter the initiative in a fight. 2. INTENT: move, act and strike with
✤ More of a set of tactical techniques than anything. appropriate, realistic force and motion.
✤ You must have good fundamental skills in footwork, ansetzen and Keep range in mind. Avoid exagger-
edge control to make these work. ated motions. Partners must be fully
Historical Source & Background cooperative or resistant when learning
techniques.
The Strike of Wrath and the Winding
Note: When your adversary strikes at you 3. TARGETING: Use precise targeting
1 from his right side with a strike from above Intercept his blow and be mindful of edge placement and
(Oberhau), then hit with a strike of wrath near to you & far control. Do not lose sight of the
from your right shoulder against it. Strike from him. wounds that would be caused to un-
with your true edge and in your strong. armored opponents by sharp swords.
When he is weak at the sword then, thrust
into his face along his blade.
When you thrust against his face from the strike of wrath and he notices this and
2 displaces the thrust with strength, pull your sword upwards, away from his. And Step left as you
then strike to the head from the other side, also along his blade. When you strike a “take off”: Abnemen
strike of wrath and he displaces it and remains strong at the sword, hold strongly
against it. With the strong of your sword, slide up to the weak (schwech) of his blade,
4 wind the hilt in front of your head while remaining on the sword (am schwert) and thrust
into his face from above.
When you thrust from the Winding as described and he displaces the thrust Step into the wind & thrust
5 by lifting up his arms and his hilt, stay in the Winding and take the Ort (point
or thrust) down between his arms and breast.
Note: When you engage at the sword ("binden") with strength and If he “takes-off”, turn the long edge
your adversary pulls his sword upwards and strikes at your head outward & push hard into the flat
3 from the other side, then bind strongly with the true edge and strike of his blade as he comes back down.
him on the head.
You must notice immediately, if someone is weak or strong at the sword if he binds at
your sword with a strike or a thrust. If you have noticed that, you shall know simultane-
ously, if it is better to fight him in the "before" (Nach) or the "after" (Vor). But don’t engage
rashly in close-combat (Krieg), this is nothing else than Winding (Winden) at the sword.
In close-combat you should do the following: if you strike him with the strike of Wrath and
6 he displaces it, lift up your arms and, at the sword, wind the point to the upper opening.
When he displaces (Versetzen) the thrust, stay in the winding and thrust to the lower
opening. If he follows your sword in the displacement (Versatzung), lead your point
through under his sword (disengage under "durchführen") and thrust to the other opening
The tech- on his right side. This is how you can defeat him in close-combat.
niques Mutieren and Duplieren against the four openings:
presented These are the four openings you should aim at in combat. The first opening is the right Tactical Advice
here are side, the second opening is the left side above the belt. The other openings are the
covered in right and left side below the belt. Already pay attention to the openings when you are
depth in a closing in, aim at the ones he (your adversary) exposes.
later
class. Thrust with the "long point" (Langer Ort), use the "traveling after" (Nachreissen) and all
other opportunities. Don’t pay attention to what he’s up to, fence securely and you’ll hit so
outstandingly, that he’ll not be able to get through with his own techniques.

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 If you want to break one of the four openings by force, then "Dupliere" at the upper open-
9 ing, against the Starke (strong) of his sword, and then "Mutiere" to another opening.
Against this, he cannot defend himself and he will not be able to either strike or thrust.
Duplieren: When you strike a strike of wrath (Zornhau) or any other Doubling is done from farther out, but
Oberhau and he displaces it with strength, with the left hand, im- you must step off-line toward your
7 mediately thrust the pommel of your sword under your right arm. opponent’s pommel as you do this.
With crossed hands, behind his blade and in between the blade
and his body, strike him diagonally through the face. Or strike him
on the head.
Mutieren: If you bind against his sword, with an Oberhau or oth- Done from close in, again stepping to-
8 erwise, wind the short edge at his sword, raise your arms and ward his pommel. Think of this as
thrust at the lower opening from the outside along his blade. You gathering his blade. This one requires
can use that from both sides. DEEP stepping,and wide motiions.
Notes on Zornhau Plays & Their Organization
✤ There is a lot going on here.
✤ These have a random / illogical feel to their order.
✤ There are plays, counters & counter-counters going on here to introduce the sense that a fight has a flow to it.
✤ This Master Strike is only launched from Vom Tag. You could come from another position, but you would
pass through Vom Tag on your way.
C. Drills
✤ Striking Pattern Drill
✤ Vier Leger
Winden Drill: Clockwise & Counter-Clockwise (from Ochs: Longsword DVD)
Work large circles moving through the eight windings clockwise and counter-clockwise. Keep pressure on the
blades, and maneuver toward a position from which a good thrust could be executed.
D. Play Time
✤ Baton Striking with Edge Control & Thrust Targeting Games from Ochs: Longsword DVD
E. Focused Sparring to Improve Timing Followed by Open Sparring
✤ Safety & Intent Review
✤ Explain Focused Sparring concept, and
details for its application. (See Appendix B)
✤ Work on various Zornhau plays.
✤ Actively engage in binding swords.

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 4. Master Strikes Pt 2
The Krumphau Plays and the Schrankhut Guard
A. Review Key Concepts from Previous Sessions
Safety & Intent Reminder
✤ Zornhau, Strike of Wrath
✤ Abnemen, Taking off 1. SAFETY: number ONE concern.
✤ Winden, Duplieren & Mutieren Everyone should keep the safety of
everyone else in mind at all times. Do
B. Introduce New Material not break your training partners. Do
A New Guard- The Schrankhut not take wide-open, or cheap shots.
✤ The barrier guard 2. INTENT: move, act and strike with
✤ Thumb Grip on both sides appropriate, realistic force and motion.
✤ Blade flat against opponent Keep range in mind. Avoid exagger-
From Goilath: Of the Barrier Guard: Put yourself thus in the barrier ated motions. Partners must be fully
guard to your left side: when you come to him with it in the pre- cooperative or resistant when learning
fencing, then stand with the right foot forward and hold your sword techniques.
near your left side to the ground with crossed hands, so the short
edge is above, and give an opening with your right side, if he 3. TARGETING: Use precise targeting
Strikes to your opening, then burst out of the strike toward him and be mindful of edge placement and
with the left foot well to his right side. . . . control. Do not lose sight of the
wounds that would be caused to un-
Historical Source & Background armored opponents by sharp swords.
The Krumphau:
This is how you should strike the Krumphau at the hands. When
he attacks you from his right side with an Oberhau or Unterhau, Use a deep, fast step, strike with the
1 jump out of the strike with your right foot towards his left side very tip of the sword to ensure the
and with crossed hands strike against his hands using the proper range.
point.
This is how you can Absetzen ("set aside") the cuts from above with the
2 Krumphau: If he attacks you from his right side with an Oberhau, step to- You need to get under his
wards his left side with your right foot and put your point in the Schrankhut. sword for this one. Strike
Practice this from both sides. From the setting aside you can strike him on with the short edge.
the head.
If you want to weaken a master, then while he strikes an Beat his sword aside by striking it on the flat
3 Oberhau from his right side strike a Krumphau with with the thumb grip as you enter Schrankhut.
crossed hands against his sword. When you strike him with
the Krumphau against his sword, from the sword immediately strike up- Use short edge at close range. If
4 wards against his head with the short edge. Or after the Krumphau wind farther out: wind and thrust.
the short edge at his sword and thrust him into the breast.
When he strikes an Oberhau from his right shoulder, pretend as if you
are going to bind against his sword with a Krumphau. But let your strike One fluid motion, range is criti-
5 fall short, lead your point through under his sword and wind your hilt cal, step in with the trust
over your head and to your right side. Then thrust him in the face.
This is how you can break the Krumphau: If you attack him from your right side
with an Oberhau and he displaces this with a Krumphau with crossed hands You must be in a very
6 from his right side, then strongly hold your sword against his. And "shoot" strong position for
this. A step in as well.
(thrust) the point at his breast with your arms extended.
Another defense against the Krumphau: If you attack him from your right side with an
Oberhau and he displaces (Versatzung) this with a Krumphau with crossed hands from his
7 right side and if he pushes your sword to the ground, then wind towards your right side,
raise your arms over your head and thrust at his breast from above. If he displaces that, Winden
stand as you are, with the hilt in front of your head and nimbly work with the point from
one opening to the other. This is called the "noble war" and with this you’ll confuse him
so much , that he will not know how to defend himself against your attacks.
Notes on Krumphau Plays
✤ To use many of these plays, you must step far and fast.
✤ You must have quick hands.
✤ In Schrankhut, you feel like a coiled spring.
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C. Drills
Vier Leger Drill
Right Vom Tag -- Left Phlug -- Right Ochs -- Left Alber -- Right Langort -- pivot -- Left Vom Tag -- Right Phlug --
Left Ochs -- Right Alber -- Left Langort - pivot
Master Strikes Drills
Step through Krumphau Master Strike from right & left sides using ALL guard positions
D. Play Time
✤ Baton Striking with Krumphau
✤ Winden Game from Ochs: Longsword DVD
E. Focused Sparring to Improve
Timing, Followed by Open Sparring
✤ Work on various Krumphau
plays and counter plays

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 5. Master Strikes, Pt 3
The Zwerchau Plays and various types of Feints
A. Review Key Concepts from Previous Sessions Safety & Intent Reminder
✤ Zornhau, Strike of Wrath
✤ Winden, Duplieren & Mutieren 1. SAFETY: number ONE concern.
✤ Krumphau to the hands Everyone should keep the safety of
✤ Krumphau to the blade everyone else in mind at all times. Do
not break your training partners. Do
B. Introduce New Material not take wide-open, or cheap shots.
Historical Source & Background 2. INTENT: move, act and strike with
The Zwerchhau appropriate, realistic force and motion.
The Zwerchhau counters (literally "breaks") all downward strikes Keep range in mind. Avoid exagger-
1 made from above. Do it like this: If he strikes an Oberhau at your ated motions. Partners must be fully
head, "jump" (make a large, explosive step) to his left side with your cooperative or resistant when learning
right foot, while you jump, turn your sword, so that your hilt is high techniques.
in front of your head and your thumb is down (on the flat of the 3. TARGETING: Use precise targeting
blade) and strike at his left side with your short edge. So you catch and be mindful of edge placement and
his strike with your hilt and hit him simultaneously on the head. control. Do not lose sight of the
This is how you can work with the stark (strong) from the Zwerch: If wounds that would be caused to un-
2 you strike with the Zwerch, pay attention to strike strongly with the armored opponents by sharp swords.
strong of your sword against his blade. If he
strongly holds against it, strike him -at the If he binds with
sword- on the head behind his blade with your his long edge,
hands crossed. Or cut him trough the face. then double

When you bind at his sword with the strong of your sword with the Zwerch
3 and he strongly holds against it, push down his sword to your right side Push his sword backward and
with your hilt. And immediately strike again with the Zwerch to the right side downward with your hilt.
of his head.
If you bind against his sword with the Zwerch and he is "soft" at Push cut as you step in, break his bal-
4 the sword, place the short edge at the right side of his neck, jump ance with your elbow, body and knee,
behind his left foot with your right foot and tear him over with the his left foot must be forward.
sword.
If you bind against his sword with the Zwerch and he is "soft" at the
5 sword, push his sword down with the Zwerch and lay the short This is similar to Step #4 above, but
edge at his throat. you need to force his sword down

A defense against the upper Zwerch:

When you bind at his sword with an Oberhau or Step to the left, your hilt will be near your face, and
6 another strike from your right side and he strikes being under his sword will protect you. If you are far-
with the Zwerch at your other (left) side, forestall ther away, step back out of his range, and hit his arms.
this with a Zwerch to his neck under his sword.
This is how you can strike to the four openings with the Zwerch: When you close in Keep your hilt up
7 with your adversary with the "Zufechten", at the right moment, jump towards him high when striking to
and strike with the Zwerch to the lower opening of his left side. This is called "strik- the lower openings.
ing towards the plow" ("zum Pflug schlagen").
When you have attacked the lower opening with the Zwerch, immediately strike another
8 Zwerch to the other side, at his head. This is called "striking towards the ox" ("zum
Ochsen schlagen"). And then strike swiftly alternating the Zwerch towards the plow and
the ox, crosswise from one side to the other. Then you can disengage from him with an
Oberhau to the head.
When you strike the Zwerch, you shall always jump to his flank, namely towards the side
on which you want to hit him. So you can hit his head. And pay attention that you cover Tactical Advice
the front of your head with the hilt while jumping.
Instructor Demonstration & Explanation Followed by Whole Class Step Through
✤ Follow Ringeck’s Tactical advice in the final paragraph, except that a more straight ahead step may be re-
quired when more distance must be covered.
Page 10
C. Drills
Intermediate Guards Drill
Vom Tag - Kumphau -> Schrankhut - Unterhau -> Ochs - Zwerchau -> Phlug - Stich -> Kron - Oberhau -> Ne-
benhut - Zornhau -> Alber - short edge Unterhau -> pivot (Repeat on opposite side)
Master Strikes Drills
✤ Step through Zwerchau Master Strike from right & left sides using ALL guard positions
✤ Work side-to-side Zwerchau striking
D. Play Time
✤ Baton Striking with Krumphau and Zwerchau
E. Focused Sparring to Improve Timing, Followed by Open Sparring
✤ Work on various Zwerchau plays and counter plays

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 6. Master Strikes, Part 4
The Schielhau & Scheitelhau Plays
A. Review Key Concepts from Previous Sessions Safety & Intent Reminder
✤ Zornhau, Shooting the thrust
✤ Winden, Duplieren & Mutieren 1. SAFETY: number ONE concern.
✤ Krumphau Everyone should keep the safety of
✤ Zwerchau everyone else in mind at all times. Do
✤ Intermediate Guards Drill not break your training partners. Do
not take wide-open, or cheap shots.
B. Introduce New Material
2. INTENT: move, act and strike with
Historical Source & Background appropriate, realistic force and motion.
The "Squinter": Keep range in mind. Avoid exagger-
The Squinter is a strike which primarily "breaks" the strikes and ated motions. Partners must be fully
thrusts of those fencers, who rely only on cooperative or resistant when learning
1 Block & strike are techniques.
their strength. Do it like this: If he attacks you
from his right side, strike from your right side simultaneous. 3. TARGETING: Use precise targeting
with the short edge and extended arms Turn your body to and be mindful of edge placement and
against the weak of his sword and hit him on adopt the “Squint- control. Do not lose sight of the
the right shoulder. If he changes through, ing” position.
2 wounds that would be caused to un-
thrust him into his breast with your arms ex- armored opponents by sharp swords.
tended. You should strike like this, too, if he faces you in the guard
of the plough or if wants to thrust you from below.
Note: You should always deceive him with your line of vision. Pay attention, if he Tactical Advice
fights short (feints).
You will know this when he does not extend his arms when striking. You should strike
3 then, too, move your point through under his sword and thrust him into the face.
Note: The Squinter breaks the "long point" and this is done as follows:
When he faces you and points his point against your breast or face with ex-
4 tended arms, place your left foot forward and look at his point. Feint a strike Your feint must
against his point, strike strongly against his sword with the short edge and look like it is going
"shoot" (thrust) , with a forward step with the right foot, your point against his to be powerful
throat, with your arms extended.
When he strikes an Oberhau, look at his head, as if you intend to strike him there.
5 But then strike against his blow with the short edge and then strike at the hands Step to stay out of
with your point, along his blade. range of his weapon.

The "Parting Strike"

Note: the parting strike is aimed at the face or breast. Do it like this: If he is in the Step to stay out of
6 guard Alber, strike vertically downward with the long edge. And while striking, range of his weapon.
keep your arms up high and move your point to his face.
If you move the point at his face from above with the parting strike and he displaces Step in to get
7 the point with the (his) hilt up, turn your sword, lift the (your) hilt high above your enough height
head and thrust him down into the breast.
When you strike a parting strike and he displaces with the hilt high above his head,
then this displacement is called "the crown". From there you can rush in.
If he breaks the parting strike or any other Oberhau with the crown and tries to rush in, cut
him in the Arm under his hands and push upward, so that the crown is broken. Then turn
your sword from the low cut into a high one and free yourself in this way.
Instructor Demonstration & Explanation Followed by Whole Class Step Through
C. Drills
Master Strikes Drills
Step through Schielhau & Scheitelhau Master Strikes from right & left sides using ALL guard positions

Page 12
 Intermediate Guards Drill
Vom Tag - Kumphau -> Schrankhut - Unterhau -> Ochs - Zwerchau -> Phlug - Stich -> Kron - Oberhau -> Ne-
benhut - Zornhau -> Alber - short edge Unterhau -> pivot (Repeat on opposite side)
D. Play Time
Counters to oberhau and unterhau using Zornhau, Krumphau, Zwerchau, Schielhau & Scheitelhau plays
E. Focused Sparring to Improve Timing, Followed by Open Sparring
✤ Work on various Schielhau & Scheitel-
hau plays, counter plays

Page 13
 7. Four Displacements: Versatzungen
Guard Breaking Drills & Applications
A. Review Key Concepts from Previous Sessions Safety & Intent Reminder
✤ Five Master Strikes
✤ Winden, Duplieren, Mutieren 1. SAFETY: number ONE concern.
✤ Intermediate Guards Drill Everyone should keep the safety of
everyone else in mind at all times. Do
B. Introduce New Material not break your training partners. Do
not take wide-open, or cheap shots.
Historical Source & Background
7. The Four Displacements (Versatzungen) 2. INTENT: move, act and strike with
You have heard previously, that you shall fight only from four appropriate, realistic force and motion.
guards. Now, you shall get to know the four displacements, which Keep range in mind. Avoid exagger-
are four strikes. ated motions. Partners must be fully
cooperative or resistant when learning
The first strike is the "crooked strike" (Krumphau). It counters (liter- techniques.
ally "breaks") the guard (Hut) ochs.
3. TARGETING: Use precise targeting
The second strike is the Zwerchhau. It counters the guard Vom Tag. and be mindful of edge placement and
1 The third strike is the "squinter" (Schielhau). It counters the guard control. Do not lose sight of the
Pflug. wounds that would be caused to un-
armored opponents by sharp swords.
The fourth strike is the parting strike (Scheitelhau). It counters the
guard Alber.
And beware of all displacements used by bad fencers. Note: Strike, when he strikes,
thrust, when he thrusts. And in this chapter and in the chapter on the five strikes you Tactical Advice
shall find written down how you shall strike and thrust.
A Technique against a Displacement:
2 If a strike of yours has been displaced, note: if an Oberhau of yours Stepping in to your left as you wind
is displaced, stay in the bind, move your pommel over his forward your pommel around his sword.
hand and tear it down; and strike him on the head simultaneously.
A Second Technique against a Displacement:
3 If you strike an Unterhau from the right side and he falls on your sword (i.e., Both of these are after
he pushes it downwards), so that you cannot lift it up, move the pommel over your sword has been driven
his sword and, with a snapping motion, strike him on the head with the long down following a strike
edge. Or, if he falls on your sword on your left side, strike him with the short
edge (Kurze Schneide).
A Third Technique against a Displacement:
4
If you strike an Oberhau from the right and if you want to end the fight, then
note: when he displaces, immediately strike around (i.e., to the other side) Release your left hand and
with the Zwerchhau. Grab the blade of you sword with the left hand and move toward the half-
thrust into his face. Or attack one of the other openings you can reach best. sword as you zwerch.

5 A Fourth Technique against a Displacement:

If you thrust at his face at the Halb Schwert (half-sword) and he dis-
places this, immediately strike him on the other side of the head with Footwork and range are the keys
the pommel. Or jump with the right foot behind his left foot, move your to this play. You really don’t
pommel around his neck from the right shoulder (i.e., his right side) need to move more than your feet.
and tear him down over your right leg.
From Goliath:
That is you should not displace as the common fencer does. When they dis-
place then they hold their point high or to one side, so understand that they do Tactical Advice on using
not know how to use the point in the displacement to seek onward and are of- the hanger point for all
ten hit. Thus when you would displace, then displace with your strike or with blocking to defeat a foe
your stab and Immediately search for the next opening with the point, thus you who does not.
will not be mastered and struck to your damage.

Page 14
C. Drills
Intermediate Guards Drill
Vom Tag - Kumphau -> Schrankhut - Unterhau -> Ochs - Zwerchau -> Phlug - Stich -> Kron - Oberhau -> Ne-
benhut - Zornhau -> Alber - short edge Unterhau -> pivot (Repeat on opposite side)
Guard Breaking Drill (from Ochs: Longsword DVD)
One partner adopts each of the Primary Guard positions, and the other partner responds with the appropriate
Master Strike. Partners alternate this role for each stroke.
D. Play Time
Push Me, Pull You (from Schola St. George)
Each partner grips a sword handle in his right hand. He then grips his partner’s sword blade about 8” from the tip
in his left hand. The players are now connected by two swords. The goal is to push and pull on one, or both of
the swords in an attempt to get the other player off balance. This game may be played with stationary feet, or
with both partners moving and circling.
E. Focused Sparring to Improve Timing, Followed by Open Sparring

Page 15
 8. Fight Tactics
Using Initiative Theory, Sprechfenster & Feints
A. Review Key Concepts from Previous Sessions Safety & Intent Reminder
✤ Five Master Strikes
✤ Intermediate Guards Drill 1. SAFETY: number ONE concern.
✤ Versetzen at quick speed Everyone should keep the safety of
everyone else in mind at all times. Do
B. Introduce New Material not break your training partners. Do
not take wide-open, or cheap shots.
Historical Source & Background
Tactical Basics 2. INTENT: move, act and strike with
When you are closing to an opponent, do not watch his blows and appropriate, realistic force and motion.
do not wait for what he might use against you. Because all fencers, Keep range in mind. Avoid exagger-
who just wait for their opponents blows and do ated motions. Partners must be fully
not do anything else than warding them off, do Tactical Advice cooperative or resistant when learning
not succeed very often. They are defeated very techniques.
often. 3. TARGETING: Use precise targeting
Note: Always fence using all of your strength! When you're close, and be mindful of edge placement and
strike at his head and at his body, so he may not be able to change control. Do not lose sight of the
1 through (Durchwechseln) in front of your wounds that would be caused to un-
point. After the blow, from the bind, strike Use light blows to armored opponents by sharp swords.
light blows at his next opening, as is de- probe for an opening.
scribed in the section about different blows
and other techniques.
Note: This tenet is addressed to left-handers and right-handers. If you are a right-handed
2 fencer and you are closing to an opponent and you think you can hit him, do not strike the
first blow from the (your) left side. Because you are weak there and you cannot resist, if he
binds strongly against your blade. Because of this, strike from the right side, you can work
strongly "Am Schwert" ("on the sword") and you can use all techniques you like. So, if you
are left-handed, do not strike from the right side, since left-handers are usually not used
to strike effectively from the right side and vice versa.
Note: Above all other things, you must understand the principles of "before" (Vor) and
3 "after" (Nach), because the entire art of fencing is based upon it. "Before" means, pre-
empting him with a blow or a thrust against an opening before he can hit you, so he must
defend/displace (Versetzen). So, be flexible in your defense and aim with your sword at
one opening after the other, so he cannot get through with his own techniques. But, if he
rushes in, start wrestling.
"After" means: If you do not succeed with the "before", wait for the
4 "after". These are the defenses against all techniques he uses against Use Indes to restore Vor
you. So, if you have to displace him, make the displacement ‘simulta-
neously" (Indes) and from the bind, strike immediately at his nearest opening. So you win
the "before" and he remains in the "after". Also, you should
–during the "before" and "after" –notice ‘simultaneously" Always watch for opportunities to
(Indes) how you can "work" against the strong or the weak exploit the weak part of his weapon.
of his sword.
This means: The strong of the sword reaches from the crossguard to the
middle of the blade, with it, you can hold opposed, if somebody binds Sword physics. The
against it. The weak reaches from the middle of the blade to the point. Here flat is also weak in
you cannot hold opposed. If you firmly understand this, you can "work" and the standard grip.
defend yourself very well.
Princes and Lords learn to survive with this art, in earnest and in play. But if you are fear-
ful, then you should not learn to fence. Because a despondent heart will always be de-
feated, regardless of all skill.
The "Fault" (Feint):
All fencers who rely on displacing are deceived and defeated with the Feint and watch his
5 fault. When you close with him, feint any Oberhau to his left side. From reaction for an opening.
there (when he wants to displace it) you can easily hit another opening.
Page 16
 The "Verkehrer":
If you bind at your adversaries sword with an Oberhau or an Unterhau, turn your sword so
6 that your thumb is down and thrust to his face from above. So you force him to
displace the thrust. While he displaces, grab his right elbow with your left hand, Step in quickly
place your left leg in front of his right leg and toss him over.
The Double Feint:
Here, you must deceive him twice while closing in. When you come close to him with the
7 Zuefechten, jump towards him with the left foot and feint a Zwerch to the left side of the
head. But then turn the blow over and strike to the right side of his head. If you
have attacked him on the right side of the head as described, strike immedi- Duplieren behind
ately at the same spot. Then go over his sword with the short edge and your his sword
hands not crossed, jump to your left side and cut through his face with the
long edge.
The Sprechfenster
Note: It is called the speaking window. If he binds your sword with a strike or a parry,
8 then remain strong at the sword with extended arms (Langenort) using the long edge.
Keep the point of the sword at his face and calmly note what he intends against you.
Note: If he strikes around with an oberhau to your other side, then follow and bind
9 strongly with the long edge toward his head. Or if he strikes around with a zwerchau,
then hit on his arms with a high cut. Or if he yanks the sword to himself and wishes to
thrust to your lower openings, then travel after him at the sword and thrust high.
Note: If he neither wishes to withdraw, or strike around, then you will work with Probe his defense
the sword using duplieren and other techniques as you find out if he is weak or for weakness
10
strong at the sword.
Instructor Demonstration & Explanation Followed by Whole Class Step Through
Review master strike techniques and comment on initiative type.
✤ Zornhau: displace with power & thrust (Nach)
✤ Krumphau: leap out and strike hands of oberhau (Indes)
✤ Zwerchau: displace oberhau & cut head (Indes)
✤ Scheilhau: displace buffalo & cut head (Indes)
✤ Sheitelhau: Step back & cut scalp (Indes)
C. Drills
Guard Breaking Drill (from Ochs: Longsword
DVD)
One partner adopts each of the Primary Guard
positions, and the other partner responds with
the appropriate Master Strike. Partners alter-
nate this role for each stroke.
D. Play Time
Push Me, Pull You (from Schola St. George)
Each partner grips a sword handle in his right
hand. He then grips his partner’s sword blade
about 8” from the tip in his left hand. The play-
ers are now connected by two swords. The
goal is to push and pull on one, or both of the
swords in an attempt to get the other player off
balance. This game may be played with sta-
tionary feet, or with both partners moving and
circling.
E. Focused Sparring to Improve Timing, Fol-
lowed by Open Sparring

Page 17
 9. Advanced Techniques 1
Nachreissen, Fuhlen, Abnahmen, Ueberlauffen, Absetzen, Durchwechseln and Zucken
A. Review Key Concepts from Previous Sessions Safety & Intent Reminder
✤ Five Master Strikes
✤ Intermediate Guards Drill 1. SAFETY: number ONE concern.
✤ Versetzen at quick speed Everyone should keep the safety of
everyone else in mind at all times. Do
B. Introduce New Material not break your training partners. Do
not take wide-open, or cheap shots.
Historical Source & Background
8. The "Traveling After" (Nachreissen): 2. INTENT: move, act and strike with
There are two kinds of Nachreissen, and you should learn both. appropriate, realistic force and motion.
Use the first against an Oberhau. If he Keep range in mind. Avoid exagger-
raises the sword to strike, travel after him ated motions. Partners must be fully
He is fencing with his
with a strike or a thrust and hit him in the cooperative or resistant when learning
arms, not his body. His
upper opening before he can complete point is not on line. techniques.
the strike. Or fall on his raised arms with 3. TARGETING: Use precise targeting
the Lange Schneide (long edge) and push and be mindful of edge placement and
him away from you. control. Do not lose sight of the
Another Nachreisen wounds that would be caused to un-
When he strikes an Oberhau and brings the blade down with the armored opponents by sharp swords.
strike, travel after him with a strike on the head before he can get
his sword up again. But if he wants to thrust at you and pulls the sword
back to prepare for the thrust, travel after him and thrust at him, before Void his attack, and then strike
he can do it himself. after his blade in the same arc.

A third Nachreisen
When he strikes short in front of you, travel after him with a strike to the Do this as he lifts his sword
high opening. If he moves up and winds against your sword from below, from a lower / Alber position. If
note: as soon as the swords clash together, fall on his arms with the long you are in his strong, step in
edge and push him away from you. Or cut through his face. Practice this deeply as you cut his arms.
from both sides.
The "Abnahmen" from the outside
Note, there are two "Abnahmen" from the Outside, which are two "Nachre- Feel his intent in the bind.
isen" at the sword (am Schwert). Do them like this: If his strike falls short,
travel after him. If he displaces that, stay at the sword (maintain blade con-
tact) and check whether he's hard or soft in the bind. When he pushes up Strike his flat as his blade
your sword with strength, place your blade on the outside of his blade and comes up and Mutieren, or
thrust at his lower opening. scoop his blade aside.

The second Abnahmen from the outside

Also, if you fence against him with low strikes or other techniques, and he As he winds toward your
forestalls this and winds against your sword from above, so that you cannot upper opening, step in as
move it up, maintain strong contact with his sword from below. If he then at- you wind over the top of
tacks your high opening follow with your sword, take the weak of his blade
his sword.
with your long edge, push it down and thrust into his face.
The "Fuhlen" ("feeling") and the word "Indes" ("while" or "during")
You shall learn and understand both the word "Fuhlen" and the word "Indes", because Tactical advice.
these two belong together and together they account for the greatest art and skill in
fencing. Therefore remember: if one binds against the others sword, you shall notice
right in the moment when the blades make contact- whether he has bound
hard or soft. And as soon as you have noticed this, remember the word "In- Fuhlen is the physical knowl-
des": this means that you should attack the next opening immediately and edge of what he intends to
nimbly, hard or soft. So he will be defeated before he knows it himself. do.
Likewise, you shall remember the word "Indes" during all binds at the Indes is the moment outside
sword, because "Indes" dupliert" and "Indes" mutiert, "Indes" rushes of the rhythm in which you
through and "Indes" takes the 'Schnitt', "Indes" wrestles and "Indes" dis- are free to attack.
arms him, "Indes" –in the art of fencing- does, what your heart desires.

Page 18
 "Indes" is a sharp word, which cuts all fencers, that don't know anything about it. And
"Indes is the key, which unlocks the art of fencing.
Fighting Techniques.
The Overrunning.
When he crosses swords, with a cut or thrust to the lower openings, then you will not
set him aside. Rather wait, until you may strike or cut at his head. So you defeat him Geometry play
because the oberhau and thrust have longer reach then unterhau.
The Absetzen
You must learn the art of setting aside so that his cuts and thrusts may be broken.
Do it like this. When he stands before you, as though to strike your lower opening, then
take the guard of the plow on your right side to open your left. When he strikes to your left
wind against his sword to your left and take one step with your right foot toward him: so
you achieve your thrust and he has been displaced.
The Second Set-aside.
When you stand opposite him in the guard of the plow on your left side and he strikes
towards your open left side move your sword high to your left side, with the hilt before
your face. Take one step towards him with right foot and thrust through his face.
The Change Through
Do it like this: if he wants to engage you in a bind against Cut or Thrust, so let the point/
thrust slide through under his sword and stick/stab him in the other side. There you find
him exposed.
The Twitching.
When you move in to strike him from your right with an Oberhau to the head and he binds
your sword, take a single step towards him, maintaining pressure against his sword. Then
jerk your sword backwards and away from his to disengage. Then strike his head from the
other side. If he sets this aside, then hit him on the other side and work skillfully to his up-
per openings with Duplieren and other pieces.
Instructor Demonstration & Explanation Followed by Whole Class Step Through
✤ Nachriesen is a principle, not a set of techniques.
✤ In general, aim at his hands when using most Nachriesen techniques.
C. Drills
Fühlen Drill (from Fighting with the German Longs-
word)
Partners agree to a strike and counter-strike tech-
nique (I.e. Zornhau v. oberhau from the right). The
attacking partner then varies the degree to which
he is “at the sword,” and the responding partner
must use an appropriate technique based on the
attacker’s level of commitment. You will want to
pre-plan the level of commitment the attacker will
use at first. Start slowly and carefully as this skill
takes a lot of time and practice.
D. Play Time
Push Me, Pull You (from Schola St. George)
Each partner grips a sword handle in his right hand.
He then grips his partner’s sword blade about 8”
from the tip in his left hand. The players are now
connected by two swords. The goal is to push and
pull on one, or both of the swords in an attempt to
get the other player off balance. This game may be
played with stationary feet, or with both partners
moving and circling.
E. Focused Sparring to Improve Timing, Fol-
lowed by Open Sparring

Page 19
 10. Advanced Techniques 2
Wrestling at the Sword
A. Review Key Concepts from Previous Sessions Safety & Intent Reminder
✤ Five Master Strikes
✤ Intermediate Guards Drill 1. SAFETY: number ONE concern.
✤ Versetzen at quick speed Everyone should keep the safety of
everyone else in mind at all times. Do
B. Introduce New Material not break your training partners. Do
not take wide-open, or cheap shots.
Historical Source & Background
The Walkthrough. 2. INTENT: move, act and strike with
When he holds his sword aloft to strike you a powerful blow then appropriate, realistic force and motion.
will you hold your sword with the left hand on the pommel above Keep range in mind. Avoid exagger-
your head and the blade over your back. ated motions. Partners must be fully
Duck under his right arm and spring your right This ‘spring’ must cooperative or resistant when learning
foot behind his right foot. In the spring grip be a large enough techniques.
him with your right arm around his body. Take step to take you 3. TARGETING: Use precise targeting
him on the right hip and throw him to the nearly past him. and be mindful of edge placement and
ground. control. Do not lose sight of the
For all of these throws, use the equilateral trian-
gle method for determining his off-balance point.

A Second Walkthrough. wounds that would be caused to un-

When he holds his sword aloft to strike you a powerful blow then armored opponents by sharp swords.
will you hold your sword with the left hand on the pommel above
your head and the blade over your back. Duck under his right arm, leave your right
leg in front of his and grip him with your right arm around his back, then throw him Use this one if you
behind you. cannot spring all the
way past him.
First Sword Wrestling.
When you come in, let you sword out in your left hand and hold it in with your right.
Knock his sword away with the hilt out of your right side. Spring your left foot in front of
his right, grip him with your left arm about his body take him on the left hip and throw him
to the ground. Be careful to make no mistake.
Second Sword Wrestling.
When you come in, let you sword out in your left hand and hold it in with your right.
Knock his sword away with the hilt out of your right side. Spring with the left foot behind
his right. Grip him with the left arm around the chest, throw him over your leg behind you.
A Third Sword Wrestle
When you come in, let you sword out in your left hand and hold it in with your right.
Throw the pommel over his right arm, and tear it downwards. Grab his right elbow, spring
your left foot before his right and pull him over your leg so that he goes over your right
side.
A Fifth Sword Wrestle.
If someone comes in close to you, then use your left hand and drive with it over his right
arm. Seize his sword at the handle between his two hands and pull it to your
left side. Thus you take the sword from him and it will go badly for him. Always pull the weapon
Taking a Sword. out through the weakest
If he binds your sword by engaging it or by other means, then seize both part of the grip.
swords in the centre of the blades with the left wrong hand. Hold them to-
gether firmly, and drive through with your right hand to your left side with the pommel
down, over both of his hands. And then pull upward to your right side thus you take both
swords.
Instructor Demonstration & Explanation Followed by Whole Class Step Through
C. Drills
Fühlen Drill (from Fighting with the German Longsword)
Partners agree to a strike and counter-strike technique (I.e. Zornhau v. oberhau from the right). The attacking
partner then varies the degree to which he is “at the sword,” and the responding partner must use an appropriate

Page 20
 technique based on the attacker’s level of commitment. You will want to pre-plan the level of commitment the
attacker will use at first. Start slowly and carefully as this skill takes a lot of time and practice.
D. Play Time
Push Me, Pull You (from Schola St. George)
Each partner grips a sword handle in his right
hand. He then grips his partner’s sword
blade about 8” from the tip in his left hand.
The players are now connected by two
swords. The goal is to push and pull on one,
or both of the swords in an attempt to get
the other player off balance. This game may
be played with stationary feet, or with both
partners moving and circling.
E. Focused Sparring to Improve Timing,
Followed by Open Sparring

Page 21
 Appendix A: Ringeck’s Commentaries
This is the beginning of the interpretation of the Knightly Art of if somebody binds against it. The weak reaches from the middle
the Langenschwert, written down in rhymes by the grand of the blade to the point. Here you cannot hold opposed. If you
Fechtmiester of the Medieval German school, Johannes firmly understand this, you can "work" and defend yourself very
Liechtenauer. He recorded his teachings in secret words, so well.
that the art may not be commonly spread. These secret phras-
ings were later interpreted and commented on in a book by Princes and Lords learn to survive with this art, in earnest and
Sigmund Ringeck, at the time Fechtmiester of Albrecht, Count in play. But if you are fearful, then you should not learn to fence.
Palatine of Rhine and Duke of Bavaria. Because a despondent heart will always be defeated , regard-
less of all skill.
Footwork
Note: This is the first tenet of the long sword: learn to strike Overview of The Fighting Techniques
blows equally well from both sides if you want to learn to fence Note: these are the names of the main techniques of the art of
well. Note: If you want to strike from the (your) right side, make the long sword, whose names are chosen in such a way that
sure, your left foot is forward (at the beginning); if you want to you may understand them better. There are seventeen tech-
strike from the left side, the right foot must be forward. If you niques and they start with the five strikes.
strike an Oberhau from the right side then, follow the blow with 1. The first strike is the strike of wrath (Zornhau)
your right foot. If you do not the blow is wrong and ineffective, 2. The second one is the "crooked strike" (Krumphau)
because your right side stays behind. Because of this the blow 3. The third one is the Zwerchhau
will fall short and cannot travel in its proper arc towards the left 4. The fourth one is the squinting strike (Schielhau)
side. If you strike from the left side and you do not follow the 5. And the fifth one is the "parting strike" (Scheitelhau)
blow, it too is wrong. That is why no matter from which side you 6. Sixth there are the four basic guards
are striking follow the blow with the same foot. So you will suc- 7. Seventh there are the four techniques of displacement (Ver-
ceed in all techniques. This is how you shall strike all blows. setzen)
Tactical Basics 8. Eighth there is the Nachreissen ("Traveling after")
When you are closing to an opponent, do not watch his blows 9. Ninth there is the Overrunning (Ueberlaufen)
and do not wait for what he might use against you. Because all 10. Tenth there is the setting aside (Absetzen)
fencers, who just wait for their opponents blows and do not do 11. Number eleven is the changing through (Durchwechseln)
anything else than warding them off, do not succeed very often. 12. The twitching (Zucken)
They are defeated very often. 13. The running through (Durchlaufen)
14. The cutting off (Abschneiden)
Note: Always fence using all of your strength! When you're 15. The pressing of the hands
close, strike at his head and at his body, so he may not be able 16. The "Hanging"
to change through (Durchwechseln) in front of your point. After 17. And finally there is the Winding
the blow, from the bind, strike light blows at his next opening,
as is described in the section about different blows and other The Fighting Techniques:
techniques. The Strike of Wrath and the Winding
Note: When your adversary strikes at you from his right side
Note: This tenet is addressed to left-handers and right-handers. with a strike from above (Oberhau), then hit with a strike of
If you are a right-handed fencer and you are closing to an op- wrath from your right shoulder against it. Strike with your true
ponent and you think you can hit him, do not strike the first edge and in your strong. When he is weak at the sword then,
blow from the (your) left side. Because you are weak there and thrust into his face along his blade.
you cannot resist, if he binds strongly against your blade. Be-
cause of this, strike from the right side, you can work strongly When you thrust against his face from the strike of wrath and he
"Am Schwert" ("on the sword") and you can use all techniques notices this and displaces the thrust with strength, pull your
you like. So, if you are left-handed, do not strike from the right sword upwards, away from his. And then strike to the head
side, since left-handers are usually not used to strike effectively from the other side, also along his blade. When you strike a
from the right side and vice versa. strike of wrath and he displaces it and remains strong at the
sword, hold strongly against it. With the strong of your sword,
Note: Above all other things, you must understand the princi- slide up to the weak (schwech) of his blade, wind the hilt in front
ples of "before" (Vor) and "after" (Nach), because the entire art of your head while remaining on the sword (am schwert) and
of fencing is based upon it. "Before" means, pre-empting him thrust into his face from above.
with a blow or a thrust against an opening before he can hit
you, so he must defend/displace (Versetzen). So, be flexible in When you thrust from the Winding as described and he dis-
your defence and aim with your sword at one opening after the places the thrust by lifting up his arms and his hilt, stay in the
other, so he cannot get through with his own techniques. But, if Winding and take the Ort (point or thrust) down between his
he rushes in, start wrestling. arms and breast.
"After" means: If you do not succeed with the "before", wait for Note: When you engage at the sword ("binden") with strength
the "after". These are the defenses against all techniques he and your adversary pulls his sword upwards and strikes at your
uses against you. So, if you have to displace him, make the head from the other side, then bind strongly with the true edge
displacement ‘simultaneously" (Indes) and from the bind, strike and strike him on the head.
immediately at his nearest opening. So you win the "before"
You must notice immediately, if someone is weak or strong at
and he remains in the "after". Also, you should –during the "be-
the sword if he binds at your sword with a strike or a thrust. If
fore" and "after" –notice ‘simultaneously" (Indes) how you can
you have noticed that, you shall know simultaneously, if it is
"work" against the strong or the weak of his sword.
better to fight him in the "before" (Nach) or the "after" (Vor). But
This means: The strong of the sword reaches from the cross- don’t engage rashly in close-combat (Krieg), this is nothing else
guard to the middle of the blade, with it, you can hold opposed, than Winding (Winden) at the sword.
Page 22
In close-combat you should do the following: if you strike him this with a Krumphau with crossed hands from his right side
with the strike of Wrath and he displaces it, lift up your arms and if he pushes your sword to the ground, then wind towards
and, at the sword, wind the point to the upper opening. When your right side, raise your arms over your head and thrust at his
he displaces (Versetzen) the thrust, stay in the winding and breast from above. If he displaces that,stand as you are, with
thrust to the lower opening. If he follows your sword in the dis- the hilt in front of your head and nimbly work with the point
placement (Versatzung), lead your point through under his from one opening to the other. This is called the "noble war"
sword (disengage under "durchführen") and thrust to the other and with this you’ll confuse him so much , that he will not know
opening on his right side. This is how you can defeat him in how to defend himself against your attacks.
close-combat.
The Zwerchhau
Mutieren and Duplieren against the four openings: The Zwerchhau counters (literally "breaks") all downward strikes
These are the four openings you should aim at in combat. The made from above. Do it like this: If he strikes an Oberhau at
first opening is the right side, the second opening is the left side your head, "jump" (make a large, explosive step) to his left side
above the belt. The other openings are the right and left side with your right foot, while you jump, turn your sword, so that
below the belt. Already pay attention to the openings when you your hilt is high in front of your head and your thumb is down
are closing in, aim at the ones he (your adversary) exposes. (on the flat of the blade) and strike at his left side with your
short edge. So you catch his strike with your hilt and hit him
Thrust with the "long point" (Langer Ort), use the "traveling af- simultaneously on the head.
ter" (Nachreissen) and all other opportunities. Don’t pay atten-
tion to what he’s up to, fence securely and you’ll hit so out- This is how you can work with the stark (strong) from the
standingly, that he’ll not be able to get through with his own Zwerch: If you strike with the Zwerch, pay attention to strike
techniques. strongly with the strong of your sword against his blade. If he
strongly holds against it, strike him -at the sword- on the head
If you want to break one of the four openings by force, then behind his blade with your hands crossed. Or cut him trough
"Dupliere" at the upper opening, against the Starke (strong) of the face.
his sword, and then "Mutiere" to another opening. Against this,
he cannot defend himself and he will not be able to either strike When you bind at his sword with the strong of your sword with
or thrust. the Zwerch and he strongly holds against it, push down his
sword to your right side with your hilt. And immediately strike
Duplieren: When you strike a strike of wrath (Zornhau) or any again with the Zwerch to the right side of his head.
other Oberhau and he displaces it with strength, with the left
hand, immediately thrust the pommel of your sword under your If you bind against his sword with the Zwerch and he is "soft" at
right arm. With crossed hands, behind his blade and in between the sword, place the short edge at the right side of his neck,
the blade and his body, strike him diagonally through the face. jump behind his left foot with your right foot and tear him over
Or strike him on the head. with the sword.
Mutieren: If you bind against his sword, with an Oberhau or If you bind against his sword with the Zwerch and he is "soft" at
otherwise, wind the short edge at his sword, raise your arms the sword, push his sword down with the Zwerch and lay the
and thrust at the lower opening from the outside along his short edge at his throat.
blade. You can use that from both sides.
A defense against the upper Zwerch:
The Krumphau: When you bind at his sword with an Oberhau or another strike
This is how you should strike the Krumphau at the hands. When from your right side and he strikes with the Zwerch at your
he attacks you from his right side with an Oberhau or Unterhau, other (left) side, forestall this with a Zwerch to his neck under
jump out of the strike with your right foot towards his left side his sword.
and with crossed hands strike against his hands using the
point. This is how you can strike to the four openings with the Zwerch:
When you close in with your adversary with the "Zufechten", at
This is how you can Absetzen ("set aside") the cuts from above the right moment, jump towards him and strike with the Zwerch
with the Krumphau: If he attacks you from his right side with an to the lower opening of his left side. This is called "striking to-
Oberhau, step towards his left side with your right foot and put wards the plow" ("zum Pflug schlagen").
your point in the Schrankhut. Practice this from both sides.
From the setting aside you can strike him on the head. When you have attacked the lower opening with the Zwerch,
immediately strike another Zwerch to the other side, at his
If you want to weaken a master, then while he strikes an Ober- head. This is called "striking towards the ox" ("zum Ochsen
hau from his right side strike a Krumphau with crossed hands schlagen"). And then strike swiftly alternating the Zwerch to-
against his sword. When you strike him with the Krumphau wards the plow and the ox, crosswise from one side to the
against his sword, from the sword immediately strike upwards other. Then you can disengage from him with an Oberhau to the
against his head with the short edge. Or after the Krumphau head.
wind the short edge at his sword and thrust him into the breast.
When you strike the Zwerch, you shall always jump to his flank,
When he strikes an Oberhau from his right shoulder, pretend as namely towards the side on which you want to hit him. So you
if you are going to bind against his sword with a Krumphau. But can hit his head. And pay attention that you cover the front of
let your strike fall short, lead your point trough under his sword your head with the hilt while jumping.
and wind your hilt over your head and to your right side. Then
thrust him in the face. The "Fault" (Feint):
All fencers who rely on displacing are deceived and defeated
This is how you can break the Krumphau: If you attack him from with the fault. When you close with him, feint any Oberhau to
your right side with an Oberhau and he displaces this with a his left side. From there (when he wants to displace it) you can
Krumphau with crossed hands from his right side, then strongly easily hit another opening.
hold your sword against his. And "shoot" (thrust) the point at his
breast with your arms extended. The "Verkehrer":
If you bind at your adversaries sword with an Oberhau or an
Another defense against the Krumphau: If you attack him from Unterhau, turn your sword so that your thumb is down and
your right side with an Oberhau and he displaces (Versatzung) thrust to his face from above. So you force him to displace the
Page 23
thrust. While he displaces, grab his right elbow with your left Stand with the left foot forward and hold your sword at your
hand, place your left leg in front of his right leg and toss him right side above your knee,with your hands crossed, your point
over. directed at his face.
The Double Feint: The third guard: Alber (the Fool)
Here, you must deceive him twice while closing in. When you
come close to him with the Zuefechten, jump towards him with Stand with your right foot forward and hold your sword in front
the left foot and feint a Zwerch to the left side of the head. But of you with your arms extended, your point directed at the
ground.
then turn the blow over and strike to the right side of his head.
If you have attacked him on the right side of the head as de- The fourth guard: vom Tag ("From the Roof")
scribed, strike immediately at the same spot. Then go over his
sword with the short edge and your hands not crossed, jump to Stand with your left foot forward and hold your sword at the
your left side and cut through his face with the long edge. side of your right shoulder or above your head with your arms
extended.
The "Squinter":
The Squinter is a strike which primarily "breaks" the strikes and And in this book, you’ll find written down how to fence from
thrusts of those fencers, who rely only on their strength. Do it these guards.
like this: If he attacks you from his right side, strike from your 7. The Four Displacements (Versatzungen)
right side with the short edge and extended arms against the You have heard previously, that you shall fight only from four
weak of his sword and hit him on the right shoulder. If he guards. Now, you shall get to know the four displacements,
changes through, thrust him into his breast with your arms ex- which are four strikes.
tended. You should strike like this, too, if he faces you in the
guard of the plough or if wants to thrust you from below. The first strike is the "crooked strike" (Krumphau). It counters
(literally "breaks") the guard (Hut) ochs.
Note: You should always deceive him with your line of vision.
Pay attention, if he fights short (feints). The second strike is the Zwerchhau. It counters the guard Vom
Tag.
You will know this when he does not extend his arms when
striking. You should strike then, too, move your point trough The third strike is the "squinter" (Schielhau). It counters the
under his sword and thrust him into the face. guard Pflug.
Note: The Squinter breaks the "long point" and this is done as The fourth strike is the parting strike (Scheitelhau). It counters
follows: the guard Alber.
When he faces you and points his point against your breast or And beware of all displacements used by bad fencers. Note:
face with extended arms, place your left foot forward and look Strike, when he strikes, thrust, when he thrusts. And in this
at his point. Feint a strike against his point, strike strongly chapter and in the chapter on the five strikes you shall find writ-
against his sword with the short edge and "shoot" (thrust) , with ten down how you shall strike and thrust.
a forward step with the right foot, your point against his throat,
with your arms extended. A Technique against a Displacement:
If a strike of yours has been displaced, note: if an Oberhau of
When he strikes an Oberhau, look at his head, as if you intend yours is displaced, stay in the bind, move your pommel over his
to strike him there. But then strike against his blow with the forward hand and tear it down; and strike him on the head si-
short edge and then strike at the hands with your point, along multaneously.
his blade.
A Second Technique against a Displacement:
The "Parting Strike" If you strike an Unterhau from the right side and he falls on your
Note: the parting strike is aimed at the face or breast. Do it like sword (i.e., he pushes it downwards), so that you cannot lift it
this: If he is in the guard Alber, strike vertically downward with up, move the pommel over his sword and, with a snapping mo-
the long edge. And while striking, keep your arms up high and tion, strike him on the head with the long edge. Or, if he falls on
move your point to his face. your sword on your left side, strike him with the short edge
If you move the point at his face from above with the parting (Kurze Schneide).
strike and he displaces the point with the (his) hilt up, turn your A Third Technique against a Displacement:
sword, lift the (your) hilt high above your head and thrust him If you strike an Oberhau from the right and if you want to end
down into the breast. the fight, then note: when he displaces, immediately strike
When you strike a parting strike and he displaces with the hilt around (i.e., to the other side) with the Zwerchhau. Grab the
high above his head, then this displacement is called "the blade of you sword with the left hand and thrust into his face.
crown". From there you can rush in. Or attack one of the other openings you can reach best.

If he breaks the parting strike or any other Oberhau with the A Fourth Technique against a Displacement:
crown and tries to rush in, cut him in the Arm under his hands If you thrust at his face at the Halb Schwert (half-sword) and he
and push upward, so that the crown is broken. Then turn your displaces this, immediately strike him on the other side of the
sword from the low cut into a high one and free yourself in this head with the pommel. Or jump with the right foot behind his
way. left foot, move your pommel around his neck from the right
shoulder (i.e., his right side) and tear him down over your right
The Four Guards leg.
There are only four basic positions which are useful in combat,
this are Ochs, Alber, Pflug, and vom Tag. 8. The "Traveling After" (Nachreissen):
There are two kinds of Nachreissen, and you should learn both.
The first guard: Ochs (the Ox) Use the first against an Oberhau. If he raises the sword to
strike, travel after him with a strike or a thrust and hit him in the
Stand with your left foot forward, hold your sword at the right upper opening before he can complete the strike. Or fall on his
side of your head, your point directed at his face. raised arms with the Lange Schneide (long edge) and push him
The second guard: Pflug (the Plough) away from you.
Page 24
Another Nachreisen The Second Set-aside.
When he strikes an Oberhau and brings the blade down with When you stand opposite him in the guard of the plow on your
the strike, travel after him with a strike on the head before he left side and he strikes towards your open left side move your
can get his sword up again. But if he wants to thrust at you and sword high to your left side, with the hilt before your face. Take
pulls the sword back to prepare for the thrust, travel after him one step towards him with right foot and thrust through his
and thrust at him, before he can do it himself. face.
The "Abnahmen" from the outside The Change Through
Note, there are two "Abnahmen" from the Outside, which are Do it like this: if he wants to engage you in a bind against Cut or
two "Nachreisen" at the sword (am Schwert). Do them like this: Thrust, so let the point/thrust slide through under his sword and
If his strike falls short, travel after him. If he displaces that, stay stick/stab him in the other side. There you find him exposed.
at the sword (maintain blade contact) and check whether he's
hard or soft in the bind. When he pushes up your sword with The Twitching.
strength, place your blade on the outside of his blade and When you move in to strike him from your right with an Oberhau
thrust at his lower opening. to the head and he binds your sword, take a single step to-
wards him, maintaining pressure against his sword. Then jerk
The second Abnahmen from the outside your sword backwards and away from his to disengage. Then
Also, if you fence against him with low strikes or other tech- strike his head from the other side. If he sets this aside, then hit
niques, and he forestalls this and winds against your sword him on the other side and work skillfully to his upper openings
from above, so that you cannot move it up, maintain strong with Duplieren and other pieces.
contact with his sword from below. If he then attacks your high
opening follow with your sword, take the weak of his blade with The Walkthrough.
your long edge, push it down and thrust into his face. When he holds his sword aloft to strike you a powerful blow
then will you hold your sword with the left hand on the pommel
The "Fuhlen" ("feeling") and the word "Indes" ("while" or "dur- above your head and the blade over your back. Duck under his
ing") right arm and spring your right foot behind his right foot. In the
spring grip him with your right arm around his body. Take him
You shall learn and understand both the word "Fuhlen" and the
on the right hip and throw him to the ground.
word "Indes", because these two belong together and together
they account for the greatest art and skill in fencing. Therefore A Second Walkthrough.
remember: if one binds against the others sword, you shall no- When he holds his sword aloft to strike you a powerful blow
tice right in the moment when the blades make contact- then will you hold your sword with the left hand on the pommel
whether he has bound hard or soft. And as soon as you have above your head and the blade over your back. Duck under his
noticed this, remember the word "Indes": this means that you right arm, leave your right leg in front of his and grip him with
should attack the next opening immediately and nimbly, hard or your right arm around his back, then throw him behind you.
soft. So he will be defeated before he knows it himself.
First Sword Wrestling.
Likewise, you shall remember the word "Indes" during all binds When you come in, let you sword out in your left hand and hold
at the sword, because "Indes" dupliert" and "Indes" mutiert, it in with your right. Knock his sword away with the hilt out of
"Indes" rushes through and "Indes" takes the 'Schnitt', "Indes" your right side. Spring your left foot in front of his right, grip him
wrestles and "Indes" disarms him, "Indes" –in the art of fenc- with your left arm about his body take him on the left hip and
ing- does, what your heart desires. throw him to the ground. Be careful to make no mistake.
"Indes" is a sharp word, which cuts all fencers, that don't know Second Sword Wrestling.
anything about it. And "Indes is the key, which unlocks the art When you come in, let you sword out in your left hand and hold
of fencing. it in with your right. Knock his sword away with the hilt out of
A third Nachreisen your right side. Spring with the left foot behind his right. Grip
When he strikes short in front of you, travel after him with a him with the left arm around the chest, throw him over your leg
strike to the high opening. If he moves up and winds against behind you.
your sword from below, note: as soon as the swords clash to- A Third Sword Wrestle
gether, fall on his arms with the long edge and push him away When you come in, let you sword out in your left hand and hold
from you. Or cut through his face. Practice this from both sides. it in with your right. Throw the pommel over his right arm, and
Fighting Techniques. tear it downwards. Grab his right elbow, spring your left foot
before his right and pull him over your leg so that he goes over
The Overrunning. your right side.
When he crosses swords, with a cut or thrust to the lower
openings, then you will not set him aside. Rather wait, until you A Fifth Sword Wrestle.
may strike or cut at his head. So you defeat him because the If someone comes in close to you, then use your left hand and
oberhau and thrust have longer reach then unterhau. drive with it over his right arm. Seize his sword at the handle
between his two hands and pull it to your left side. Thus you
The Absetzen take the sword from him and it will go badly for him.
You must learn the art of setting aside so that his cuts and
thrusts may be broken. Taking a Sword.
Do it like this. When he stands before you, as though to strike If he binds your sword by engaging it or by other means, then
seize both swords in the centre of the blades with the left wrong
your lower opening, then take the guard of the plow on your
hand. Hold them together firmly, and drive through with your
right side to open your left. When he strikes to your left wind
against his sword to your left and take one step with your right right hand to your left side with the pommel down, over both of
foot toward him: so you achieve your thrust and he has been his hands. And then pull upward to your right side thus you take
displaced. both swords.

Page 25
 Appendix B: Class Structure
This Class Structure has been adapted from Schola St. George.

Review Previous Key Concepts & Drills Integration is the bridge step between doing the
This part, at the beginning of each class serves to technique in drill or practice and executing it under
remind students of what has been covered thus far. the stress of a fight. Two very different things! 
There is also a safety lecture each and every ses- To internalize the ‘when’ of using a technique in a
sion. fight, a combatant enters into a sparring engage-
ment looking only for the time when a specific thing
Introduce can be done with a resistant opponent under the
The first step in presenting the material to students stress of a fight. 
is to provide the historical background for the mas-
In the first step, the opponent is aware of the stu-
ter involved and for the weapon at hand. 
dent's objective and will execute maneuvers spe-
Next, elements of the techniques are distilled and cifically to invite the technique, but at speed and
presented, verbally, physically and recorded in at with increasing resistance. 
least written--if not photographic--form to key the
In the second step, the opponent will be unaware
student's memory. This presentation will over time
of specifically what the student is working on. The
become ever-more refined, and will incorporate
much of what is continually learned from new stu- student is challenged to see the moment for the
dents with diverse martial backgrounds.  new technique. One or more sparring sessions may
pass without the proper time for the technique ap-
The instructor then steps through the technique pearing. This is where the student must resist the
with the students, correcting gross and subtle urge to worry about the win/loss outcomes of the
errors.  fight and focus instead on seeing that fleeting mo-
Drill ment when the technique in question can be used.
Next, the students follow drills designed to build Once the time does show up, then it will become
muscle and intellectual memory for the movements more quickly apparent the second time, and still
involved. Usually these are repetition drills that easier to see the third, etc. 
should be done outside of class as well as within. It Focused Sparring is not a quick phase, but it does
often takes hundreds, or even thousands of repeti- integrate the technique sufficiently so that it can be
tions for a student to integrate a technique; hence it employed under the stress of a fight, whether in
is absolutely critical that students do key drills at competition or in earnest. 
home--daily if possible.  Open Sparring
Generally, it is good to review drills for a couple of To finalize the benefits and to work on initiative,
weeks after introducing them, encouraging stu- timing, courage and the other virtues, open spar-
dents to do extra repetitions or custom drills to cor- ring is extremely beneficial as well as being reward-
rect specific issues.  ing and entertaining. Students should spar in what-
Often, drills incorporate extremely slow move- ever tradition they come to the WMA through, at-
ments. Speed gains little except at the very end of tempting to integrate focused sparring-built tech-
the process; when moving slow, you're working on niques into their fights whenever possible. 
position. To work on timing, use focused sparring. Open sparring usually comprises only a small po-
Students should not, in drill, attempt to "win" the tential of class time.
engagement, but must be cooperative or resistant
ARMA's four general rules free-play:
according to the instructor's direction. 
Placement: using good edge alignment and target-
Drill creates the how of a particular fighting tech-
nique; focused sparring teaches when.  ing
Intent: striking with some degree of force in proper
Play Time
range to ensure actual contact and in a manner that
Play Time exercises not only work physical skills, has sufficient motion to simulate the inertia of a real
but also build the mental aspects of the fight, in damaging blow
particular initiative, timing, balance, and endurance.
Such play helps to keep the students involved in Control: not hitting too hard or too fast to prevent
the hard work that is training. injury, plus not hitting off target
Focused Sparring to Improve Timing Time-on-Target: connecting with a sufficient interval
of time whereby the weapon makes contact in order
Many schools excel at teaching historical tech-
to simulate the energy that would have impacted or
nique. However, the historical manuals do not say
penetrated
much with respect to teaching the mental aspects
of the fight, or to the integration of technique into
the fighting psyche. 
Page 26
 Appendix C: Class Drills & Games
Baton Striking with Edge Control Game (from Ochs: Longsword DVD)
One partner wears a mask and protective gloves. He grips a baton in both hands so that there is at least 8” of
space between them. As he circles and moves, he will present the baton in front, or beside himself representing
target openings. The other partner strikes the baton with an appropriate strike, cut, or Master Strike. Careful at-
tention should be paid to range, staying in an appropriate guard, striking power, and edge placement.
Vier Leger Drill
Right Vom Tag -- Left Phlug -- Right Ochs -- Left Alber -- Right Langort -- pivot -- Left Vom Tag -- Right Phlug --
Left Ochs -- Right Alber -- Left Langort - pivot
Intermediate Guards Drill
Vom Tag - Kumphau -> Schrankhut - Unterhau -> Ochs - Zwerchau -> Phlug - Stich -> Kron - Oberhau -> Ne-
benhut - Zornhau -> Alber - short edge Unterhau -> pivot (Repeat on opposite side)
Fühlen Drill (from Fighting with the German Longsword)
Partners agree to a strike and counter-strike technique (I.e. Zornhau v. oberhau from the right). The attacking
partner then varies the degree to which he is “at the sword,” and the responding partner must use an appropriate
technique based on the attacker’s level of commitment. You will want to pre-plan the level of commitment the
attacker will use at first. Start slowly and carefully as this skill takes a lot of time and practice.
Guard Breaking Drill (from Ochs: Longsword DVD)
One partner adopts each of the Primary Guard positions, and the other partner responds with the appropriate
Master Strike. Partners alternate this role for each stroke.
Master Strikes Drills
Step through each Master Strike from right & left sides using ALL guard positions
Push Me, Pull You (from Schola St. George)
Each partner grips a sword handle in his right hand. He then grips his partner’s sword blade about 8” from the tip
in his left hand. The players are now connected by two swords. The goal is to push and pull on one, or both of
the swords in an attempt to get the other player off balance. This game may be played with stationary feet, or
with both partners moving and circling.
Roman Focus Game
Using good hand protection, partners attempt to slap each other’s hands with the boffer dagger. Only the hands
are valid targets. Both hands must stay in front of your body at all times. Free advice: keep moving!
Striking Pattern Drill (from Ochs: Longsword DVD)
✤ First set starts in Right Vom tag: UpR, LowL, LowR, UpL
✤ Second set starts in Right Nebenhut: LowR, UpL, UpR, LowL
✤ Third set starts in Left Vom tag: UpL, LowR, LowL, Upr
✤ Fourth set starts in Left Nebenhut: LowL, UpR, UpL, LowR
Thrust Targeting Game (from Ochs: Longsword DVD)
This game is just like the Baton Striking game, but uses thrusting target as the focus.
Winden Drill: Clockwise & Counter-Clockwise (from Ochs: Longsword DVD)
Work large circles moving through the eight windings clockwise and counter-
clockwise. Keep pressure on the blades, and maneuver toward a position from which
a good thrust could be executed.
Winden Game
Using boffer swords, masks and gloves, partners attempt to wind against each other in order to execute a thrust
from the bind. The swords should remain in a bind at all times, and players may not step out of range at any
time.
Kali Drills
✤ Sombrata
✤ Down & Back
✤ Heaven’s Six

Page 27
 Appendix D: German Martial Glossary
Ablauffen  :(“Running Off”) Withdrawing the blade from an at- acknowledged it was sometimes necessary.
tack, before or after contact, by rotating it around the hilt to hit Aureissen:("Pull away"). According to Leckchner, “When
with the false edge on the other side. Can be done singularly or somebody binds at your sword and remains strong in the bind-
doubly.  One of the primary ways of using a Kurze Schneide ing, move with your hilt over both his hands and pull them down
attack.  See Duplieren. towards you again. You create an opening and hit him.”
Abnemen :To move away or free yourself from a bind and make Aussernym :(“Outertaking” or “Outerwinding”) In a crossed
another attack. sword position, to pressure the opponent’s blade in a bind so
Abrayssen / Abraisen :(to “break away”) To push the oppo- as to press it aside or down, thereby creating a small opening
nent’s hand or weapon downward with the Gehiltz (hilt). to which you suddenly reverse pressure and slice forward.
Abschnappen :(“to snap off”) To get free of a Band (bind) by Bainbruch :(“leg break”) A wrestling-grip made exclusively or
sliding or batting the blade away with a strong, controlled blow. partially at the legs, which throws an opponent to ground.
Abschneiden / Abschnyden :(“cutting aside” or “cutting off’ or Bedebern / Bedebren :To defend with stabs or blows.
“to slice off”) 1. Short drawing cuts known also as Schnitt Bleiben :(“Remaining”) In a binding position to maintain the
(“slices”), called Rakes in English, used at closer distances blades pressing in contact and thereby sense the opponent’s
against the opponent’s forearms and hands, they can be made intentions through feeling the pressure on his blade (i.e., Fhlen).
with both the lead and the back edges. These are drawing cuts Binden / Band :(“bind”) The moment of contact between
generally used against the opponent’s arms at close range.  weapons and the actual contact of two weapons.  A bind or
Made singly or doubly (i.e., upwards and then down, or down- trapping action by pressing blade upon blade (usually edge on
wards and then up.) 2. To Slice over the arms from below or edge at the ricasso). See Band.
above; usually with Langer Schnyde  (Long edge). Abschneid = Binden an das Schwert:("binding on the sword") A term from
Cut Away the Codex Wallerstein.
Absetzen / Absezen :(“setting aside”) 1. The principle of timed Blizen / Blitzen :(“flashes”) To strike with a shower of sparks. 
counter attack to deflect a thrust or parry a cut. While Absetzen See Glutzen and Klitzen.
in a specialized sense refers to thrusts with opposition the word Blossen / Bloen :(“openings”) The fencer’s body divided by
can also be used to mean a simple parry, usually followed by a two imaginary lines –across the belt and vertexes –into four
thrust. It is also used to denote a type of trapping move in Blossen: a right and left upper and lower Blossen. The name
which the sword is hooked over the opponent’s blade, dragging probably came from organized fight practice, particularly from
the opponent’s blade down to the ground.  2. To parry an attack the instructions and theory part, where it was in the first lesson
on the lower Blossen (openings), the attack is put down by as a term for any unprotected body parts. The Four Openings
leading his weapon with the Langer Schnyde (long edge) while are areas to aim at in combat, the first opening is the oppo-
moving towards the side that the attack came from. nent’s right side, the second opening is their left side above the
Abwenden :("turning aside") To “ward off” a blow as with a belt, and the other openings are their right and left sides below
deflecting strike. the belt. Liechtenauer first proposed the idea of there being
Abzug :(“Withdrawal”) According to Meyer, a stage of engage- only “four quarters” or openings” high and low, left and right. 
ment where the combatant tries to disengage without being hit, English text MS. 39564 also refers to “smyting” the quarters or
usually delivering a retreating strike to cover the withdrawal. to “pley a quarter”.
Alber :(“fool’s guard”) A low middle stance with point down. Blossfechten :Unarmored combat in the Fechtschulen as dis-
This stance takes its name from Liechtenauer’s belief that only a tinguished from armored fighting.
fool stays on the defensive, relinquishing the initiative to his Brechen :(“breaks”) To penetrate by force, to wound, or to de-
opponent.  He acknowledged the superior defensive qualities of fend effectively.
this stance by including it among his four. See Posta Tuta di Brechfenster:“breaking window”, see Sprechfenster
Ferro. Das Brentschirn / Das Brentschrn :According to Talhoffer, a
Alter Schnitt :(“After Slice” or “The Ancient Slice”) A cut over bind or an entanglement with the shortened sword during Halb-
the arm of the opponent when he has repulsed a Nachreissen. Schwert. Also a state of battle in which the edges of the swords
To move in to slice on the opponent’s extended arms as a Nach rub together in the Band. In attempt to usurp the opposing
action following the completion of his strike.  Part of the “se- sword from this position.
crets” of fencing –in contrast to the fundamentals of the art. Bruch :(“break”) In swordplay, the action of an effective defense
Am Schwert : (“on the sword”) Attacks made while maintaining being a counterattack that “breaks “ the adversary’s own
constant pressure on the opposing blade, also known as the strike.  See Stuck.
Winden (winding or turning).  The second grouping of attacks Brysen :(“breezes”) A defensive push, to press hard, cornering.
made in the Krieg phase of combat.  These are attacks made Buffel / Pffel :(“buffalo”) An expletive for fighters without the art
without leaving the opposing blade, maintaining constant blade of defense, those who use the virtue of strength alone.
contact throughout the course of the attack.  Better known as Cuts:The German schools recognized three major forms of cut:
the Winden (Winding or Turning). Oberhau (over cuts) downward diagonal or vertical, Unterhau
Anbinden / Ambinden :(“crossings of the blade” or “tied up”) (under cuts) upward or rising, and Zwerchhau or Mittelhau,
The engaged position with weapons crossed in which the (crosscuts) horizontal right-to-left and horizontal left-to-right.
weapons collide together in their moment of contact.  Called Diagonal cuts were Zornhau and vertical were Scheitelhau.
Incrosar a Mezzo Spada (“crossed at half-sword”) by Fiore. There were several names for various specific individual cuts
Ansetzen :(“place”) An attack (or thrusts) aimed at a certain such as: Streithau (the “battle cut”), and Vater Streich (the “fa-
body part. ther strike”). draw cuts and slicing pulls were usually known as
Auffangen  :(“Catching”) According to Meyer, a simple block, Schnitt. The grand master Johannes Liechtenauer distinguished
wherein the opponent’s attack, rather than deflected off or five principal cuts: Zornhau (“rage cut” or “strike of wrath”),
struck down, is stopped by interposing your own weapon in its made diagonally from behind the right shoulder; Krumphau
path.  Essentially an edge parry. Meyer recognized it conferred (“twisted” or “crooked” cut), made downwards with the false
no particular advantage and recommended against it (in favor edge, and effected with crossed or twisted wrists; Zwerchhau
of setting aside, Absetzen, and warding off, Abwenden). But he (horizontal side cut); the Schielhau (“squinting cut”), made
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downwards with the false edge at the enemy’s shoulder or that was regarded as dangerous and malicious The term instills
neck; and Scheittelhau (the “crown cut” or “parting strike”), a visual image that the executing fencer leaves behind his
made vertically downwards and literally aimed at the crown of weapon.  The position may be equivalent to Fore’s Posta Fin-
the head. See Segno cuts. Sigmund Ringeck (c. 1440) refers estra.
Liechtenauer’s cuts as the “five strikes”.  Meyer calls all blows Einlauffen :(“Running In”) To duck under the opposing weapon
delivered with the true edge “straight blows”. or employ closing and entering techniques (Einlauff).
Dal Wegbinden:(“The sling-away” or the “sling-behind”) In Tal- Eiserne Pforte :(“Iron Gate” or “Iron Door”). Another name for
hoffer, the act of puling the sword blade away from contact or Alber, the “Fool’s Guard”.  See Low guard. In the German
opposition and turning or withdrawing the body to use the sec- schools, the may be made in the center, left or right.
ond hand to seize or strike. Ernst Fechten :(“fighting in earnest”) The idea of practicing real
Das Gayszlen :The “Spring” –throwing a cut from one hand to killing techniques and not play or show fighting.
increase its range by clutching the pommel with the second Falso Filo :The false edge. Also filo falso. Opposite of filo dritto,
hand.  English text MS. 39564 frequently refers to the use of true edge.
blows from the “spryng”. Fechtbuch :(“fight book” or “fencing book”) a German manual
“DGZPS” :An acronym used by Duerer meaning, Das geht zu on fighting techniques and methods, particularly swordsman-
paiden seiten (“that works on both sides”).  This refers to the ship, (plural Fechtbuecher), among the more famous are those
bilateral symmetry of German fighting arts that multiplies the by the masters Johannes Liechtenauer’s of 1389 (by Hanko
number and variations of techniques. Doebringer), Sigmund Ringneck of c. 1440, Hans Talhoffer of
Doppelhau :Liechtenauer’s  “double-cut”.  Cutting the same 1443, Peter von Danzig of 1452, Paulus Kal of c.1460, Johan-
way again or by following around or reversing the strike. nes Leckuechner (“Lebkomer”) of 1482, Peter Falkner of 1490,
Doppelrundtstreich :(“double round-strike”) Quickly striking H. von Speyer of 1491, Joerg Wilhalm of 1523, Andre Pauer-
through with two left-to-right horizontal cuts delivered from the feindts of 1516, and Gregor Erhart from the early 1500’s. (plural
elbow (or half-arm and following around to strike again.) See is Fechtbucher). Medieval Italian fighting manuals include those
Rundstreich. Equivalent to the English Double Rownde Strike. of Tarcirotti of c. 1400, Fiore dei Liberi from 1410, Boris Ferres
Doppelstich :(“double thrust”) From Joachim Meyer, 1570. of 1428, Fillipo Vadi of c. 1480, and Pietro Monte of 1509, and
Drey Hewe :(“three blows”) A series of three main blows: an there is also the Spaniard Diego de Valera’s of c. 1490.
Oberhau from the right, followed by an Unterhau from the left, Fechtmeister :(“Fight Master”) - a German Master of Defence
then a powerful Scheitelhau, or vertical downward blow. or martial arts expert   (Italian Meastro de’ Arme’ or Master of
Drey Wunder  :(the “three wonders”) The three principle actions Arms)
used in the Krieg or Handarbeit phase of sword close combat, Fechtschule :(“Fight School”) A Medieval or Renaissance fenc-
the cut (Hau), the thrust (Stoss), and the Schnitt (a slicing or ing school or public fighting exhibition and competition in Ger-
drawing cut). The thrust was used primarily at longer range, the many.
cut at medium range, and the slice more at closer range. Federfechter :A German Renaissance fighting guild which fa-
Duplieren / Doplieren  :(“Doubling”) To instantly follow up a vored the rapier among other weapons.
parried true-edge strike with a false edge strike around the op- Ferzcken:Sudden abrupt changes of the direction of the attack
ponent’s blade.  A Winden variant; or an Oberhau that turns into (i.e., “changes in line”).
a Dupliert (snatch), through a swift crossing over of the arms - Filo Dritto :The true edge. Opposite of filo falso, false edge.
the left hand, that guides the sword pommel, goes under the Fixura :A sword & buckler technique from the anonymous Ger-
right - in this position your sword is between the weapon and man MS. I.33 or “Tower Fechtbuch” (c. 1295).
body of the opponent, hit with a backhand with the Kurtzen A thrust either crossed over or under the buckler or occasion-
Schnyde against his unprotected head and a Zeckruroren ally without crossing the buckler at all (not always distinguish-
against the arms. See also Abluaffen. able from the Stich).
Durchfhren :(“Changing Through”) In close-combat, to disen- Flech :German for the flat of the blade.
gage under by moving your point under the opponent’s sword Fliegender :(“flying thrust”) From Joachim Meyer, 1570.
to thrust at an opening on the other side. Durchfuehren means Fuehlen :(“Feeling”). Feeling or gauging an opponent’s pres-
“continuing”,  “going along” and “pressing through”, and could sure. To judge or “sense” the Harte or Weiche (hard or soft)
also mean “to lead through”. through the feel of your weapon when pressed in Anbinden.
Durchlauffer / Durchlauffen :(“pass through”, “running Also called Fullen / Fulen / Fuhlen.
through” or “to run though”) A term for two actions: 1. To run Fusshau :Liechtenauer’s  “foot-cut”.
under a highly directed attack of the opponent, while you keep Gaukler :(“juggler” or “acrobat”) A derogatory term for those
the hilt of your sword on the left side of your head and put the masters who taught flowery, ineffective forms of swordsman-
blade across the back, and move through under the opponent’s ship as opposed to Ernst Fechten.  See Leichmeister and Klopf-
weapon.  2. To pass all the way under the opponents raised fechter.
right arm, so that you can reach his back and do a wrestling Gefechten :Foot combat. As contrasted with mounted combat.
throw. Geferte :The intended attacks and their manner of execution;
Durchsetzen :(“pushes through” or “to push though”) A timed the movement of blow combinations. Gevert and Vart with sig-
thrust from above or below that passes between the opponent’s nificant adaptation and application in a fight. Also called Gefarte
held out arm and his body. / Gefahrte.
Durchstreychen / Straichen :(“Striking Through” or “Stretch Gehiltz / Gehultz :The cross guard of the hilt.  See Croce.
Through”) A falsing action by a  circling-motion along the op- Gemechstich :(“groin thrust”) From Joachim Meyer, 1570.
posing sword, that disengages from one opening and stabs or Geschrenckt Ortt :  A thrust, in which the hands are held
cuts into another.   Also a type of Durchwechselns.  According crossed over, the left hand under right. See Langer Ort.
to Meyer, sweeping or flourishing the sword in front of the op- Gesicht Stich :(“face thrust”) From Joachim Meyer, 1570.
ponent, to stall, confuse, intimidate, or provoke. Gewapent Stehen / Gewappnete Hand :A half-sword (Halb
Durchwechseln / Wechslen :(“changing through”) The move of Schwerdt) stance where the sword becomes a barrier in front of
evading contact with the opponent’s blade as you strike (e.g., the body, by grasping the middle of the blade with the left hand
changing line of attack).  To change into another opening with and the hilt in the right hand. The Term expresses the idea that
the point. Also called Durchwechsel. the position covers and protects the body against attacks.
Einhorn :(the “unicorn”) A posture similar to the Ochs, but with Gewappet Ort / Gewappent Ortt :To thrust forth from the Ste-
the point aimed high like a unicorn’s horn.  Also, from the hen or shielded half-sword position.
Sprechfenster straight thrust to the face; a Valsch Ortt, a thrust, Gleich Fechten :Attacking at the same time as the opponent or
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In des Fechten (as opposed to Nach Reissen and Vor Fechten). guard (Italian Finestra).
Glietzhaw  :(“Clashing Blow”)  According to Meyer a forehand Hffthau :Liechtenauer’s  “hip-cut”
blow in which the right hand comes in with knuckles upward to Hut / Huot :See Leger. The expression is based on the idea of
catch an opponent’s blow on the flat, then rolls counterclock- the “ protective vigilance “, that the fencer occupies in the
wise to deliver a false edge blow. Huten.
Glutzen (glow) :To make a shower of sparks. Also Klutzen. Huten :For the Medieval long-sword in the German schools
Gurgelstich :(“throat thrust”) From Joachim Meyer, 1570. there are various fighting guards/stances/wards/postures (Leger
Halb Schwert / Halbem Schwert :(“half-sword”) techniques of or “position”). Of these four are major universal ones of
gripping the middle of the blade itself with the second hand or Liechtenauer correspond to High, Middle, Low, and Outside
typically left hand (often by gloves or armored gauntlets). Also positions. Editions of Talhoffer show high, middle, low, outside,
called Halt-Schwert or Kurzen Schwert, they allow a wide range back, plus three Halb-Schwert and a few other postures not
of offensive and defensive striking and deflecting actions as exactly clear.
well as thrusts. It is used for the more powerful and more accu- In Des Fechten / In Des :(“meanwhile” or “in the middle of”)
rate stabs. The term comes from the pose of the left hand on Attacking during the adversary’s own attack, one of the three
the blade cutting the sword in half.  Called Mezza-Spada in Ital- ways of overcoming an opponent’s attack along with Vor Fech-
ian. ten and Nachreissen. The concept In des or Indess means to
Halbschilt :(“half shield”) A sword & buckler technique from the strike "just as" they do rather than actually simultaneously with
anonymous German MS. I.33 or “Tower Fechtbuch” (c. 1295).  them.
A defensive position with both arms extended close together Kampfplatz / Kampfring :An enclosed area where judicial du-
and the sword pointing upwards at approximately forty-five els and some foot challenges took place, it was made up of a
degrees. square wooden barrier or “ring”, equivalent to the Champ Clos.
Hals Fahen :A Winden variant. Also known as a Zu Legen.  The Klitzen  (claps) :To collide with noise.
swordsman on the left lifts his arms up into the left Ochs posi- Klopffechter :(“clown-fighter”) itinerant, crude fighting
tion, pressing his Starck / Stark against the opponent’s swordsmen performers during the later 1500s and 1600s in
Schwech.  He then slides his back edge down between the Germany, not considered a true Fechtmeister
opposing blade and the opponent’s head, striking to his neck.  Knopf :The sword pommel.
The opponent’s instinctive parry adds force to the blow.  From Krawthacke  :(“garden hoe”) A swift sequence of vertical blows
here, the swordsman levers up with his back hand the slicing to the upper and lower Blossen (openings) during which you
pressure of the back edge on his neck forces the defender over step towards the opponent. The term comes from the resem-
the attacker’s right leg, which is placed in a tripping or barring blance to the motion of a garden hoe.
position next to the defender’s leg. Kreuz :(“Cross”). The long sword’s cross hilt.  See Gefe and
Halshau / Halsshau :Liechtenauer’s  “neck-cut”. A horizontal Croce.
strike to the throat Krieg :(“war”) The phase of sword combat where the swords-
Handarbeit :(Handwork). Phase of sword combat where the men have closed distance and the blades have crossed at
swordsmen have closed distance and the blades have crossed, close combat. The meaning comes from war, the effort, going
follows from Anbinden, both Schwertnemen and Abschneiden against, the resistance. See Handarbeit.
are often used here. Also known as Kreig or Mittel (Middle). Kron / Krone :(“Crown”) The German Kron is not a stance, but
Handhabe :“Hilt”. See also Gehiltz. actually a strike of Liechtenauer described by Sigmund Ringeck
Handhau :Liechtenauer’s “hand-cut”. (c. 1440). This action is essentially that of lifting the blade to
Harnischfechten :(“harness fighting”) Combat in plate armor or stifle and bind an on coming blow with the ricasso and guard
“harness fighting” in the Fechtschulen as distinguished from prior to counter-cutting.  Also type of Halb Schwert (half-sword)
light or unarmored fighting, called Spada in arme’ in Italian. parry against a vertical downwards cut with the sword held
Hart / Horte :(“hard”) A strongly aimed or forcefully controlled point forward over the head, used against a vertical downwards
cut, blow, attack or bind.  The principle of hardness or force cut to the head.  Holding the sword over the head with the point
rather than softness or yielding. forward, catching the incoming cut on the portion of the blade
Hart und Weich :(“hard and soft”) The idea when ever contact between the hands.  Can be followed by a thrust over the op-
is made of gauging the pressure the opponent places upon ponent’s right arm at his face as a single-time or double-time
your blade (either strong or weak), oppose strength with weak- technique. In this posture the sword is “crowning “ and protec-
ness and weakness with strength to control and exploit. tive over the head.  Leckuechner’s definition of the Kron from c.
Leckuechner stated to “Test “Weych” (soft) or “Hert” (hard)”. 1482 is similar: “Step and strike from above with your true edge
Hende Trucken / Hande Drucken :(“pressing the hands” or “to to his left ear. The other step and strike from above with your
press the hand”). A term of Liechtenauer likely meaning stop short edge to his right ear.”    See also Corona or Posta di
cuts to the opponent’s hands or forearms. The term refers to Fronte.
the pressure of the hands exerted by means of the sword-blade Kronhaw  :(“Crown Blow”) According to Meyer, a false-edge
against the arms of the opponent. blow made from the Kron position after catching the incoming
Das Hngen / Hengen / Hen / Hangend :(“The Hanging” or “to attack with on the ricasso or cross.
hang”) An important and very versatile long-sword movement Krucke :(“crutch”) A sword & buckler technique from the
referring to positions or actions where the point “hangs” down- anonymous German MS. I.33 or “Tower Fechtbuch” (c. 1295). A
ward from above, covering the body. The Hngen is not a guard movement in which the sword is held almost vertically, point
(but in a sense, results in one), but an action, or more precisely downward with the buckler turned outward and very close to
a series of techniques delivered from the Ochs or Finestra posi- the sword hand.
tion, usually as a Winden. Sigmund Ringeck described a classic Krumpen / krumphawen :To execute a Krumphau. See Krum-
hanging action. Ringeck describes two hanging techniques phau. Leckchner described that from the tailgaurd: "When
used when the blades are pressed or crossed, and the point somebody strikes from above, or elsewhere, step out of line
can thrust from under or over. It may be delivered from the Pflug and strike krump to his opening."
by raising the hilt and closing as the opponent strikes. He also Krumphau / Krump :(“Crooked” or “Twisted Cut” or "Bend
instructs to learn all cuts, thrusts, and slices while in the hang- Strike") 1. A downwards curt with the false edge made with
ing. Meyer also calls the Hengen a technique.  Also called: crossed or twisted wrists. 2. Any strike with crossed hands.
Hanging Point, Hangetort, Hengetort, hengeten Ort. One of the Meisterhau. The Krumphau may be delivered with a
Herzstich :(“heart thrust”) From Joachim Meyer, 1570. slicing or pulling action by the back edge of the blade while
Hochort :(“high thrust/point”) Possibly the “Fenster” or Window close-in and blades are crossed. The German system taught
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cuts in the opening phase of combat not to be made from the stroke”) A type of rare Halb Schwert blow made by holding the
offside, so that the arms & wrists would not be twisted. sword blade itself with both hands and striking with the pommel
Kunst des Fechtens :The German Medieval (and Renaissance) or guard, used to slam a foe in heavy armor. The name came to
art of fighting, consisting primarily of the arts of the lan- be, because of the dangerousness of choosing to direct a blow
genschwert or long-sword, the Messer (a sort of falchion), and to face or head. See Schlachender Ort.
Ringkunst or Ringen (wrestling). Unarmored combat was known Mutare Gladium :(“exchanging the sword”) A sword & buckler
as Blossfechten. Combat in plate armor was known as Har- technique from the anonymous German text, MS. I.33, or
nischfechten (or “harness fighting”). Fighting on foot was also “Tower Fechtbuch” (c. 1295) to indicate a disengage by passing
distinguished from Rossfechten, or mounted combat. Similar over or under the opponent’s blade so it is engaged in the line
distinctions appear to have been made in Italy and elsewhere in opposite to the original position.
Europe. Mutieren :A Winden variant. To direct the course of attack from
Kurtze Schneide / Kurze Schnyde :(“short edge”) The back or the upper to the lower Blossen.
“false” upper edge of the sword, proceeding in the extension of After the Anbinden with the Langen Schneide, wind the Kurze
the thumb. The controlled upward backhand blow with the Schneide into a Band, lift your arms and the hilt high and
Kurtzen Schnyde can only hit short distance. Opposite of the change means Schiessen, with a thrust into the lower Blossen,
Long edge (Lange Schnyde or “true” edge).  Also called falso sliding away, over the opponent’s sword.
filo in Italian. Nach :(“After”) The defensive or countering principle of fighting,
Kurtzes Schwert :In half-swording, to shorten the sword-edge opposite of Vor (“before”), Nach und Vor are two important con-
with the left hand. cepts in the Fechtschulen. If the opponent attacks first, the
Langer Schnyde / Langen Schnyde :(“long edge”) The forward swordsman is left with the Nach, or defensive principle. 
or true edge of the sword, opposite of the Kurtze Schnyde Liechtenauer taught that a swordsman who accepts this turn of
(Short back or “false” edge). Also called filo dritto in Italian. events passively and merely parries his opponent’s blows will
Langer Ort / Langortt / Lang Ortt :(“long guard” or “long eventually be struck and defeated.  On the contrary, a good
point”) To thrust over a long distance with stretched out arms. swordsman seeks to turn the tide by somehow regaining the
The Ort in means “tip of the weapon “ and “direction aimed”. initiative and going on the offensive.
Also a defensive thrusting position with the blade horizontal and Nachreisen / Nachraisen :(“traveling after” or “attacking after”)
arms extended straight forward more, designed to create safer A timed attack immediately after the adversary’s own attack.
distance between the opponent and ideal for warding and mak- One of the three ways of overcoming an opponent’s attack
ing stabbing attacks or stop-thrusts. Also Das lang Zorn ortt (contrasted with Gleich Fechten or In Des Fechten and Vor
(“The Long Thrust of Wrath”) according to Talhoffer. Fechten).  An advanced concept of inviting the opponent to
Lazen varn :To miss with a cut or thrust. attack rather than taking the offensive, as is the general tenet of
Legen :To take a position like one of the Hutens or Legers. See German swordsmanship.  These are techniques in which the
Hut. Also, in the Codex wallerstein, placing the blade at the opponent is allowed to attack first, then counterattacked when
adversary’s neck), followed either by a slicing cut or a throw. he is either in the middle of his strike, or after his strike has
Leger / Ligen / Lger :“Position” in German, referring to a fight- missed.
ing posture or guard. Another name for Hut; vantage ground or Nebenhut :(“Near Ward”) The name for the “Tail” or low under
ground-position with the weapon from which a change-hit be- guard. Ringeck says it is used best on the left, but can be per-
gins and attacks can be advantageously repulsed.  In contrast formed on the right with the long edge forward. Also meaning
to hut, Leger doesn’t indicate the function of the position but “beside” or “at your side” in Lecküchner in 1488 and Joachim
the position, the “ appropriate storage “ of the weapon. See Meyer in 1560s. See Post Coda Longa.
Huten. Noterczunge :A fast repeated series of thrusts over the Gehiltz
Leng und Masse:("length and reach") A term from the Codex of the opposing sword, by which a Durchwechseln (change
Wallersten,  referring to properdistance and stance. through) is initiated again and again, but is not executed, until
Leichmeister / Leychmeister :(“dance-master”) a derogatory the opponent is overwhelmed and leaves a Blossen (opening)
term used by the German master Doebringer of 1389, for those for a thrust. The sword in its movement is like the “hissing
instructors who taught flashy but impractical and ineffective tongue of an adder”.
fighting techniques,  particularly for arms-dance and arms- Obere Ansetzen :Techniques or thrusts delivered from above
plays. Also possibly known as Knopfmeistern.  See Gaukler and or over the opponent’s guard (opposite of Untere Ansetzen). 
Klopffechter.    Essentially a Stoccata.
Lincke Clinge :To control the blade with the Kurze Schneide Oberhau :(“Over cut”).  Any cut or strikes made from above the
using only short, quick, nimble, yet “clumsy” cuts.  Akin to mak- waist (Oberhuten) either diagonal (Zornhau) or vertical (Scheitel-
ing small upward beats. hau). Any blow directed from above usually made with the Lan-
Linker Ochs : (“left ox”) From Joachim Meyer, 1570. ger Schneide (long edge). Also called Oberhawen.
Luxbrueder / Luxbrder :(Company of St. Luke) – another major Oberhut :(“upper guard”) The high or roof guard/stance in the
Medieval German fighting guilds, similar to later English schools German schools, usually referred to as Vom Dach or Von Tag
of defence, they were headed by four adepts and a captain. (“from the roof”).
“Man muss fleissig nachdencken”  :A frequent Fechtmeister Oberschnitt :Downward slices made from above. See Schnitt.
saying that, “one must think about this diligently”, meaning to Ochs :(“Ox”) One of the two upper Huten or Leger, with a left or
ponder the meaning of a technique or principle. right side. In this stance, the swordsman holds the weapon next
Meisterhau :(“master cuts”) The most prized techniques de- to his head, with the point sloping down toward his opponent’s
scribed by the grand-master Liechtenauer, mostly in which the face.  This drooping blade position gives the stance its name,
swordsman strikes in a manner so that his sword deflects the as it resembles the lowered horns of an ox or protrudes from
incoming blow while simultaneously hitting the opponent. The 5 the fighter’s head like a horn. They are confused and misunder-
Meisterhau consist of: Zornhau, Zwerchhau, Scheitelhau, stood more than any other. One variation places the blade di-
Krumphau, and Schielhau. They essentially correspond to a agonal and the other more horizontal as in the Finestra.  
diagonal, horizontal, vertical, crossed-hand, and false-edge cut. Offen :(“open”). The Germans preferred cuts in the opening
Mittelhau / Mittelhaw :(“middle cut”) A left-to-right horizontal phase to be made from the right side, with the arms & wrists
or slightly diagonal side cut. In contrast to that directed Ober- uncrossed (open) so as to deliver more power and prevent the
hau from above and the strokes or, Unterhau from below, the hands from being tied up.
Mittelhau lies in a middle position. Ort :German for the point of the sword. Also spelled Ortt. See
Mortschlag / Mordschlag :(“death blow” or “the Murder- Langer Ort.
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Pflug :(“plow”). One of the two lower Leger. A middle stance of (“over blow” or “high blow”). Schaitler = Apex
a slightly bent position with the arms and the hilt close to the Schielhau :(the “squinting cut” or “squinter”) A downward cut
body next to the upper thigh, and the blade on a 45-degree with the false edge at the enemy’s shoulder or neck. 2. A side-
angle pointed at the adversary’s face. It is well suited to making ways cut (from above) with the back or short edge (Kurze
thrusts and defending against middle cuts. This is the funda- Schneide) of the blade, delivered with only one eye on your
mental “middle” stance and may appear to be more “left” or opponent due to the manner in which the head and torso turn in
“right” depending upon which leg leads.  However, the arms are delivering the blow. Used mostly to deflect the opponent’s
only extended when an action or counter-action is executed. blade and at the same time inflict an injury with the point. One
The posture is similar to the position taken when walking be- of the Meisterhau. Also called Schilhaw, Schiller, Squinters,
hind a yoke or a plow, hence giving the stance its name. Schilcher. The Schielhau may be delivered by bringing the
Pfoberr Zagel :A circular-motion with the Ort in front of the blade back around behind the head to strike with the false edge
opponent’s eyes, until a favorable Blossen (opening) is discov- and passing with the leg.
ered; corresponds approximately to the Redel. With the Pfoberr Schiessen / Schussen :To execute a sudden and powerful
Zagel (foper zagle), the fencer executes a sword-movement that stab; in close combat, slide your weapon along the opponents
resembles a pummeling wheel from the tail of a peacock. and use theirs as a guide.
Pforte :(“Door”) A defense-position, where you place the Ort in Schiller:(the “squinting cut” or “squinter” or "glance strike")
front pointed towards the ground, like the Schrankhut and the One of the Meisterhau. 1. According to Ringeck, to step in and
Alber. Often called the Eiserne Pfortes, since the idea is that the strike at the opponent’s weak when they are in the Pflug in or-
sword is placed before the body like an “iron door” and deny der to knock it aside and then thrust or cut. Often used to break
the enemy attack access to any Blossen. the Langen Ort. 2. A downward cut with the false edge at the
Platzen :(“burst through”) To meet with an attack that reaches enemy’s shoulder or neck. 3. A sideways cut (from above) with
the target. The noise of the entering weapon is described. the back or short edge (Kurze Schneide) of the blade, delivered
Rauschen :(“rustles”) To attack with a swift series of hits. This with only one eye on your opponent due to the manner in which
expresses the swiftness of movements and the sound of the the head and torso turn in delivering the blow. Used mostly to
attacks. deflect the opponent’s blade and at the same time inflict an
Rawsch :A wild attack. See Rauschen. injury with the point. The Schielhau may be delivered by bring-
Rechter Ochs :(“right ox”) From Joachim Meyer, 1570. ing the blade back around behind the head to strike with the
Redel :To hold the sword with outstretched arms and execute a false edge and passing with the leg. Also called Schilhaw,
swift circular-motion of the blade in front as a falsing. The name Schiller, Squinters, Schilcher.
comes from similarity to the rotation of a wheel. Schiltslac :(“shield blow”) A sword & buckler technique from
Religando :(“binding”) A sword & buckler technique from the the anonymous German MS. I.33 or “Tower Fechtbuch” (c.
anonymous German MS. I.33 or “Tower Fechtbuch” (c. 1295) to 1295). The use of the buckler to strike an opponent’s sword
indicate sword contact (engagement of opposing blades). and/or buckler to one side, while instantaneously delivering an
Ringen am Schwert :(“Wrestling at the sword”) Close-in tech- attack of one’s own. To knock aside the opponent’s buckler and
niques based essentially on a handful of key actions: reaching leave him open to an attack.
out to grab the opponent’s hilt or arm, striking with the pommel Schlachender Ort :Another form of Mortsclag but one that
or guard, trapping their forearms with your second arm, slipping grasps the blade in both hands in order to make a thrust.
the blade against or between their forearms, using the second Schlaudern  :(“Slinging”) An overhand slinging blow akin to Das
hand to hold the blade while binding/striking/slicing, and trip- Gayszlen.
ping and kicking, involved throws or grappling and disarming Schlssel  :(“Key”)   A ward from Joachim Meyer where the
moves known as or Schwertnemen (“sword-taking”) there was sword is held horizontally in front of the upper chest with the
also ground-fighting (Unterhalten, “holding down”). Also re- point forward and the false edge resting on the forward arm.
ferred to as the Durchlauffen “running through”. Schnall :(“flick”) A flicking blow with the tip of the sword,
Ritterliche Kunst :“The knightly art”, i.e. noble martial skills equivalent to the Italian stromacione.
such as jousting, poleaxe, and swordplay Schnappen :(“to snap”) To execute a sudden movement of the
Rossfechten :Mounted combat in the Fechtschulen as distin- weapon from the bind by using the hard press of the oppo-
guished from fighting on foot (Blossfechten) or strictly heavy nent’s own weapon to lift off and hit back. The suddenness and
armored combat (Harnischefechten) noise of the movement are described.
Rundstreich :(“round-strike”) Striking through with a horizontal Schnitt :(“slice”) Draw cuts and slicing pulls.  To direct with
cut delivered from the elbow (or half-arm) and recovering by strength and bodies movement, Bruch over the arms or the
bringing the weapon around from one side or the other to strike joints with the sword-edge, from above Oberers Schnitts, or
again. Also to strike by bringing the weapon up around one way from below Unterer Schnitts.  One of the “three wonders (Drey
and hitting from the other, acquiring power and deceiving the Wunder)
line of attack. See Doppelrundtstreich. Equivalent to the English Schnitt durch die kron:(“slice through the crown”) A horizontal
Rownde Strike. slice from below with the Langer Schneide and your hands or
Ruren :To reach with a cut or thrust to the body. arms raised over the Kron. 
Ryssen :To tear with the Uebergesetzten Gehiltzes at the body Schrankhut / Schranckhut :(“Crossed Ward” or “Barrier
joints or on the arms. Ward”)  Leading with the left leg, the blade is held before the
Schaide :Any kind of Band (bind), even between a hand and a body on the right side, pointing down and with the arms un-
weapon. The idea of a close contact lies, in the grounds, as well crossed. Cuts are made stepping forward with the right foot. 
as that which exists between a sword and a sword-scabbard. According to Meyer, a position equivalent to a low Hengen usu-
Scheitelhau / Schedelhau :(“scalp cut”, “crown-cut”, or “skull ally with the left foot forward. Meyer indicates that this is also
cut” or the “parting strike” or "vertex strike") Liechtenauer’s called the “Iron Gate”.  Perhaps equivalent to the Italian “Boar’s
short, quick, high horizontal blow at the opponent’s forehead.  Tooth”.
Also a vertical downward cut, from either side, and aimed liter- Schut :The disruption that results when touching weapons in
ally at the crown of the head. A vertical Oberhau. One of the the Band.
Meisterhau.  Also called Schaytler, Scheytelhau, or Schutten :To jar, to knock together, with strength and noise,
Schaittelhaw.  It may be called the “parting” strike because it is and Anbinden.
delivered as you pass back away from the opponent and the Schutze :(“protection”) A sword & buckler technique from the
blades momentarily engage.  According to Meyer, a vertical anonymous German MS. I.33 or “Tower Fechtbuch” (c. 1295). A
downwards cut with the true edge, also called an Oberhaw form of parry or deflect which is less well-defined and inconsis-
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tently illustrated. with which the sword is held in the “ bag “ of the slightly bent
Schwech :(“weak”) German masters divided the long-sword left arm.
into two portions, the weaker section of blade from middle to Tenner :The palm, the side of the hand that is not protected by
point was known as Schwech (or Schwche, i.e. foible), used for armor.
most thrusting and slicing but not parrying or binding (equiva- “Through the roses” :A 1555 edition of Johannes Leckuech-
lent to the Foible of later renaissance fencing), opposite of Stark ner’s late 15th century fechtbuch, defines this as circular strike
(Starck). The further you move from the center-of-percussion with the lowest point of the arc aimed at the thigh.  
towards the hilt (Stark or forte’), the weaker the strength when Tuck lauff :A fast, secretive movement for the purpose of gain-
cutting and parry. The blade middle was regarded as the start- ing a wrestling grip.
ing point of the Schwech that increased further towards the ort. Tunrschlag :(“From the Thunderclap”) A close-in throw or
Schwert Wechszlen :(“Shifting the sword” or “sword change”) wrench according to Talhoffer.
In Talhoffer, reversing the grip and grabbing the blade in Halb- Uberfallen :A cutting or thrusting over the opponent’s weapon
Schwert. when it is held too low and his upper openings then become
Schwertnemen / Schwertsnehmen :(“Sword taking”) Close-in exposed. Also, to hook and pull down, with your right hand
disarming or trapping actions. In the German schools close-in close to the Gehiltz, on the inside or outside of the opponents’
techniques for “wrestling at the sword” or Ringen Am Schwert, weapon over his hilt, in the proximity of or directly over his
involved throws or grappling and disarming moves known as or hand. See Uberlauffen.
Schwertnemen (“sword-taking”) there was also ground-fighting bergreiffen  :(“Gripping Over”)  Using the fingers of the right
(Unterhalten, “holding down”). Called Gioco Stretto (Close Play- hand to wrap around or over the quillon (i.e., fingering).
ing) in Italian, very useful and effective moves in long-sword Leckuechner’s late 15th century fechtbuch described it from the
fighting, called Grypes and Seizures in some later Renaissance Ochs position as: “Grip with your right hand over your cross
styles. guard into the blade, so that your fingers are standing in the flat
Schwuch :A lever-grip on the arm, with momentum that forces of the blade. If somebody is hitting at you, hit him with strength
the opponent to fall. To “Schwuchten”, is to “teeter-totter”. that you just outdo his sword and twitch him your flat of the
Sprechfenster :(“Talking Window”) The action of staying on blade at his right ear and go high in a displacement.”
guard in a strong bind (Band) after an Oberhau is parried with Ueberlauffen / berlauffen :(“overrunning”) 1. The concept of
an upper Hengen, keeping the point directed at the opponent’s timed counter-attack by outreaching the adversary just as they
face in order to forestall his action. The two weapons form a attack, you move into or out of their action and strike their
kind of close window-cross. Ringeck describes it as useful for closer targets exposed by their own attack. To outreach an op-
anticipating the opponent’s action. Also called Brechfenster ponent who attacks a distant target by targeting one closer.   If
("breaking window"). the opponent attacks a lower target, the swordsman doesn’t
Stark / Starck :The stronger part of the blade nearer the hilt bother to parry; rather, he simply attacks a higher (and therefore
(i.e., the forte’) less effective for cutting but used for parrying closer) target, outreaching the opponent.  Typically a thrust, or a
and binding. Opposite of Schwech.  Also, powerful, effective cut using the very tip of the blade. 2. Any cut or thrust over the
attacks or operations in the moment of contact between two opponent’s weapon, when he attacks the lower openings.
weapons (i.e., “the Band”). Umschlagen  :To pull away after a blow for another to the op-
Stercken :Attacks of particular effectiveness and those exe- posite side. Similar to Talhoffer’s Dal Wegbinden. 
cuted with skill (art); to linger in the Band with strength. Untere Ansetzen :Thrusts or techniques delivered under or
Stich :A sword & buckler technique from the anonymous Ger- below the opponent’s guard (opposite of Obere Ansetzen)
man MS. I.33 or “Tower Fechtbuch” (c. 1295). A special kind of Unterhalten / Underhalten :(“holding down”). Ground-fighting
Langort thrust in which the buckler is drawn back to the left hip techniques wresting or grappling moves included in the curricu-
and the right elbow is advanced but sharply bent so that the lum of the German systems of fighting, entering techniques
sword (held in supination) points down and backwards. involving stepping in to trap the opponent’s forearms or grip
Storck / Sterck / Sterk :1. A strong Anbinden on the weapon.  with you second hand or arm. Also a series of wrestling holds
2. The part of the sword-blade from the Gehiltz up to the middle used to immobilize and opponent once the opponent was
of the blade. 3. Attack of particular effectiveness and skill (art). thrown to the ground. Once immobilized, the knight used his
Also called Sterck, Sterk. dagger to kill the opponent, or tied his arms and feet with cord,
Streithau :(the “battle cut”) One of Liechtenauer’s blows. taking him prisoner. Also to hang on with a particular grip to an
Streychen / Straichen :To direct a blow from below against the opponent already thrown to the ground.
opponent’s blade to cancel their action. See Rota. Unterhau :(“under cuts”) Any upward or rising strikes made
Stcke / Stuke :(“device” or “piece”, “fighting trick”).  Tech- from below the waist (Unterhuten), either diagonal (Zornhau) or
niques or attack combinations designed to get past an oppo- vertical (Scheitelhau). Usually made with the Langer Schneide
nent’s defenses.  A chain of techniques possibly in the manner (long edge).
of a series of attack and counter drills.  Key was the idea of Unter Schnitt / Undern Schnitt :To slice upward from below.
knowing the opponent’s likely response to each attack, and Valsch Ortt :A thrust to the face.  A dishonest and dangerous
attacking the opening that it creates.  As the German masters attack, that was only allowed in serious combat.
would say, one technique paves the way for the next. This was Vater Streich : (the “father strike”) One of Liechtenauer’s Meis-
not used initially, but appears in the later manuals. See Bruch. terhau.
Stcke und Bruch :(“performance/maneuver and stopping”) Verborgenes Ringen :(“wrestling secrets”) Dangerous
Moving to strike so that the opponents attack is “broken” or wrestling-grips that were allowed only in serious fights and not
blocked before you strike. 2. “Technique and counter” or the for the public during fight school; Introductory remarks to their
idea that every technique has a counter and every counter has use were demonstrated but not allowed to be used.
a technique, two major components of the German systems of Verfhren  :(“Misleading”) Meyer said Misleading enables many
swordsmanship. moves and to remember when you show your intent, as if to
Sturtzhaw / Sturtzhow :(“plunging cut”, “plunge blow”, or strike to one of your opponent's openings, do not do so, but
“shifting cut”) According to Talhoffer, a straight thrust from the instead strike at another opening. Misleading is performed not
Hengen.  According to Meyer a high strike used in Zuefechten only with the sword, but also by presenting various false
and made with the false edge with the hands high and the point stances to the opponent to lure or bait him into acting. The term
aimed at the opponent’s face.  See also Talhoffer’s Prelhaw. might also cover provoking tactics in this sense, similar to
Taschenhaw :A Versatzung for mounted combat - a blow with Vadi’s falsit’.
the Langen Schneide from the chief hut from mounted combat, Verhawen :An offensive cut, made before the opponent can
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attack. ferring to turning over the blade in a Tail guard from one edge to
Verkehren / Das Verkehrer :According to Ringeck, a technique the other. Wechsel can mean a change of the stance from a
where if you bind at the adversaries sword with an Oberhau or position with short-edge facing the opponent (right leg lead, the
an Unterhau, turn your sword so that your thumb is down and blade forward, point down and to the left). This is a position
you thrust to his face from above, forcing him to displace the which actually results from a diagonal right-to-left downward
thrust, then grabbing his right elbow with your left hand place (Zornhau) cut. Similar to Fiore’s Boar guard.
your left leg in front of his right leg and to toss him over.  Also, a Wechselhau / Wechssler :(“changing cut” or “Changer”  ) An
trapping technique of Joachim Meyer  where the swordsman attack, that is parried/deflected, suddenly changes into a cut
hooks the opposing blade and carries it down to the ground, directed against another unprotected target. 
sensing soft pressure from his opponent in engagement.  Once Weckemeister :From the Pflug stance, to displace an attack
the opponent’s blade is trapped, he can strike at his head or then deliver an upward thrust to the face from below.
use a variety of other techniques.  Winden / Wennden / Wenden :(“winding” / “wind” or “turning”)
Verkerer / Verkehrer :To thrust from the Band with swords ro- Any turning of the point or pommel around to strike or ward.
tated about 180 degrees. The expression refers to the sword- Close actions to maintain pressure and dominate the opposing
posture. (backwards upside-down, turn or turning) blade to get in and use either edge to slice (also allows you to
Veller / Fehler :To fake a cut or thrust from an upper Blossen bind, trap, close, and seize). Any turning of the blade while
(opening) to a lower one, the concept of feinting high to low. pressing on the opponent’s blade in order to bring one end or
Verschieben  :(“Sliding”)  From the Zornhut (Guard of Wrath) to the other of your sword (point or pommel) against them. To
lift your hilt over your head with your thumb on the blade (or wind the opponent’s weapon by the wrists before attacking.
ecussion) and catch a blow on the flat, then immediately wind in Hallmarks of the Kunst des Fechtens. They typically involve the
and slice. application of superior leverage against the opponent’s blade.
Versetzen / Versatzung :(literally “displacement” or “to dis- The name is derived from the winding, turning motion of the
place”) The concept of a defensive action to put off an attack sword. Major variations of the Winden are the Duplieren, Mu-
by a deflecting blow or counter strike as opposed to an opposi- tieren, and Hals Fahen.
tion block, employed with evasive stepping (or the “displace- Werffen:("throwing" or "armlocks") From the Codex Wallerstein,
ments” are four of these cuts). Ringeck stated there were four techniques, performed usually, although not always, with the
Versatzungen techniques. Abwenden and Absetzen are exam- help of the blade.
ples of Versetzen. Zeck / Zeckrur / Zecke / Zecken / Zeckruroren :(“tick”) To
Verstllen  :According to Meyer, the action of keeping the deliver a slight hit with the weapon when in close combat. A
blade’s stark pressed against the opponent’s arm or weapon distracting hit or provocation. A light cut as a result of a “Win-
until an opening appears and a quick slice is used.  See Bleiben den” that often catches the opponent by surprise.
and Umschlagen. Zecken :Taps with the sword as a result of a “Winden” that are
Verzuckter Hau:(“twitched strike”)  A term from the mid-15th comparatively light, but often catch the opponent by surprise.
century Codex Wallerstein text. Zornhau / Zorenuhau /  Zorn haw :(“rage cut” or “anger cut”)
Vidilpoge :(literally the “fiddle-stick”) A sword & buckler tech- A powerful diagonal cut delivered from behind the right shoul-
nique from the anonymous German MS. I.33 or “Tower Fecht- der or back, either Oberhau (above the waist) or Unterhau (be-
buch” (c. 1295).  A movement in which the fighter holds his low the waist). Also any diagonal cut. One of the Meisterhau.
sword essentially at right angles across his outstretched left Zornhut :(“guard of wrath” or “rage guard”) A sparingly used
arm. and vulnerable posture with the weapon pulled all the way point
Vom Dach / Vom tag :(“from the roof” or “from above”)  A high down behind the back, but which allows the most powerful
guard, with the arms high over the head and the left foot is for- blows such as Zornhau.
ward. Best suited for delivering strong cuts and threatening Zornort :To swing the sword back wide and then lifted over the
blows. head to thrust. This is done with good body control.
Vom Schwert :(“from the sword”)  The first group of techniques Zu Legen :(“laying on”). A Winden variant, also known as a Hals
allocated to the Krieg phase. These are made by suddenly lift- Fahen (“neck catching”).
ing off pressure or moving away from the opponent’s blade.  Zucken :(Drawing) Generally applied to side-to-side cutting, in
Vor :(“before”)  The offensive principle of fighting, aggressively a “rownde” or wind-milling/moulinet-type fashion.  Alternately a
taking the initiative, opposite of Nach (After). linear disengage or blade evasion.
According to Liechtenauer’s teachings, a good swordsman al- Zucken :(“twitches”) A jerky freeing of the weapon from the
ways attacks first, seizing the initiative before his opponent has Band. When an opponent has over-stepped in the Band bring-
the chance.  ing himself nearer to you, you may take renewed cuts or thrusts
Vor Fechten :(“attacking before”) One of the three ways of at the first opening. You will notice that during this, you remain
overcoming an opponent’s attack. for another moment in the Band.
Vorfechter :A provost or advanced student in the Fecht- Zuefechten :(“The Approach”) The initial phase of combat, the
schulen. pre-fight or in pre-fencing before any engagement of weapons.
Waage :("scale" or “balance”) A low firm body position of bal- One of the two phases of combat where the combatants are
ance in whatever stance you use.  The standard fighting posi- closing distance together to engage and an attack is made or
tion with legs and arms slightly bent. Also: To make a Wrestling their weapons make contact (prior to Anbinden or else Handar-
grip on the elbow of the opponent and throw over your left foot, beit).
before he puts his right foot down and is in a delicate equilib- Zulaufent Ringen :Wrestling techniques used when first run-
rium. The term assumes that the throw - like with a scales - is ning together.  Analogous to Zuefechten.
only possible through the delicate balance-relationship corre- Zwerchhau / Zwerchhaw / Zwerch :(“Thwart Blow”) A hori-
sponding. zontal or “cross cut” (also a “slanting cut”) made from either
“Was sehrt, das lehrt” :(“What hurts, teaches”) The idea in the side. A horizontal-strike to displace downward blows from
Fechtschulen that pragmatic knowledge follows only from real- above. One of the Meisterhau. Also called Zwerch, Zwer Twere-
istic instruction and earnest practice (i.e., “no pain, no gain”). haw, Twerchhau, or Geschrenckt Ort. Zwer = Thwart
Wechsel :(“Change”) A term used by Joachim Meyer when re- Zwerchen :to execute a Zwerchhau

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 Appendix E: Assorted Resources
Online Historical Manuals
ARMA’s Historical Manuals Library: http://www.thearma.org/manuals.htm
Higgin’s Armory Library: http://www.higginssword.org/guild/study/index.html
Schielhau’s Online Resources: http://schielhau.org/
Das Solothurner Fechtbuch: http://mhewer.club.fr/Library/SFB/page_01.htm
Chivalry Bookshelf
Chivalry Bookshelf Web Site: www.chivalrybookshelf.com
Secrets of German Medieval Swordsmanship, Christian Henry Tobler, ISBN 1-891448-07-2
Fighting with the German Longsword, Christian Henry Tobler, ISBN 1-891448-24-2
The Longsword of Johannes Liechtenauer, Part I, DVD, Hans Heim, Alexander Kiermeyer, ISBN 1-891448-20-X
In Service of the Duke: The 15th Century Fighting Treatise of Paulus Kal, Christian Henry Tobler,
Paladin Books
Paladin Press Web Site: www.paladin-press.com
Sigmund Ringeck's Knightly Art of the Longsword, David Lindholm & Peter Svärd: ISBN 1-58160-410-6
Sigmund Ringeck’s Knightly Arts of Combat, David Lindholm & Peter Svärd
Codex Wallerstein, Grzegorz Zabinski with Bartlomiej Walczak
HMA Group Web Pages
Stahlstadt Fechtschule: http://web.mac.com/perrywrogers/iWeb/FightingArts/
Rocky Mountain Historical Combat Guild: http://lamar.colostate.edu/~kenelson/RMHCG
Schola St. George: http://www.scholasaintgeorge.org/
AEMMA: http://www.aemma.org/
ARMA: http://www.thearma.org
Chicago Swordplay Guild: http://www.chicagoswordplayguild.com/
Sword Forum: http://www.swordforum.com/
Internet Video Resources
Eric Largo’s Video Site: http://www.ericwargo.com/sword/bouts/index.html
Eric Largo’s Schielhau Video: http://www.ericwargo.com/sword/bouts/using_the_schielhau.mov
Equipment Suppliers
Arms & Armor: http://www.armor.com/index.html
Albion Swords: http://www.albion-swords.com/
Hollow Earth Swordworks: http://www.hollowearthswordworks.com/
Sword Crafts Aluminum Wasters: http://www.swordcrafts.com/

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