Pattern Questions

[Dec 2004]

In my version of the encyclopedia Choong Moo movement 27 X knife hand, the hands are the reverse of Ge Baek movement 1.

In Choong Moo the left hand is in front over the left leg. In Ge Baek the left hand is front but the right leg is in front. Which is correct and why or does it not matter.

Regards
Chris Allan, ITF Australia (ex ITFNZ)
Wollongong, Australia

They are different because the stances are different - ie left L-stance in Choong-Moo and Right L-stance in Ge Baek. The leg that is forward has the same hand forward, to achieve the most natural position.

Paul M

[Dec 2004]

I have recently passed my 2nd degree grading and am currently learning juche. Being naturally left footed I am having a problem in performing the splits kick towards the end of this pattern. I was wondering if it would be possible if you could tell me how to practice the technique required in order to perform this technique correctly.

Much thanks and I look forward to hearing your response

Yours in taekwondo
Nick Roberts ITF 2nd Degree

I have found it helpful to practice using focus pads, practicing one kick at a time. For example, jump and execute the side kick only, dropping into the diagonal stance. Just tuck the other leg normally. Once you have this looking okay, practice the left leg (twisting kick) on a pad. Then finally try and put them both together (on 2 pads), then try taking the pads away.

Good luck.

Paul M

[Aug 2004]

What height is the inner forearm side block in Po-Eun? (mvt 6, along with forefist pressing block).

Brendan Doogan
D.S Papatoetoe

High

Paul M

In Po-Eun, the condensed encyclopedia states that movements 6 to 12 are performed in a continuous motion. It also states in the Theory of Power section that one breath is required for one movement with the exception of continuous motion. This confuses me as it seems to suggest that movements 6 to 12 should be performed using only one breath, rather than one breath per movement.

Paul Lois
1st degree
North Shields, UK

Firstly I believe the reference to continuous motion in the Theory of Power section is an error. If you check the Training Secrets of Taekwon-Do section of the encyclopedia you will see it states that you should exhale on each breath with the exception of "connecting motion".

Secondly, the ITF Technical Committee indicated at the seminar in August 2004 that with continuous motion you should breath in once, then out in a continuous flow of air, emphasizing each movement. That makes Po-Eun tough work but nevertheless what we should be aiming for.

Also see my speeds study here

[14 Aug 2003]

Sir,

I was under the impression that moves 10 and 11 in Toi Gye were not done in fast motion, however everyone seems to do it in fast motion. What does the encyclopaedia say and do we always follow the moves in the encyclopaedia or are there sometimes differences?

Thanks in advance,
Desiree.
Tauranga

You are correct, movements 10 and 11 are normal speed - as per the encyclopedia.

Yes we follow the latest version of the encyclopedia, as most mistakes were ironed out for the final printing. There are always areas of "interpretation" and that is why it was so important to attend courses by General Choi when he was alive. Graham Paterson, Mark Banicevich and I attended his last full course in Jamaica, November 2001, which was a huge honour.

Paul M

[2 July 2003]

Hello Mr McPhail,

I am just writing to clarify three points.

Timothy Murray
Levin Cubs

1. In Won-Hyo Tul in the beginning, I am in Close Ready Stance A, with the hand positions do you show the bottom of the fists? In the encyclopedia it shows the fists at mouth/chin level and showing the fists horizontal. I had heard that you never show the bottom of the fists they should be vertical. Hopefully I have explained it properly.

The fists are brought up naturally in front of the philtrum - don't bend your wrists either way.

2. When performing Yul-Gok Tul is the double punch performed in the sitting stance done in one sine wave?. Meaning to me that I rise up punch with one hand and as I drop back down I punch with the other? In the encyclopedia it says both steps two and three are performed in fast motion.

After the first movement is complete, drop down slightly and bring your punching fist slightly forward, then raise up as you create a backward motion with the punching fist, then drop into the first punch. Lift straight up again then down into the second punch.

3.Finally in Do-San Tul when I perform the punches after the outer fore-arm block do I bend the knee moving forward and up rear heel off the floor then dropping the heel at the same time punching? Or do I bend the knee dropping down and then up before performing the punch?

Not sure I understand your question, but after movement 1, turn your body full facing and drop down slightly bending your back leg, heal off the floor. The fist should come slightly forward off the hip. Then raise up as you create the backward motion with the fist, then drop down into your stance, locking the back leg out at the instant you complete the punch. Hope that helps.

Paul M

[27 June 2003]

After watching your DVD on the TKD pioneers which i would like to say is excellent and very inspiring, it got me to thinking about the pattern KO DANG. I feel that i should really learn it as it is one of the orignal TKD patterns. Do you know of any reference material i can obtain to make the learning process easier

Neill Livingstone
IV Dan New Plymouth

It is a nice pattern and Mr Davidson and I used to perform it at many demonstrations with a tile break on the punch in the middle. The USTF still have the pattern in their syllabus.

Good luck.

Paul M

I was woundering in Yul gok, the first movement where you place your hand out into a punching position and step into a sitting stance, do you just bring your hand straight up into the position or does it cross underneath the hand going to the hip? If that makes sense...

Jonathon Wong
Otago University

Yes the arms crosses slightly as you step out.

Paul M

Hi Mr McPhail,
When starting line work should movements always start from a walking ready stance or guarding block? Or if it's a punch, fingretip thrust, block etc can you step straight into the movement? I thought if you were blocking you should always step back and if you were attacking to step forward. Also which leg should you move first? Is it the right?
With the W shape blocks in Toi-Gye should you incorporate sine wave into the movements or use more of a hip twisting, stamping motion?
Is it gup or kup?

Thankyou for your time

Thomas Harvey
Kororareka Taekwon-Do

Line work can be conducted in two ways: Spot and stepping. You can move straight into a movement without doing a guarding back first. Generally with kicking drills though, you would want to start in some kind of ready stance, like a guarding block. There is a guide for what ready stances to use with what techniques in the Condensed Encyclopedia. When doing spot exercises you should step back first. When stepping, start by stepping forward into the ready stance.

I tend not to worry too much about the simewave in W-Shape block, because I want to emphasise the foot stamping motion.

Gup is the spelling used in General Choi's books so that's what we go with. If you listen to a Korean say the word, you will find it is actually somewhere in between a K and a G.

Paul M

9.9.02
In WON-HYO when executing the circular block, where are you actually suppose to be looking? Is it directly in front at the target? Or at where your block finishes to the 45.. ?
Also when you are doing guarding blocks, in the intermediate position of the guarding block, how high up are your hands suppose to be? Is the intermediate position different in terms of height for doing a knife hand and a normal guarding block?

Thank you

Jonathon Wong
6th Gup, ITFNZ Otago University

With the circular block, look over the top of your fist - which should be just outside the line of your shoulder.

With guarding blocks, the rear fist should be at eye height and the front fist at shoulder height, fists lightly clenched. This is the same with both forearm and knifehand guarding blocks.
Paul M

17.5.02
Why do we say the name of the pattern at the end rather than shout a ki-hap?

R Hancock
Professional unification of Martial Artists (ITF)

This was introduced in 1984 by General Choi.

I think it helps to re-enforce the pattern names. Gen. Choi has indicated we should be studying the pattern meanings and trying to inject some of the character of the pattern history into the performance, so I think it helps with that. I find that a lot of people forget the names of their patterns, and this certainly helps with that too.

Around the same time Gen. Choi introduced the audible breathing idea - where before this time we didn't actually make a noise when exhaling. Then in the late 80's the idea of saying "Taekwon" when we bow was introduced. All these things seem very strange when they are first introduced, then before you know it you wonder how you did without it! :0)

Paul M

16.7.01

Is the x block for toi gye considered a pressing block or a
downward block the encyclopedia SEEMS TO INDICATE THAT IT IS A
DOWNWARD BLOCK YET I HAVE BEEN TAUGHT THAT ITS A PRESSING BLOCK WHICK I DONT THINK IS IN A PATTERN UNTIL EUI AM
matthew gibb
san diego
usa

Movement 7 is a pressing block. A downward block would stop higher - at solar plexus level.
Paul M

Hi there,
Could you please tell me if you look the direction your going when performing the w-shape block
in Toi Gye or do you keep looking towards the center.

Also movement two of Won Hyo the inward knifehand strike which direction are you faceing.

Thank you very much
Jonathan Mullane
Limerick, Ireland

Jonathan

You should look to the centre on the W-Shape blocks. The knifehand strike in Won Hyo
is to your "CHEST LINE" when in L-stance, so look towards the strike - approx. 45 degrees
from the front.

Paul M

Up to pattern ge baek can you please give me the exact times to do the kihap

chris
wolverhampton, england

Never! Just yell the name of the pattern at the end.

Paul M

Sir,

I have noticed that with the ITF patterns that the majority of the movements are done with the hands, yet, most of our sparring, as well as emphasis in set sparring, is in the legs. This seems to unbalance the meaning of taekwon DO is the literal meaning is the way of striking with the hands and feet. Why are there so few foot techniques in the patterns?

Yours,

Joshua Zugai
Howick, New Zealand

Taekwon-Do has many more hand techniques than feet, so it stands to reason that patterns reflect this.

Patterns are essential tools for developing the correct equilibrium, sinewave, power, rhythm and so on, and they achieve this well with the current balance of hands and feet. I think aspects such was the pattern history, reflected in the diagrams, are important to the philosophy of Taekwon-Do, and would have difficult to achieve with a lot of kicks in the tuls.

From 2nd degree upwards there are more kicking techniques in the patterns, certainly enough to challenge everyone.

Paul M

Dear Sir

I have a few technical questions with respect to Won-Hyo:

1. Is the L-stance knife hand high inward (inward high?) strike on the chest line or shoulder line?
2. Why is there a downward slope of the shoulders in the walking stance inner forearm circular blocks (sweeping blocks?)

With respect to Yul-Gok:
1. What is the hand doing the lower block blocking against in the double forearm block?

I would be very grateful if you could clear these matters up for me.

Taekwon,
Sumitra
Dunedin

1. Chestline
2. Not sure. I guess it is stronger for when you throw away the opponent's leg.
3. Just guarding, ready to block if needed.

Paul M

Sir, A Question with regard to Charyot Sogi (Attention Stance),
The Condensed Encyclopedia says that the feet should form a 45 degree angle,
I'd like to know if there is a physical distance between the great toes
and do the heels meet?

Thank you Sir.

Steve Siegel
Auckland, NZ

Yes the heals should touch. There is no measurable distance between the toes
as people have different size feet.

My question relates to similar movements in Choong Gun, Hwa Rang
and Po Eun.

When moving from Twin Palm Pressing block in Choong Gun to a slow Angle Punch, just before the final U-shaped blocks - the body rises to a parallel stance to execute the technique. There appears to be no sine wave - should I raise up on my toes to create sine wave as one does executing middle section punch from parallel stance when doing basic exercises.

The same applies to a movement in Hwa Rang where the low section and middle section opposite blocks are performed just before the last two Knifehand guarding blocks. In this particular one, should only the second block combination be done by raising up and down to create the sine wave - or both ?

And finally, in Po Eun, there is a similar type of movement when moving from the L-Stance U-Shaped block, up to the slow twin side elbow strike. I have always raised up on my toes to do this - but apparently there is no need. I'm quite confused about these sorts of movements, please could you help ...?

Many Thanks,

Colin Maxwell
London, England

You should only lift your heals in a parallel or close stance if you
are already in that stance and then executing another technique. So,
in Joong-Gun and Po-Eun: no, in Hwa-rang: yes, but only on the second block.

Paul M

On your web page Titled, "Techniques Seminar 23/ 3/ 96"

Hwa-rang
- Grab, pivot feet 45°, weight 50/50

On the above "Grab, pivot feet 45*, weight 50/50"

Doesn't the encyclopedia state that you should "Keep the left heel slightly off the ground, distributing about 70% of the body weight to that foot"

Is the encyclopedia correct or has that entry been changed since its printing?

Yours in Taekwon-Do

David Rice
II DAN
ITF/USTF

At the last two seminars with Gen. Choi, he has stated the weight distribution is 50/50,
so we go with that.

Paul M

Why is it that all of the grade patterns in ITF TKD begin with a left hand movement?
I'm not too sure if all the dan patterns follow the same rule but many of the earlier ones do.
Is there a deeper meaning or just a coincidence?

Adam Siwerski
Dunedin

I think it is just that they all begin with a defensive movement - therefore the left hand is used - as we do in basic training.

My question is about "pressing" and "pushing" techniques.

From what I've read a pushing block is used to put an opponent off balance once they've executed an attack such as a kick. I'm not too sure in what way a pressing block, such as an x-fist pressing block should be used in and what way and why is it similar to a pressing kick which is used to break an opponents leg at or below the knee joint. Also what is the motion used for a pushing block, is it a sweeping motion or a more direct movement? For example the low double forearm pushing block Vs the palm pushing block.

Adam Siwerski
Dunedin

Pushing blocks have the purpose of "pushing" you opponent off balance.
There is no sweeping action.

Pressing block is the name given to the blocks that go downward, with
various blocking tools such as palm, X-fist, forefist etc. These blocks
are to defend against low attacks directed mainly towards the centre of
the body - similar to rising blocks for the high section. You would use
a pressing block instead of say, a forearm low block, which is to designed
to defend against an attack to the *side* of the low abdomen.

There is no relation between the two blocks. There is also no relation
between the pressing block and the pressing kick, other than it describes
a similar type of action.

Hope that helps.

Paul M

Many of the patterns begin with closed ready stance A, b, c, heavens hand etc and the encyclopedia describes them as a point of meditation and preparation for the following pattern but that is as far as it goes.
I was wondering if they do have a significant meaning that relates to taekwon-do's past or if they were just taken from Chinese and Japanese martial arts that uses many similar techniques, as General Choi did study karate in Japan and has had contact with China and its many kung fu styles.

Adam Siwerski
Dunedin

My guess is they were merely borrowed as you say, and Gen. Choi will
say that they are "just a ready position". The only significance described as such in the encyclopedia is for the Warrior ready stance (Yoo Sin Tul) which signifies a sword drawn to the right side of the body signifying his mistake... There are certainly plenty of theories around though, such as the heaven hand in Kwang-Gae meaning the King is checking the weather for the day to see if it is suitable for a military strike - and then the fast movement of the hands apart signifies "attack!".

I also remember being told that closed ready stance A and B signified
holding the long staff weapon in your hands. I guess you'd have to look to some of the old shotokan katas to find out.

Paul M

Dear Sir,

My question is about the wedging block with outer forearm.

How should the arms be prepared for this technique, more specifically
which hand should be on the inside/outside? In the Bible, the pictures
show (for Do-San pattern) that the left hand starts on the outside
irrespective of which foot is being moved forward. The way I have always
done it is that if I was moving into a left walking stance then I would
have my left hand on the inside, a right walking stance then the right
hand would be on the inside.

Any comments would be appreciated.

Cheers,

Michael Forman
Canberra, Australia

Either hand can go on the inside - same with other techniques that have two of the same blocks done with both arms, such as walking ready stance, inner forearm wedging block etc.

Paul M

[2 June 98]

Dear Sir,

I have a question in regards to Juche, I'm sure it has been answered many times in the past, though I didn't see it while skimming.

While executing the 180 Reverse turning kick, are we supposed to stop the kick at D, or do we carry our leg through? My instructor says to stop it, while a good friend of mine, a IV dan says to pull through.

If you could clarify this dispute, it would help me understand the pattern, and possibly execute it better.

thanks

Joshua Furtado
II Dan, Denver, USA

All reverse turning kicks in patterns, including these ones, are meant to stop at the target. This is of course very challenging.

I've found the best way to achieve this in Jueche is not to jump too high, but rather dodge backwards quite low and stop the kick at the same time as landing on the floor.

Paul M

There are 24 patterns in Taekwon-Do. 9th gup to 1st grade have 1 pattern each. 1st Dan through 4th Dan have 3 patterns, 5th Dan has 2 patterns, 6th Dan has 1 pattern. I receive this information from the ITF web page. If this information is true, why don't 7th, 8th, and 9th Dan's have any patterns? And for 7th and 8th Dan, what is required for them to do during testings? Thanks.

P.S. i would like to say that you have an excellent web page, and you should keep up the good work.

John Burns
2n dan, Boston, USA

The last pattern (Tong-il) is learnt at 6th dan, which is required to
test for 7th dan - Master level. There are no physical testings after that. I figure it was designed so that you know all the patterns when
you become a Master.

Paul M

Dear Sir,

This question relates to Toi-Gye.
When executing the grab to the head followed by the kick using the knee, is the target the head or the solar-plexus? In other words, do you bring your hands down to just above your knee or over your thigh?

Thank you for your time,
Geoff. Ward
3rd kup - Dunedin

The hands stay above the knee, grabing the head as you perform the
knee to the solar plexus.

[9 April 1998]

In the Pattern Joong-Gun I have been taught that between movement 31 and 32 that the hands are closed but I see on the Video tapes that
Gen. Choi leaves his hands open between the U-Shaped blocks.
Which is Correct, To keep the hands open or closed between the U-Shaped Blocks?

They should be open - but relaxed - just in a natural position where the fingers naturally bend slightly.

Paul M

[15 August 97]

I have two questions regarding two separate patterns. In pattern 7, toi-gye, some books, videos, and instructors execute high inward crescent kicks from the 13th movement while others use more of a hip twisting motion rather than a kicking motion. Is there a correct way to do this pattern? Why are there two variations to this pattern?

In pattern 8, hwa-rang, is the punch before the one side kick a punch to the solar plexus and then a grab? I don't quite understand the purpose of the technique after the punch before the the one side kick.

Victor, red stripe
Toronto, Canada

Hi Victor,

The W-Shape blocks in Toi-Gye are done in a 'stamping motion', but it is not actually a kick. There has always been confusion over this, and I think it stems from some instructors trying to find their own applications for movements they didn't understand.

After the punch in Hwa-Rang, imagine your wrist has been grabbed. Slide you back foot in and grab your own fist, then kick while pulling your opponent in towards you. Gen. Choi told me he had used this techniques in a real situation so I guess it works!

Paul M

[12 June 1997]

I want to learn the Po un Hian, do you have some video tape
that can help-me?

Rodrigo Costa
Porto Alegre, Brasil

Dear Rodrigo

Video tapes of the patterns can be purchased direct from
the ITF.

Regards

Paul M

[19 May 1997]
Dear Sirs,
I was wondering why KO-DANG TUL was replaced by JUCHE TUL.

Thanks,

David Rice
2nd dan
Hope, Arkansas, USA

Hi David

Juche was introduced late 1983. Gen. Choi Hong Hi developed the pattern to reflect some of the new techniques that had been perfected in more recent years. It contained many of the same movements as Ko-Dang, but also included the slow motion kicks, two direction kick, dodging kicks and flying hand attacks. It was also said to challenge the 2nd dan more - as Kodang was really pretty easy.

Gen. Choi taught it to Master Park Jung Tae, and he first taught it to a group of us at a seminar in Brisbane, January 1984.

Paul M

[26 March 1997]
Hi Mr.McPhail,

Movements 9 & 10 of Ge Baek is supposed to be in a
connecting motion while movement 29 & 30 in a continuous motion.
Shouldn't both pairs be connecting motions?

As for Po-Eun, Condensed Encyclopaedia states movement 6 to 12
and 24 to 30 to be continuous, but the 15 volume
Encyclopaedia states 3 to 11 & 21-29 to
be continuous. Which is the correct one?

Thanks,

Yu Jin
Malaysia

Scooping block/punch in Ge Baek should be connecting both times.
This is corrected in the next printing. Regards to Po-Eun, the condensed encyclopedia is correct. This must have been a recent change, and I must check this out again. All versions of Gen. Choi's books right back to the first edition in 1995 say 3-11 is continuous!
Thanks for the questions

Paul M

[24 March 1997]
I've asked this question many times over and over and have never got it down on paper. Relates to joong Gun:
When doing the move after the double upset punch , is it done with the arms crossing at the apex of the move or is the crossing of the arms done mid way through the movement and the x-block continued upwards from there??

Relates to Choong Moo;
Again with the last few movements of the pattern, is the crossing of the arms done in a sideways movement (arms cross in a horizontal movement) or are the arms brought up from below before they cross (arms are moving in a vertical direction)

Thank You
Shane Rahui
1st gup, Christchurch

(1) Cross the arms mid way up, ie the blocking tool (x-fist) should rise on a rising block.
(2) Horizontally
Paul M

[10 February 1997]
Dear Sir,

Could you please help me out with a few questions

Thanks for your help.

Daniel
Palmerston North

1. At the national camp, the Master mentioned that when performing a side kick (eg right), the (left) fist should not be pulled back to the hip but rather be moved to the chest. Does this apply to side kicks in patterns and should we now perform it this way?

I believe the opposite fist should in fact be pulled to the opposite hip. This consistent with pictures in the encyclopedia and what Gen. Choi has said in the past.

2. I still don't understand the difference between connecting and continuous motion, especially when the hooking block and punch in Yul-Gok is connecting motion but the hooking block and punch in Yon-sin (mvt 4-5, 6-7) is continuous motion (also Juche).
They are the same movements performed in the same way(?) but just in a different stance. Why are they not connecting motion too? I think they should be!

This subject has caused me much frustration and confusion - glad someone else is struggling with it too.

First - notice that continuous motion has been removed from both Yoo Sin and Juche tuls as of the next printing.

So, with both these patterns you stand up to perform the hooking block, ("while standing up")then drop into sitting stance for the punch,
both movements at normal speed - like two different stances.

Connecting motion (like hooking block/punch in Yul Gok or scooping block/ punch in Ge Baek)is when two movements only require a single breath and a single sinewave. Continuous motion just links movements without stopping in between - normal breathing and sinewave. Remember also that Gen. Choi sometimes has the same two movements performed at different speeds - for different situations. Like the two punches in Do san are fast motion, but in Toi-Gye they are normal speed.

3. I have the 15 volume, 1983 version encyclopaedia's and I can not
find connecting motion mentioned anywhere. So, when was it introduced?

Correct - it came in on the second edition of the 15 volume set, first
saw it on my second trip to the States - must have been in '89. I spotted the books at Master Sereff's house and spent an evening looking for changes when I probably should have been socialising!

4. Is there a mistake in the 'Pattern speeds and sinewave' section.
For Yoo-sin, mvt 4-5, 6-7 is mentioned as '2/3' of a sinwaveand mvt 16-17, 18-19 is '1/3'. Should it be the other way round?

Yes - thanks. Has been corrected.

5. Is there a mistake in the 'Notes-Techniques Seminar 23/3/96' section. In Hwa-rang, the notes say that when performing L-stance punching, the arm is parallel to the back foot. Should it be the front foot?

Yes again.
Man, nice to know someone reads this stuff!! Has been corrected.

6. Is a straight forearm block a checking block?
What is the difference between a straight block and a parallel block.

Checking block is the heading, straight forearm is the sub-heading. In
other words, checking block can be performed with the straight forearm. Checking block with straight forearm is to 'check' a single opponent, parallel block has the arms wider apart - for two opponents.

7. Since the purpose of a palm pushing block is to block at the
opponents shoulder (not the elbow), then what is the difference
between a palm pushing block and a luring block?

Pushing block is to push your opponent off balance - to break their
stance. That is why you push the shoulder or bottom. Luring block is
to guide an attacker off balance after executing a feint first. I think
what we commonly call a pushing block in step sparring would more correctly be called a luring block.

Thanks for the great questions - let me know if I can explain more.
Paul M

[20 January 1997]
Sir,

In Kwang-Gae movement 13 (pressing kick) the book clearly states that the hands should remain as they were in movement 12 but the book does not state the hand position for movement 14 (side kick).

My question is should the hands revert to the 'normal' side kick
position or should they remain in the same position for both kicks?
The same question applies to movements 17 and 18.

I'm sure you mentioned something about this at the techniques
seminar in Wellington last year but I don't recall the answer
and would be most grateful if you could straighten this out for
me.

Dave Wilson I Dan
Khandallah / Newlands Branch

Mr Wilson

Keep the hands as the were in the previous movement.

Paul M

[21 October 1996]
In reply to a question from Mr Kraiger earlier this
month, you mentioned that as of 1997, all hooking blocks (except
in pattern Yul Gok) were to become normal speed.

In pattern Juche, movement 2 "execute a middle hooking block while standing up" and movement 3 "execute a middle punch while forming a sitting stance" were previously performed in continuous motion.

If they are now both to be considered normal speed movements, should there be a full sine wave preceding the punch? Also, is there a "downward" motion in the knees preceding the standing motion of the hooking block?

Secondly, should we wait until the 1997 edition of the Condensed Encyclopedia before implementing these changes, or should we
start practising them now?

Regards,
Matthew Breen,
II Dan ,Meadowbank Branch

Mr Breen

Change to some of the speeds were announced at the April Conference in Toronto. Until we see them in print however, continue practising as per the current edition.
I tend not to do a downward motion preceding the hooking block, just drop straight down into the punch.

Paul M

[18 October 1996]
Mr McPhail,

One of my students has bought to my attention that other Instructors in the Wellington area are saying that when you start saju makgi, you go back with your left foot, blocking with your right hand and attacking with your left fist.

I have always been taught when starting an exercicse to start an attack with the right hand and defend with the left, unless instructed otherwise - this is also the way I interpret it in the bible.

Could you please straighten this out for me.

Regards

Vincent B Cookson
Instructor - Avalon TKD
Mr Cookson

You are right. Perhaps your students is seeing back-to-front? Note also that when you move the right leg, it is called the 'right' hand side, left foot moving is the 'left' hand side - both in Saju makgi and Saju jerigi.

Paul M

[17 October 96]

Mr McPhail

Ge-Baek
Moves 3&4 - Book says fast motion. I've been told it's normal motion.
Which is right?

Moves 5&6 - Book says continuous motion. Again I've been told that it is normal motion. Which is correct?

Toi-Gye
Moves 10&11 - Book mentions no motion so that means normal motion. Is that correct?

Thank you for your time.

Brett Kraiger
Brooklyn club, Wellington

Mr Kraiger

The book is correct for the 3 techniques you ask about.

There are some changes pending with regard to speed changes,
but they only effect hooking blocks, which are all (except Yul Gok)
to become normal speed in the next edition (1997).

Cheers

Paul M

[30 July 96]
Dear Sir

Whilst going through the moves of the patterns and what the purpose of the technique was we came across movement 2 of Choong Moo. The off hand is brought in front of the forehead. What is the reason for having the hand held there We suggest that the hand is held there to keep the sun away from the person's eyes. That is the most logical explanation for this.

Please help us answer this perplexing yet probably useful technique.

Diem Mai
Mt Albert Club

Ms Mai

The answer to your question is he same as for Mr Dunn's question (part 1) below. The off hand is a movement in the opposite direction for balance. There are many places that the off hand can be brought in different movements. For example when punching it is usually pulled back to the hip, inward knifehand strike in Won-Hyo is in front of the collarbone, on other movements it can be bought below the elbow joint, above the elbow joint, the under-forearm...the list goes on. I heard the sun in the eyes story for the first time at a seminar in Palmerston North a year or two ago. I hope your instructor didn't
tell you that one!

Thanks for your question

Paul M

[3 July 96]

Mr McPhail, two questions:

1. Pattern Hwa-Rang movements 26-28. Does the arm NOT doing the side front block, actually doing any block in particular?

The Workout book says (mvmt 26) "extending left forearm to the side downward." Is this arm blocking or just balancing the movement?

2. Can you also describe the difference between a "pushing" and "pressing" block for the benefit of those without the Encyclopaedia.

Thank you

Philip Dunn
Head Instructor Mangere Bridge Branch

Mr Dunn

1. The lower arm is not a block. It is, as you say, to
balance the movement, or a REACTION in the opposite direction.
Interestingly, it used to be a low outer forearm block (early
editions of Gen.Choi's book) but was later changed. Same with
Toi-Gye movements 3 & 6.

*****

The arm NOT doing a movement is usually brought to the hip, as
in a basic punch. In some movements the OTHER arm is positioned
in front of the shoulder (Won-Hyo Mov.2), above the head (Choong-Moo
mov. 2) or even above the elbow as in Po-Eun when you punch. There
is a variety of different places you can bring the other arm, depending on what the movement is and what movement is to follow.

2. Both pressing and pushing blocks are softer movements designed
to CHECK, rather than BREAK the attackers arm or leg. They also
both start with the letter P - but that's where the similarities end.

Pressing blocks are executed against a low attack only. The blocking
tools are the palm (Joong-Gun mov. 27), x-fist (Toi-Gye mov. 7),
forefist (Po-Eun Mov. 6) and twin palm (Choong-Jang mov.24). The
pressing blocks all go in a downward direction.

A pushing block is designed to PUSH your opponent off balance - hence the name pushing block. It can be a middle block (Hwa-Rang mov.1) or a low block (Toi-Gye mov. 19).

Thanks for your questions

Paul M

[3 July 96]

Sir

At a recent seminar General Choi mentioned that the pressing block/vertical punch in Toi Gye pattern were 'continuous motion' - yet the book doesn't mention any speed. What should it be?

Thanks

Philip Dunn
Mangere Bridge Instructor

Mr Dunn

Continuous motion is correct. The next version of the Condensed encyclopedia will have that correction (amongst others).

Thanks for your question.

Paul M