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INTRODUCTION
So in this book we’ll look at ways to make all of the three basic
punches much better both in execution and in knockout power.
BOB BREEN
Fighting wise I’ve fought internationally and captained England in Karate. Then
been Captain and coach for the first World Eskrima championships in 1987 and
coach in 1992. I’ve boxed, done Thai boxing, introduced Black belt BJJ into the
UK and much more.
However, prior to any of this study I’d had lots of fights, real fights, street fights,
nothing to be proud of but just part of the journey for many young men at that
time.
I learnt lots there that helped define my martial arts journey. In that time of real
fights I learnt that if you hit someone you needed to put them out of the game as
many of those fights were group clashes. You had to knock down the numerical
superiority of your opponents. A good punch would.
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THE JAB
THREE PUNCHES
Bruce Lee called the Jab ‘’the mark
of the expert’’ and he wasn’t wrong.
A good jab can be a knockout blow.
Often underrated by many as a flick or
distraction in order that you can land
your more telling rear hand blows.
However, it’s much more than that.
THE HOOK
The hook is a skilful punch, it goes around your
opponents guard and comes on an angle they can’t easily see. Their eyes are on
the front of their heads so they more readily see strikes coming directly towards
them. Done badly a hook can often be blocked or evaded with ease as the shape
is easy to see. Done properly you can’t see it and it just arrives. As it’s going across
your body structure and leveraging on contact against your chin it is devastating
and can be a real knockout punch.
Lets do a chapter on each one and see how to train it. The body structure needed,
and how to sharpen the weapon end of it. We’ll do everything; on the spot
drilling, in pairs, and on pads, and also show how to use them on bags .
In this photograph you can see that the feet are placed either side of a central
FEET
line. The toe of one foot should be touching the line and the heel of the rear foot
should be touching the other side. Do it this way for the jab and sometimes the
hook but you need it ‘slightly’ wider on the cross.
To make this stance flexible move around in it so that your head moves back and
forwards but not by changing the stance just by coming up on your rear toes and
then dropping the heel towards the floor. Keep a straight back leg.
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Next bounce forwards and backwards about four to six inches, keeping the shape
of the stance and your body alignment forwards at all times.
MOVING
Now move forwards and backwards, left and right.
Move the lead foot if moving forwards and drag the other foot after it.
When retreating; move the rear leg first and drag the front foot. Keep the
attacking alignment with the focus on your lead jab.
Similarly move left and right. Left foot first if going left. Right foot first if going
right.
Footwork basics { video } - A standard 4D class showing how to really nail down
the footwork so there’s no timing gaps. It’s all about feet.
There’s lots more footwork to learn but that’s enough for this ebook. This
footwork is just for adjusting distance not really for travelling long distances. As
you work it look at the dead times; the times you can’t hit because the balance
or positioning isn’t there and work on cutting these to a minimum. Be as near
to ready to go at all times wherever you are and whichever direction you are
moving. This is expert stuff, small but hugely important.
Tommy Hearns vs Marvin Hagler. Watch how Hearns keeps a good stable stance
in particular when retreating and hiding behind the jab. Do the same. { video }
Sugar Ray Leonard vs Marvin Hagler. Here notice how Leonard keeps a thin
stance when jabbing and then steps squarer to unload alternate punches and
hooks. Note the stability of the footwork under pressure. There’s lots to work on
here. Also notice the body twist to get the most power and the looseness in the
shoulders so the punches whip. { video }
The first thing to work on is hitting with the two knuckles of the hand at all
times. These two fingers are supported by the thumb base behind them and they
are the two strongest fingers. Simple things like learning to make a fist properly
though often overlooked are key. You don’t want your hands tightly closed with
no gaps whilst sparring; only on contact.
However, an initial four or five fist rolls and tightening with give you the idea of
how tight your fist should be on contact.
TEST
As with all things 4D you want to test everything
When you get to the pad holding part of your training hit with an unfocused
hand; just using the whole fist as a unit. Then redo the same techniques
with the emphasis on the first two knuckles. Ask the pad holder if there’s a
difference. The two knuckle punch has got much more bite. Additionally,
hitting any other way really increases your chances of breaking your hand
on their head. In a fight I had in Canada with someone on drugs, I hit him
repeatedly in the face and head at full power; yet the next day all I had were
bruises on my two knuckles even though my whole drive train of elbow,
hip, knee and ankle were traumatised and needed chiropractic treatment.
In 4D, we often say two knuckles at the fist and two knuckles on the
floor. Meaning that you are again focusing on driving from the big
MECHANICS AND STRUCTURE
toe and second toe and the ball of the foot. It’s a mirror of the hand.
Focusing on the two knuckles will mean that you will have to change
your body alignment slightly to make this work. All of this is good
because it gives you an efficient structure, it’s easier to slip, and you
get hit less.
Look at this photo (figure 1). You can see that the body is fairly square. The
important thing to look at here is to see that there is only air behind the
shoulder. It has no support. Therefore you are using one arm to stop a large
person who you could look at as a bag of arms. What do I mean here? Look
at your opponent as if he was a large receptacle. How many arms could
you squeeze into their shape. Probably twenty to thirty. So you are trying
to stop that many arms with one arm. You’ve got to hit them with the
planet.
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STANCE
In the front based stance your chin should be about where your toe is. From
MECHANICS AND STRUCTURE
here it’s very easy to snapback out of range using only your rear ankle
to give you twelve inches of distance.
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BODY UNIT
Next, you have to think about punching much like weight lifting. You don’t want
to be hitting or fighting with minor lifts like a military press but rather want to
TWIST
Lastly, you can rotate your body on two of these punches so you are now adding
rotational power to the body alignment you’ve been practicing already. To make
this work well, it’s important to be loose on the top with the feet in the right
position.
Now that you’ve added the twist to the lean you can look at it like a
tornado that’s spilled over and become unbalanced at the top. The loop of
the tornado at the top becomes bigger but the elliptical speed at the top has to
increase as it has to be rotating overall at the same speed as the part nearer the
ground.
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THE JAB
TRAINING : IT’S ALL ABOUT REPS.
I had a friend who had gained a brown belt from me, so he’d worked a lot of
jabs, he then trained amateur boxing at the very reputable Repton boxing club
for a few years. He often trained alongside and was used as a sparring partner
by leading pros. Later he trained in New York at Gleesons. Where was told by
former world champion Floyd Patterson that he’d have to just work his jab for a
month or so as it needed more work.
Have one hand open on the corner of the chin. The other hand with
vertical fist and elbow in.
WHAT NOT TO DO
Don’t hold your hands together / Don’t flare your elbows outwards.
X
It’s also important that you don’t hold your hands so that the opponent can
see the back of your lead hand. Often from this position your hand will spiral
towards the target taking time and losing power along the way. Force travels in a
straight line. Secondly; the profile it makes is wide, so it won’t go through your
opponents guard. Look at the measurement from your elbow to the inside of
your hand and you can see it’s a big box and you want to get that through a small
hole in their guard.
Now look at the profile of the vertical fist start position. Much smaller. (Figure 2)
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TRAINING
Do 40 - 50 of these then add a step then double it up.
JAB - NO STEP
THE JAB
When stepping or lunging forwards make sure you land on the front of the foot
or at least on the flat foot. Try to avoid a heel to toe roll as it loses time, return
instantly to your start position.
GAP DRILLS
Here are three easy gap drills. If you use them all the time your jab will get better.
NUMBER ONE
Trainer holds hands four inches apart about a foot in front of face. Striker throws
a jab and turns the hand only when past the gap. Touch the chin. If you turn
your hand early you wont be able to get through the gap.
THE JAB
NUMBER TWO
Same as above but trainer fires a
jab with their left hand towards
strikers head as soon as their
punch is through the gap. This
makes sure your head is off
the line against an instinctive
response.
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HAND FIRST
The first way is to throw the hand first and then align the
body and the power train at the time of impact. Don’t put
tension in the arm; rather let it fly, then snap everything
stiffly at the point of impact. This can be very telling as it
arrives virtually unseen. Your body motion is the tell tale
thing that allows them to interpret your moves. When
using the arm first, it’s like fencing. The arm is thrown
first then the body moves towards the end of the
move. This is very hard for them to interpret.
It works best with the straight right but can
work with both punches. Remember the aim
of the straight right is to go through their
guard, whereas the cross goes behind their
lead arm and across their body line.
BODY FIRST
With this you move the body first as the title implies but don’t throw the arm.
Here you’ve paid the fare for this punch but don’t have to pay for it until you
actually throw the arm. It’s like booking a flight option but you only pay when
you get on the plane.
As the arm leaves your core body structure late it can go to any number of
targets or none at all. This makes them very reactive as everything is a possible
major threat. Now mix the two together and they are in a timing nightmare.
THE CROSS AND STRAIGHT RIGHT
Remember the aim of this book is to get you hitting hard so with both of
these approaches to the right hand work on getting all the elements in place
and just for a micro second get that snap like super stiffness on contact.
Think of it like the crack of a whip.
ALIGNMENT
Just as in the Jab the correct alignment is essential. There can’t be air
behind the punching shoulder even if it’s on an angle you want the
reaction from your punch driving back into your shoulder girdle and
then into your leg. This is not to say that you wont hit them hard
if you don’t do everything right but you want a punch that’s a
knockout punch.
There’s a cost for that transfer or power across your body. When hitting with your
skeleton, you’re not only hitting with a better more rigid structure but in theory
hitting with the planet too. Therefore, in an abstract way with more mass.
Do the cross on your partner slowly. Hit with the two knuckles. If this is difficult
rotate your shoulder or body slightly so it feels right. Do it low. Then get them
to lean on your extended arm as in the photo below. Do it both with the arm
straight and also with the arm bent and close to the body. What you’ll notice is
that if your alignment is wrong then you just get pushed backwards or your body
structure folds and puts you off balance. If you do it right you can feel it in your
rear foot. You want the shape that you can hold for days. There’s no speed in this
drill but it’s all about structure first, then getting your mass or weight into the
hand, then adding speed later. Go slow and grow.
DRILLING
Next go back to drilling the cross either on it’s own, with a jab and cross or you
can mix it in with the single and double jab too as that’s what you’re going to
be doing in sparring or in a real fight. The key is to do it on the spot first. Get
good form down and in your bones, then see if you can do simple footwork then
reapply the same punches with the same exactness. It’s both simple and incredibly
complex. There’s lots to get right.
MOVING
Next step is to just move backwards and forwards left and right putting these
punches or other combinations at each end.
THE CROSS AND STRAIGHT RIGHT
See above diagram. Don’t curve yet. In fighting, you’ll need to curve and pivot
and be elusive but for now if you’re in a square room work with the shape of the
walls to develop you’re internal GPS map. So you know where you are relative
to defined angles first, then to your opponent as your training develops. You
always need to know exactly where you are in space. I see lots of people who get
too involved in the hitting aspect, and have no awareness of what their position
is. Power comes from the ground so you need to be aware of what ground you’re
on, and where you are headed. Obviously, against multiple opponents this is a
key skill to have. Positional awareness will help you be in control of terrain when
you’re in chaos. It’s important to start at the beginning.
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GRAVITY
Dropping your weight can really help you to hit hard. You’ve got gravity working
on you all the time, so why not get it to add a few ounces or pounds to your
punching. It’s very easy when doing the cross to sort of go down the hole to your
left and your opponents right. This is great if you connect but it makes it hard
to come out of the hole to continue with the hook. Concentrate on dropping
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THE HOOK
First thing is to think of it like a coat hook on a door and all you’re going to do
is close the door. As you’ll see this keeps you covered with a shoulder roll without
any thinking on your part.
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Like on the other two punches it’s important to hit with the two knuckles. I
used to hit with a vertical fist and did really well but this isn’t as stable a body
structure. The good points of vertical are that if you hit them you hit them
generally with the two knuckles and you’re less likely to break your smaller
fingers.
However now I generally do the horizontal fist (figure 4). I still hit with the
two knuckles because I train to hit with them but the punch is much more
THE HOOK
telling. Structurally you have more support from your latissimus dorsi and more
deltoid engagement. It’s a knockout punch. Make yours frightening. Unseen and
powerful.
FIGURE 4
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Just as in the cross there are many types of hook. The two to work on are the rear
hook and the lead hook. This book will deal primarily with the rear hook. This
is the place to start to get your mechanics down. In truth, I find the lead hook
more effective combatively but my fifty years of training have shown me that this
is much harder to get down as it’s very subtle. We’ll cover this in depth online. If
you get the rear hook down you’ll find it really easy to to the jump between the
two.
Lets first of all point out what not to do. First lets deal with telegraphing.
Many people make the shape first when doing the hook. Don’t do this. Not
only does it telegraph which punch you are going to do next but it gives them an
easier route out of the way with a bob and weave.
They shouldn’t know what punch you are doing until it hits them. Just as in the
cross you can do arm first and body first. For the left hook concentrate on body
first. In this way, every move you make is a potential blow that they have to
watch out for but you haven’t even thrown anything yet.
THE HOOK
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PAD DRILLS
The best way I’ve found to train the left hook to be really short and destructive is
to do the Cross and Hook Loop drill.
FIGURE 5
THE HOOK
METHOD
THE TRAINER: holds the right pad just to the right of his chin and puts the
other pad sideways on close to the other persons chin. (figure 5)
THE STRIKER: Does a long straight right to the rear pad making sure to twist
both feet and body. Keep your lead foot turned in but the rear foot must rotate
on the ball of the foot. Drop the weight onto the punch at full extension. Then
rotate the feet the other way so the lead foots heel is up as you drop the rear heel
30 to the floor. Rotate the body with the fist held near the shoulder. If possible let
THE HOOK
Have your feet right so that you hit to 2.00 o’clock not
to 12.00 o’clock as your end point.
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IMPORTANT: SOUND
PUTTING IT TOGETHER
Listen for the sound on the pads or the bag if doing those. When you hear a
good sound (probably on your cross) try to make that sound on all strikes. Use
your ears at all times. They are purer than your eyes there’s less interpretation or
imagination here.
METHOD
You can do these techniques three ways:
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One; when the pad holder calls it and tells you what strike to perform. Making
sure they call a mix of strikes. If in doubt, do it as the list, then improvise around
that.
Second; where you just hit the pads to your own rhythm. This is much harder for
the pad holder to deal with and is an advanced method.
Obviously for fighting, the method where you hit to your own beat is better.
However, it’s not the place to start. You need to build confidence and also have
repeatable skills.
PAD HOLDER
The holder doesn’t do anything flash. Just hold the pads in a 45 degree V in front
of you. Have a very small downwards tilt. Use your stance to lean into the strikes
as they come. This will put less strain on your shoulders and give the striker more
feedback.
PUTTING IT TOGETHER
Use the right hand to catch the single and double jab. This gives you a free left
hand to either check their cover or balance or to hit them back with a riposte or
reply.
Use the left hand and then the right hand to catch the jab and cross and then the
left again for Jab Cross and Hook. Just work the basics.
1. Single jab
2. Double jab
3. Jab and Cross
4. Jab, Cross and Hook.
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Then do the same thing this time doing the following; firstly on a front to back
axis this you can do either with a pad holder or on your own drilling into the air.
1. Double jab forwards-retreat two drag steps and jab and cross
2. Double jab forwards-retreat two drag steps and Single jab or double jab
Secondly, on a left right axis, move a couple of steps and just put a jab or jab
cross at each end.
PUTTING IT TOGETHER
Of course you can improvise around all of this, sometimes just moving forwards
without striking then hitting when in range or using hits to cover ground. The
important thing at all times is to think you are hunting. Hunting an opponent
down. Cutting off their escape and putting pressure on their position.
POWER
The variables you can improve are STRUCTURE and STIFFNESS on contact
so that you are generating power from the ground up and not losing it as it
moves through your body. Then you can increase your MASS by making sure all
of your WEIGHT is in the punch. Use GRAVITY to help too. In some ways you
could say that if you hit with the planet you’re really increasing your mass. The
next thing you can improve is SPEED.
Keep loose and don’t have any stiffness in your limbs think of it in a similar way
to throwing a stone. All you need is super stiffness at the contact point. There’s
a nice rhyme that says ‘loose shoulders - fists like boulders’ . Obviously in some
of the drills we’ve covered already you are going to have some tension in the arms
particularly when doing things slow and technically. This is ok but when you’re
finally focusing on hitting hard concentrate on being loose until the point of
contact.
IMPORTANT : ANY
STIFFNESS WILL CUT
YOUR SPEED
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A good way to think of this, if you are into the Star Trek, is that just when the
characters are going to be beamed somewhere and are just turning into molecules
or photons, (science is not my game) then you turn the power off. Leaving them
with nowhere to go as there’s not enough energy to transport them but caught
leaving them between the two states. Fighting wise; do this to your opponent and
the energy just bounces around their body, doing damage.
POWER AND SPEED
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IMPORTANT: Moving around the bag without hitting is the first place to start.
Move the rear foot and also move the stance and additionally move the lead foot.
The bag is trying to tell you stuff so you need to listen. If you can’t relate to a bag
BAG WORK
you’ll find it much harder assessing the movement of a live opponent.
Watch this youtube clip to get the idea { video }
This just shows you how to move around the bag and synch to the timing of the
bag. All of the things we’re covering in this book are covered in this clip.
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When the bag is moving left to right it’s the best time to throw the left hook (or
the right hook too) Get it at the top of it’s swing when it’s just starting to return
towards you. For the left hook you can repeat this so that you keep the bag at
an angle. Use the lead hook for this. If the bag collapses against you it generally
means that you’ve not got the right structure or you’ve spent too long between
punches. Concentrate on hitting from the legs and hips with a short arm.
If the bag is swinging wildly you’re pushing the bag not leaving the energy within
it. Make the bag judder and maybe move a little but concentrate on leaving the
energy within the bag. If it’s swinging wildly you’ve missed the mark. Here’s a
clip showing the basics (and the advanced ) of hitting a bag well. Get the body
position and timing right but make sure you hit with the body and structure not
just your arm.
BAG WORK
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For the best results you’ve got three variables: Mass, Speed, and Structure. Even
if you get these right putting a sponge on the end of the punch will lose much
of the effect. Concentrate on hitting with the two knuckles and a tight hand on
impact.
Above all does it feel easy? It should be. When you get it right if feels like you’re
doing nothing but hitting really hard and accurately. Go both very structured in
your training and then put it into loose shadow boxing mixing moving and solid
standing so that you can do it all from an informal structure. Have a soft and
fluid body. It’s a life long quest so don’t worry if you don’t get it all down at your
first attempt. It’s a way of working. Power punching will change your martial arts
or boxing and make people fear your blows thus opening them up to your more
funky stuff.
I hope you find this book helpful. If you do let others know about it and lets
share the knowledge.
Good luck,
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