I call Solo Bridge Hand Sequence No. 1 as 6-Linking Hands (6-LH) since another objective for its learning is to train the hands to move continuously in a linking fashion and not freeze up when encountering resistance.

As a reminder the 6 movements of the first variation of the first sequence are :-
1) 6-LH-1 : Stand with right foot forward and do right punch to chin height
2) 6-LH-2 : Then drop down to solar plexus height to block
3) 6-LH-3 : Use leopard fist to strike at throat height
4) 6-LH-4 : Open up leopard fist and use palm to parry to left
5) 6-LH-5 : Form hook hand and strike forward
6) 6-LH-6 : Up hook hand and use palm to parry by pulling back to right shoulder

For practice with a partner we should train it in this reordered manner which I will term as the second variation :-
1) 6-LH-1
2) 6-LH-6
3) 6-LH-3
4) 6-LH-4
5) 6-LH-5
6) 6-LH-2

Training the second variation teaches a few things :-

a) Better awareness of controlling the main gate

b) Understand how traditional CMA works to attack and defend the Chung Kung area

c) Have a taste of how NGK dotting hand works as the second variation sequence is closer to what the first NGK dotting hand sequence is like.

The third solo bridge hand uses 6 movements to teach the idea of striking the throat in quick succession.

I denote this sequence as 3-NS for the three neck strikes that is found in the solo sequence. The two-hand version has a total of six neck strikes.

The lessons found in 3-NS are :-
1) How to keep hitting the same target relentlessly
2) Borrowing the strength and response of the opponent to keep your attacks moving along

The movements of the 3-NS are :-
1) 6-Blocks-1
2) Neck strike number 1
3) Neck strike number 2
4) 6-Blocks-1
5) 6-Blocks-6
6) Neck strike number 3

Aim for a slow and smooth pace when executing the movements. Then when you do the two-hand version you will be able to grasp it quickly.

The second solo bridge hand is a sequence of 6 movements which we denote 3-WS which is short for 3-whipping strikes.

3-WS provides training for the following :-

1) Rolling block which is the most famous NGK technique; the proper NGK technique made up of the rolling block and punch is shown in the two-hand version of 3-WS

2) How to move the arm like a whip to execute three sequential strikes

3) Relaxing the arm to allow it to respond like a willow tree branch when pressure is applied to it

The movements of the 3-WS are :-
1) Rolling block
2) Single punch using overturned horizontal fist (like the Xingyi drilling punch)
3) Hook hand strike
4) Horizontal palm strike
5) Back of palm strike
6) Pull back palm to right shoulder to parry

Work on basic familiarity. When you are used to it you can add in the body mechanic that is specific to the rolling block to bring out the NGK characteristic, if desired.

The first solo bridge hand sequence trains the hand to move up, down, left and right.

The purpose of learning how to move this way is to inform us how we can move thereon from the position that our hand is at in order to intercept the opponent’s attack that is coming from below, above, on the left or on the right of where our hand is.

For the initial training we follow a prescribed pattern. Once familiar with this pattern we can rearrange it to create two new sequences.

The purpose to learn additional two sequences is to open up your mind to other possible ways of moving using the same 6 movements.

In fact, once you understand this concept you can easily mix and match the techniques from the other sequences. A case of less is more.

The 6 movements of the first sequence are :-
1) Stand with right foot forward and do right punch to chin height
2) Then drop down to solar plexus height to block
3) Use leopard fist to strike at throat height
4) Open up leopard fist and use palm to parry to left
5) Form hook hand and strike forward
6) Up hook hand and use palm to parry by pulling back to right shoulder

For beginner study go slow and perform each movement clearly. With familiarity you can go faster and faster to see if you internalize the movements.

Next you can work on understanding the applications. This will also teach you timing and coordination. Once you have grasped this you can move on to work on power.

We practice three solo bridge hand sequences. These sequences train our hand to move in accordance to certain principles and strategies.

For ease of learning each solo bridge sequence has 6 movements. Each sequence focuses on a particular key theme as follows :-

a) Sequence number 1 – six linking hands focused on the control of the 4 directions.

b) Sequence number 2 – three whipping strikes following a entry that can be performed in any order.

c) Sequence number 3 – three neck slashing attacks that borrows the strength of the opponent’s block to power your strike like a willow branch that returns the force of the wind

Each movement in each sequence can be mixed and matched with each other to form new sequence. They can also be mixed with the five major strikes as well as the six elbow strikes.

Below are the last three techniques of the long pole :-

Technique 5 – this technique uses the pole to do a thrust at the opponent’s chest.

Technique 6 – the thrusting technique above is followed by a downward cutting motion from 12 o’clock to 6 o’clock.

Technique 7 – the last technique is an upward flicking motion with the tip of the pole.

To become familiar with the last three techniques you should practice the following sequences daily :-

Sequence 1
a) Hold the pole horizontally at your waist height.
b) Do technique 5.
c) Lower the pole back to waist height.
d) Repeat (b) and (c).

Sequence 2
a) Hold the pole horizontally at your waist height.
b) Do technique 5.
c) Do technique 6.
d) Lower the pole back to waist height.
e) Repeat (b) to (d).

Sequence 3
a) Hold the pole horizontally at your waist height.
b) Do technique 5.
c) Do technique 6.
d) Do technique 7.
e) Lower the pole back to waist height.
e) Repeat (b) to (e).

After the learning of 6-ES, I thought it would be interesting for Paul to learn the long pole. The easiest pole method I know is the Shaolin 6 1/2 point pole taught by Master Leong.

The form is more like a short sequence of 7 movements than a proper form. The advantage of this is that anyone can learn the sequence very, and I mean, really very quickly. Once you get the hang of it you can practice it in various ways.

For a more extensive study of the possibilities of using the long pole a much longer, more proper form makes for a better study. However, if you do not understand how to manipulate the pole then learning a longer form would not help much. In this regard it is better to study simpler techniques first that can teach you how to use the pole.

This is how we can begin the study of the long pole :-

1) Draw circles – stand in one spot and using the long pole to draw medium circles. First clockwise, then anti-clockwise.

When you get the hang of it, try drawing the circle anti-clockwise as you step laterally to your right. When you step to the left, draw the circle clockwise. Try to coordinate your stepping with the movement of the pole.

2) Technique 1 – blocking an attack to your leg by moving your pole from right to left, essentially drawing a quarter circle clockwise from 3 o’clock to 7 o’clock. First, move your right leg out of the way by moving your right foot to your right, and do the block.

Later you can move the rear left leg to follow the right leg as well. Once you get the hang of moving both legs, add in a follow up attack.

3) Technique 2 – this time move your leading right foot to your left and block from 9 o’clock to 5 o’clock.

4) Technique 3 – move out of the way of an attack to your left temple by stepping your right foot to your right. Block by moving your pole from 3 o’clock to 11 o’clock.

5) Technique 4 – this is similar to Technique 3 except the attack is to your right temple. Move your right foot to your left and block by moving the pole from 9 o’clock to 1 o’clock.

Once you get the hang of the above four techniques you can learn the balance three techniques.

I subscribe to a marketing newsletter. The latest newsletter begins with this quote :-

“Music is essentially 12 notes between any octave – 12 notes and the octave repeats. It’s the same story told over and over, forever. All any artist can offer this world is how they see those 12 notes. That’s it.”

• Bobby Maine (played by Sam Elliott) in A Star is Born (2018)

To me the five major strikes are like musical notes, five notes instead of twelve notes. We apply the five major strikes at short, mid or long range just like how the same twelve musical notes can be played at different octaves.

Once you are familiar with the five major strikes individually learn to string them up to form combinations. Try using them first at the long range because that is how you practice them in the beginning.

As you become more and more well versed, try applying the five major strikes at the mid range before progressing to the short range. My original impression of a technique like Sau Chui is that it is a long range technique but interestingly you can use Sau Chui at the short range. It is matter of how to do it exactly.

So begin with simple steps. Look into how to use Yum Chui, then tack on another major strike and another until you have at least three strikes in a row. It can be as simple as three Yum Chui, one after another or two Yum Chui followed by a Sau Chui.

The fifth strike is the Charp Chui.

The term Charp means to stab. So the Charp Chui is a punch that stabs.

The basic learning of Charp Chui is reminiscent of a punch that stabs repeatedly. The Charp Chui can be performed with four different fist positions. However, the fist position that is often associated with the Charp Chui is the overturned fist.

I had read about the Charp Chui in books on Choy Li Fut but I did not have any idea of how effective it can be until my first encounter with it.

There was a younger student in my Japanese language class, slightly shorter than me. One day I squared off against him in my Wing Chun guard, only to have him do an overturned fist punch that went right over my guard, slipped in and found its target. My Wing Chun reflex training did not do me much good.

So later when Master Leong taught the Charp Chui I paid attention to it. And that’s when I heard the story of this student of Master Leong who won a full contact tournament. Apparently, he worked in a factory and lived on the premises. He had nothing better to do at night so he spent time practicing his PKK. This student happened to be the uncle of this Japanese language student!

At another much later time when I met my Wing Chun senior we were doing Chi Sau when I tried the Charp Chui on him. At this time I had still not gotten into the habit of using the proper posture that I learned in PKK. So I was basically using Wing Chun posture but used the arm movement only to do the Charp Chui.

Imagine my surprise when it slipped right past my senior’s Bong Sau and hit him on the chest. He then asked me what it was and I explained to him. He then tried it on me and damn, if it didn’t work for him too.

At another time Master Leong said he would teach me the 5-movement sequence called 5 Tigers Descending Mountain. He said this is a Hon Gar Kuen, a term which means guarding the family fist. He said this was not something to teach to normal students, only to those who are teaching PKK so that if someone shows up to challenge this is what we would use.

The sequence did not look terribly impressive. After all, its just five movements. However, the sequence just contains the principles. A teacher is needed to help understand what is inside it. Master Leong demonstrated various ways of using the movements and also other applications.

Here’s how to practice the Charp Chui at the most basic level :-

1) Stand with your right side facing the target while sitting in a high horse stance
2) Turn your head to the right and look at the target
3) Raise your straightened right arm holding a horizontal fist to your shoulder height. Place your left hand by the right side of your face to protect it
4) Without bending your right elbow, pull your right shoulder back to chamber the right arm. Your waist will turn slightly more to the right
5) To do the Charp Chui, release the chambered arm back to its original position. You will find your body wanting to thrust forward with a slight lean
6) Repeat the exercise. Once you are familiar with this, you can try to do it with stepping i.e. chamber arm, take half step, thrust the arm

You can do the above exercise with a vertical fist or an inverted fist. You can also alternate by using the vertical fist on the first strike, inverted fist on second strike, vertical fist on third strike, and so on.

The 4th major strike is the Sau Chui, a strike which is like using your forearm to hit your opponent’s head like a baseball bat.

In PKK, the Gwa Chui, the Chau Chui and the Sau Chui are practiced together as a trio of three consecutive strikes.

In SKD 3.0 I made Sau Chui a standalone technique so that we can focus exclusively on its practice. In application, the Sau Chui can be used as a follow up after Yum Chui, Gwa Chui or Charp Chui.

How to practice the Sau Chui :-

1) Stand with feet together
2) Place both hands near to your chin in ready position
3) As you take a step diagonally forward to your left, use your left hand to swipe from the right side of your body to your left as if to clear the way. As you do so, get ready your right hand to execute the Sau Chui. Release the Sau Chui the moment your weight shifts from the right leg to the left leg. Bring the left hand up to your head as if to block upwards. Strike the Sau Chui all the way to your left hip

When you practice the basic Sau Chui enough you will be able to feel the knockout power, especially if you test it against a pad held by a training partner.

Initially, I did not like the Sau Chui. I was partly influenced by what I was taught in Wing Chun, that Sau Chui is easy to block because the strike uses a wide arc. In retrospect I would say that never believe everything people tell you, even your own instructor, especially if they are not an expert in the art that they have a strong opinion about.

Master Leong changed my mind about the Sau Chui. He did not give an elaborate explanation about its use or its power mechanics. Instead, he showed me something interesting. Master Leong could use his Sau Chui to hit me even as I tried to hit him with a straight punch.

This is a strange experience considering what I was told in Wing Chun about the shortest distance between two points being a straight line which means if I throw a straight punch and Master Leong throws a big circular punch I should hit him first. Right?

Wrong! Master Leong didn’t try to block my straight punch. He just used his stepping to make me miss and then entered to hit me. He did this a few times.

Master Leong said that the Sau Chui the way he did it with stepping is the highest level technique. I didn’t quite believe it since I was still hung up on linear strikes. Later I got him to admit that in the pantheon of techniques it is the Charp Chui that is the highest level technique.

Still if you want a technique that can knock a person out then Sau Chui should be your technique of choice.