I believe that originally many styles started with a collection of techniques.

Over time these techniques were compiled into training sequences which later were organized into forms.

Each form then becomes a textbook to teach a series of fundamental knowledge or specific topic relating to the combative way of the style.

I personally find forms easier to remember than a collection of techniques. However, if I don’t train a form for some time I may forget a movement here and there. In this way, it is an encouragement to keep training if you do not want to forget anything.

Over time I have learned different forms from different styles. I have also forgotten some forms through lack of interest in the form so I did not train it and just forgot about it. In Chinese we say this is giving the form back to the teacher.

In no particular order my favorite forms are …..

1) NGK dotting hand forms – they are divided into training the solo hand and training both hands together. In total there are five forms.

They are very short forms but they are regarded as the core fighting forms of NGK and even today is kept secretive. I have taken some of the techniques from three of the forms and distributed them over two Solo Bridge Hand Sequences.

At a certain stage all I have to do is to explain which techniques to take from the two Solo Bridge Hand Sequences to make new sequences and voila! NGK dotting hands concealed in the open.

2) Dong family 108 form – this was the form that gave me my first real foray into the world of the internal so I am still fond of it.

There is only one very important principle to learn and master from this form. If you get it you will find your pushing hands skill improve overnight.

When I used to teach Tai Chi this was the first form I would teach. One caveat – the principle is simple and to master it all it requires is constant training. However, if you do not give it your all you can train for years and never get it.

There is a video of Grandmaster Tung Hulin performing the 108 form and you can see him demonstrate this principle throughout the form as he went through the techniques.

3) Dong family Kai He form – this form is little talked about even amongst Dong stylists but after I read that Grandmaster Tung Yingchieh used it to train his power I just had to learn it.

This form reminds me of the body structure of modern Wing Chun in that the body moves very little with the hands moving body. Despite the lack of big movements the techniques are precisely aligned to bring forth the “hard” power.

At one time I worked on it a lot and when I practiced push hands with students they would complain that my forearms felt like iron bars cutting into their arms.

4) Dominating Fist – this is the first informal form of NGK that I was taught. It basically takes solo techniques number 17 and 18 from the series of 18 solo techniques and organized them into a form.

Even though this is an informal form it teaches the NGK way of controlling the main gate. I used the NGK way of controlling the main gate a lot when I practiced push hands.

5) Gung Lik Kuen – this short training sequence from an old Wing Chun style has no name. However, when I asked my teacher what it is called he said to called it Gung Lik Kuen.

This form is not even a formal form of this Wing Chun style. The way it is organized reminds me of a version of the Yuen Kay San Wing Chun 12 Sik that I had seen that was taught like a form instead of twelve individual techniques.

The main takeaway from this form is how to be soft, like pulling silk while learning how to focus your power. The movements look soft and flowing but delivers a strong, forceful force when striking.

6) Bart Jam Dao – I had learned four versions of the knives form from Ip Man style Wing Chun. The very last version I picked up is my favorite.

The earlier versions I had learned were more like doing the emptyhand forms with a pair of knives in both hands.

However, this version is very dynamic with lowered, mobile footwork, using the entire body to evade, angulate, trap, enter and deliver the thrusts and slashes.

7) Kitten Pole – this is pole form number four from NGK. It is regarded as the most advanced pole form of the system, containing all the essential techniques.

Alas, like the dotting hands the Kitten Pole is also kept out of public view. In the old days not everyone got to learn the dotting hands and Kitten Pole. So if you happen to know them it will magically open doors when you meet fellow NGK practitioners.

8) The 22-Form – this condensed form which was put together by Grandmaster Wei Shuren from the old 108 form contains the key principles that one must learn to master this style.

If you make the breakthrough in mastering the principles a very different world of understanding will open up to you. The concept of internal will be different from any existing concept of internal you have every learned. This is why this is my most favorite form amongst the eight forms listed here.

I still have some favorite forms but that’s it for now.

I am going to use Solo Bridge Hand Sequence No. 1 to talk about the training of body structure.

There are different body structures that we can train using Solo Bridge Hand Sequence No. 1 which we nickname the 6-Linking Hands (6-LH).

The first and easiest body structure to train is what I would doubt the modern Wing Chun body structure. This calls for keeping the body still while moving the hands.

The second training for body structure is to explore the big open, big close characteristics of Pok Khek Kuen. To do this training we would need to use a bigger and lower stance in addition to weaving in and weaving out, waist turning, big arm movements to teach us how to use the entire body like fist.

The third body structure we work on is the NGK body structure. This trains the swallow, spit, float, sink characteristic in tandem with the use of two primary stances.

And finally, the last structure we work on is that of the 5 bows, bell body from the Tai Chi of Grandmaster Wei Shuren.

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.