tai chi long set - beginners

Companion to Learning Yang Style Tai Chi 1

Copyright 2014 © by Tony Hanslin For study and research by physically and medically fit students under direction of a qualified

teacher. Last modified Saturday, July 05, 2014. Photography by Holly Ostrander. Illustrations by Xu Yu Cheng

Companion to Learning Yang

Style Tai Chi

Yang Long Set

Beginner’s Edition

Syllabus, Study and Research Guide

For Beginning Players

By Tony Hanslin

[email protected]

www.facebook.com/taichiwithTony

INSPIRED BY THE WORK OF XU YU CHENG AS TRANSLATED BY PAUL BRENNAN

Weighted right foot.




Imagine standing on the center of a clock looking out over 6:00 o’clock.

LIST OF METHODS (with ending o’clock direction facing from center) 1.0 WU JI – FACING O’CLOCK FROM CENTER OF CLOCK 6:00 2.0 BEGINNING FORM - FOUR HANDS 6:00 2.1 TRANSITION - CIRCLE HANDS TO HOLD BALL CENTER 6:00 2.2 TRANSITION - TO SINGLE WEIGHT RIGHT 7:30 3.0 GRASP SPARROW TAIL ……. 3.1 WARD OFF LEFT 9:00

3.2 WARD OFF RIGHT 9:00 3.3 ROLL BACK 9:00 3.4 PRESS 9:00

3.5 PUSH - DOWN TO UP 9:00 3.6 TRANSITION - FOUR COUNT TOWARD OPPONENT AT BACK 4:30 4.0 SINGLE WHIP 3:00

5.0 LIFT HANDS UPWARD - RAISE HANDS ……. 5.1 TRANSITION – ELBOW STRIKE 4:30 5.2 TRANSITION – SPRING WRIST 3:00

6.0 WHITE CRANE DISPAYS WINGS 3:00 6.1 CRANE SPREADS WINGS 3:00 6.2 CRANE DRIES BOTH WINGS 3:00

7.0 LEFT BRUSH KNEE 3:00 8.0 HANDS STRUM PIPA 3:00 9.0 LEFT (2) AND RIGHT (1) BRUSH KNEE STEP 3:00

10.0 HANDS STRUM PIPA 3:00 11.0 LEFT BRUSH KNEE TWIST STEP 3:00 12.0 ADVANCE STEP, DEFLECT, PARRY AND PUNCH …….

12.1 DEFLECT LEFT 45º and DOWNWARD 1:30 12.2 ADVANCE RIGHT TO 45º, DEFLECT RIGHT 4:30 12.3 STEP, DEFLECT, PARRY, AND PUNCH 3:00

13.0 LIKE SEALING AS IF CLOSING - WITHDRAW AND PUSH 3:00




14.0 CROSS HANDS – GATHER 6:00 15.0 EMBRACE TIGER RETURN TO THE MOUNTAIN 6:00 15.1 RIGHT BRUSH KNEE STEP - TURN RIGHT TO CORNER 10:30

15.2 ROLL BACK 10:30 15.3 PRESS 10:30

15.4 PUSH 10:30 15.5 TRANSITION - FOUR COUNT TOWARD REVERSE DIRECTION 7:30 15.6 TRANSITION - SHIFT WEIGHT TO LEFT LEG 6:00

15.7 TRANSITION - TWO HAND UP, RIGHT TOE IN, TURN LEFT 4:30 16.0 FIST UNDER ELBOW 3:00 17.0 LEFT AND RIGHT STEP BACK TO REPULSE MONKEY …….

17.1 TRANSITION - FOOT BACK TO REPULSE MONKEY RIGHT 3:00 17.2 TRANSITION - FOOT BACK TO REPULSE MONKEY LEFT 3:00 17.3 TRANSITION - FOOT BACK TO REPULSE MONKEY RIGHT 1:30

18.0 FLYING OBLIQUELY 7:30 19.0 LIFT HANDS UPWARDS 6:00 20.0 WHITE CRANE DISPLAYS WINGS 3:00

21.0 LEFT BRUSH KNEE TWIST STEP 1:30 22.0 NEEDLE AT BOTTOM SEA BOTTOM …….. 22.1 TRANSITION - SHIFT WEIGHT TO LEFT, RAISING RIGHT HEEL 3:00

22.2 TRANSITION - SHIFT WEIGHT BACK ONTO RIGHT FOOT RESETTING 3:00 22.3 SINK FOLD WAIST FORWARD – ROUND AND LOWER BACK 3:00 23.0 FAN THROUGH THE BACK 3:00

24.0 TURN BODY AND STRIKE 9:00 25.0 ADVANCE STEP, DEFLECT PARRY AND PUNCH 9:00 26.0 STEP UP, GRASP SPARROW'S TAIL 9:00

27.0 SINGLE WHIP 3:00 28.0 CLOUD HANDS - FIRST 6:00 29.0 SINGLE WHIP 3:00

30.0 HIGH PAT ON HORSE 3:00 31.0 LEFT AND RIGHT SEPARATE FEET – 2 KICKS …….. 31.2 PRESS, LEFT, KICK RIGHT HEEL 4:30

31.3 PRESS, RIGHT, KICK (WITH) LEFT HEEL 1:30 32.0 TURN BODY KICK WITH HEEL – LEFT 9:00 33.0 LEFT AND RIGHT BRUSH KNEE STEP 9:00

34.0 ADVANCE STEP AND PLANT PUNCH - SINKING DOWNWARD, 9:00 35.0 TURN BODY AND STRIKE - TURN AROUND AND CHOP 3:00 36.0 ADVANCE STEP, DEFLECT, PARRY AND PUNCH 3:00

37.0 RIGHT KICK WITH HEEL 3:00 37.1 TRANSITION - TO HOLD BALL ON RGHT 4:30 38.0 LEFT HIT TIGER - TURN LEFT, HOLD BALL RIGHT, AND BOX EAR LEFT 10:30

38.1 TRANSITION - HOLD BALL RIGHT 1:30 38.2 HIT LEFT EAR 10:30

39.0 RIGHT HIT TIGER - TURN RIGHT AND BOX EAR ON RIGHT 1:30 40.0 TURN BODY, KICK WITH RIGHT HEEL 3:00 40.1 GRIND RIGHT ON LEFT HEEL 9:00

40.2 COMPLETE TURN RIGHT WITH RT BACKHAND, SPREAD ARMS AND KICK 3:00 41.0 TWIN PEAKS STRIKE THE EARS - QUARTER TURN TO BOX BOTH EARS 1:30 42.0 KICK WITH LEFT HEEL 3:00

43.0 TURN BODY, KICK WITH RIGHT HEEL - BODY ROTATES RIGHT 3:00




44.0 ADVANCE STEP, DEFLECT, PARRY, PUNCH 3:00

45.0 LIKE SEALING, AS IF CLOSING - WITHDRAW AND PUSH 3:00 46.0 CROSS HANDS 6:00 47.0 EMBRACE TIGER RETURN TO MOUNTAIN 10:30

48.0 OBLIQUE SINGLE WHIP 4:30 49.0 WILD HORSE PARTS MANE …….. 49.1 PART RIGHT 10:30

49.2 PART LEFT 7:30 49.3 PART RIGHT 10:30 50.0 GRASP SPARROW'S TAIL 9:00

51.0 SINGLE WHIP 3:00 51.2 TRANSITION – REVERSE DIRECTION RIGHT PALM EXTENDED AND UP 9:00 52.0 JADE MAIDEN THREADS SHUTTLE ……..

52.1 LEFT THREAD 7:30 52.2 RIGHT THREAD 10:30 52.3 LEFT THREAD 7:30

52.4 RIGHT THREAD 10:30 53.0 GRASP SPARROW'S TAIL 9:00 54.0 SINGLE WHIP 3:00

55.0 CLOUD HANDS – SECOND 6:00 56.0 SINGLE WHIP 3:00 57.0 SQUATTING SINGLE WHIP 3:00

58.0 GOLDEN BIRD STANDS ON ONE LEG - BIRD LEG …….. 58.1 RIGHT BIRD LEG 3:00 58.2 LEFT BIRD LEG 3:00

59.0 LEFT AND RIGHT DISPATCH MONKEYS 3:00 60.0 FLYING OBLIQUELY 7:30 61.0 LIFT HANDS UPWARDS 6:00

62.0 WHITE CRANE DISPLAYS WINGS 3:00 63.0 LEFT BRUSH KNEE TWIST STEP 3:00 64.0 NEEDLE AT BOTTOM OF SEA 3:00

65.0 FAN THOUGH BACK 3:00 66.2 TURN BODY WHITE SNAKE DARTS TONGUE - TURN, BACKHAND STRIKE 9:00 67.0 DEFLECT, PARRY AND PUNCH 9:00

68.0 GRASP SPARROW TAIL 9:00 69.0 SINGLE WHIP 3:00 70.0 CLOUD HANDS – THIRD 6:00

71.0 SINGLE WHIP 3:00 72.0 HIGH PAT ON HORSE WITH PIERCING PALM …….. 72.1 HIGH PAT HORSE 3:00

72.2 LEFT PIERCING PALM - SNAKE BITE 3:00 72.3 TRANSITION – TURN RIGHT TO REVERSE DIRECTION 9:00

74.0 ADVANCE STEP, PUNCH TOWARD GROIN – NO LEFT DEFLECT 9:00 73.0 CROSS SHAPED LEGS - RIGHT HEEL KICK (OR LOTUS KICK) 9:00 75.0 ADVANCE STEP, SPARROW TAIL 9:00

76.0 SINGLE WHIP 3:00 77.0 SQUATTING SINGLE WHIP 3:00 78.0 STEP UP SEVEN STARS 3:00

79.0 RETREAT ASTRIDE TIGER 3:00 81.0 DRAW BOW AND SHOOT TIGER 3:00




80.0 TURN BODY SWEEP LOTUS 3:00

82.0 ADVANCE STEP, DEFLECT, PARRY AND PUNCH 3:00 83.0 LIKE SEALING AS IF CLOSING - WITHDRAW AND PUSH 3:00 83.3 TRANSITION – RIGHT QUARTER TURN 6:00

84.0 CROSS HANDS 6:00 85.0 CLOSING POSTURE 6:00

*the above list is based on Fu Zhongwen “Mastering Yang Style Tai Chiquan – 1963 -

translated by Louis Swain. Numbers ending in .0 match the Fu Zhongwen numbering.

Numbers not ending in 0 are Transitions (parts). There are 85 Methods and 16 Transitions

for a total of 101.

“Tai Chi is like learning a language, only it is the language of body

and space in motion." ~ Jan Diepersloot




PREFACE

The purpose of this document is educational and it is intended for intermediate and

advanced players of Yang Style Tai Chi.

The Tai Chi sets are choreographed sequences through which the health, martial,

and meditative benefits of Tai Chi can be developed, tested, trained, and expressed.

The Yang Long Set takes about twenty minutes (or more) to perform.

Take lots of time! This is not a read through document.

Fu Zhongwen, Robert Tandora and Jan Diepersloot have proved most useful here.

FIVE PRECEPTS

1. WU JI. The Wu Ji character is drawn with a single brush stroke. Wu Ji

represents the idea of infinity, of no differentiation, of no movement, of

oneness, of no Beginning. Wu Ji is sometimes indicated below as Wu Ji

(Beginning).

In material terms, you might think of the Wu Ji stance as like a bowl of jelly:

it is the same throughout in terms of structure and tension, it is connected

throughout and will vibrate as a whole from a light touch.

Wu Ji Symbol




2. TAI JI DIAGRAM: The below diagrams represents polarities, such as

full/empty, hard/soft, heavy/light, active/passive, move/still, feel/think,

advance/retreat, raise/lower, open/close, contract/expand, and untold

number of others. This idea of polarity is often referred to as Yin and Yang.

The Long Set continuously moves through successive iterations of Yin and

Yang.

3. Yin/Yang transforms into four forms of energy called the Four Phenomena or

Powers. For the purpose of Tai Chi, these can be called HANDS.

4. MINDFULNESS: Often is associated with meditation. Mindfulness is essentially

an awareness of one's thoughts, feelings and body. In Tai Chi we are also

aware of the flow of our movements, our stillness as well as of our opponent

or imaginary opponent.

5. IS TAI CHI A MARTIAL ART? As a practical matter, Yang Style Tai Chi is

effective as a martial or fighting art only to rare, high level practitioners. The

Yang Long Set potentiates strikes, blocks, and kicks which are artifacts from

earlier, overtly forceful martial traditions. As a matter of interest and fun,

these "APPLICATIONS" are noted with each Method. However, the ultimate

realization of Yang Style is more subtle than the story-line of blocks, kicks

and strikes. Tai Chi is perhaps better understood as an Experiential Art.

Tai Chi

Diagram




DEFINITIONS

Although Tai Chi is not a spoken language, we need a number of terms in relation

to the various movements in order to communicate. Some particular definitions are

treated in the below six paragraphs.

1. SET: Set is also called the Form in Tai Chi and many other eastern martial

arts. The Set for Yang Style Tai Chi, according to author Paul H Crompton,

was incorporated into the training around the year 1912.

2. THE YANG LONG SET: The Yang Long Set takes fifteen to twenty-five minutes

to perform and includes eighty five Methods. All of the Methods of the Yang

Long Set are analyzed here by MOVEMENT, DESCRIPTION, and APPLICATION,

as well as ADVANCED concepts. The Yang Long Set has roots in 16th century

Chen Village of China.

3. METHODS: Methods are often called “Postures” in Tai Chi. However, since

most Methods include considerable body movement and position shifts, I

prefer Methods, as did some Tai Chi players before the 1900s.

4. CENTERLINE - Zhong Ding: As beginners, we are taught that in correct

stance a point drawn from the top of your head to the ground should touch

down in the channel – distance between our feet, and with your knees behind

your toes. Later we learn that the line should intercept the Dantien, a point in

the pelvis a couple of inches below and behind the navel, but ahead of the

spine. As our back relaxes and the spine softens, the coccyx may drop down

a bit forward to intercept the Center-line. According to Robert Tangora, the

Centerline and the spine may someday merge in your training.

In Yang style, we think of this stance as upright. It depends though, a taller

stance is more upright while lower stance the back will tend to round and

bend forward - here called the C stance. The stance used will depend on

style, posture, method, and the route of power to be made available. The

skill and age of the Tai Chi player is also a factor. Lowness of stance does not




necessarily indicate the level of Tai Chi skill.

Notice the Centerline passes from the top of the head through the ear, hip

(qua) and then into the Channel (ground) between the feet. The forward, or

Yang leg, can be close to vertical. During the Set your knee will not pass

forward of your foot.

Although our upright stance and its relationship to the Center-line is optimal,

it is not always held throughout the form, depending somewhat on the height

of the stance. In some stances the back is rounded substantially and this is

called C Stance.

Centerline

Needle at Sea

Bottom




C STANCE

5.0 BEGINNING DIRECTION: The Beginning Direction is noted to the right

of the Methods outlined below.

Imagine a clock underfoot. You are standing in the middle turning to look out

and across six, three (to your left), and nine o'clock (to your right). These

hours are references for the primary Directions. (Although there are four

Primary directions, the twelve o'clock direction is not faced frontally within

the set.)

6.0 Falling between the Four Primary Directions, the “Four Corners” hours




(10:30, 1:30, and 7:30,) on the face of your clock are shown below.

METHODS

There are eighty-five Methods outlined below. All Methods include a beginning

direction which is the same direction as the end of the previous Method. The

beginning direction is shown by the clock on the left and the end direction is shown

by the clock to the right.

1.0 PREPARATORY POSTURE - WU JI –STAND LIKE TREE




MOVEMENT DESCRIPTION: Stand in Wu Ji. You are facing across six o'clock in front

of you. Three o'clock is to your left and nine o'clock is to your right. You begin and

end facing 6:00.

APPLICATION: Relaxing your mind and body to align with gravity. Settle breath

toward pelvis.

2.0 BEGINNING FORM

2.1 PREPARATION - FOUR HANDS




MOVEMENT DESCRIPTION:

From Wu Ji, Raise arms to shoulder height: Peng (Expand)

Extend arms a bit from the spine, spreading shoulder blades: Ji (Press)

Roll arms up and back: Lu (Withdraw)

Push down: An (Sink to Rise)

2.2 TRANSITION - CIRCLE HANDS TO HOLD BALL CENTER


From the lower part of Push, circle rising arms right to left (counter-clockwise) and hold ball center.




APPLICATION:

Distinguish left and right side.

2.3 TRANSITION TWO - TO SINGLE WEIGHT RIGHT

From hold ball right, open foot to right still holding the ball with right hand on top.

– The clock on the left represents the end orientation of the prior move

– The clock on the right represents the end orientation of this move

– The Tai Chi symbol on the left represents by the Yang part (dark) the

weighted foot in the prior move.

– The Tai Chi symbol on the right represents by the Yang part the weighted

foot in the end position.




3.0 GRASP SPARROW TAIL Left Ward Off, Right Ward Off, Press, Rollback, Push,

and Reverse Direction. The Sparrow's Tail can be practiced to great effect as a solo,

repeating routine. Sparrow Tail teaches us to shift weight by turning the waist.

Ultimately, the initial impetus for turning comes from the push/pull of the legs

3.1 WARD OFF LEFT

MOVEMENT DESCRIPTION. ADVANCE with left foot, Left Ward Off. The right hand

can follow touching the left wrist or the right hand settle toward right side, palm

down.




APPLICATION. Deflect your opponent left, forward, up and away. In stepping we

place the empty leg forward then turn from the waist and let the move flow with

the resulting transfer of weight.

3.2 WARD OFF RIGHT


Move waist forward and right.

APPLICATION:

Deflect your opponent right, forward, up and away.

3.3 ROLL BACK


Shift weight toward rear foot and turn waist to left, arms sinking




APPLICATION:

Join opponent's incoming force to move him/her down or away.

3.4 Ji / Press


Turn torso back to right Ji /Press lightly on right wrist and shift forward hands

trajectory at single, distant points popping hands at end flourish.




APPLICATION:

Join opponent to Press his boundary. Attack or press against a single point on

opponent.

3.5 PUSH


Shift weight to rear heel. Then shift weight to front letting the hands move down,

forward and up.

APPLICATION:

Push opponent down to set up releasing him up and away.

3.6 TRANSITION - FOUR COUNT TO BIRD’S BEAK


Shift back to left foot touching left fingertips to right elbow. Turn on left foot and

keep weight on left heel to face 6:00 with right fingertips touching left elbow. The

beat or count here is somewhat unique because weighted leg stays same through

two beats or counts. You might try one on back to right, two on shift to left, three

on turn on left heel, and four on shift right forming beak with right hand.




APPLICATION:

Change direction a quarter turn while maintaining alignments. The elbows are set

up to strike in several directions during this transition.

4.0 SINGLE WHIP





Head high! Gather the fingers of your right hand into a beak. Shift back onto right

leg. Hinge your left side turning your left arm to facing 4:00 o'clock and slightly

raise left foot. ADVANCE, quarter turn, and shift forward to 3:00.

APPLICATION: A short distance probe to 3:00 0'clock contact.

5.0 LIFT HANDS UPWARD - RAISE HANDS

MOVEMENT DESCRIPTION

One quarter right turn with weight on left foot, bring your hands toward each other

with palms forward.

APPLICATION:

Collect the opponents attacking energy.

5.1 TRANSITION FOUR – ELBOW STIKE





Shift forward with right toe at 45 degrees, sinking, then strike through elbow.

APPLICATION:

Hard attack on opponent chest from close in position.

5.2 TRANSITION FIVE - SPRING WRIST


Drop your right wrist, then lift it up, passing your left palm to the inside, until at

about chin level.




APPLICATION: Strike opponent face with rising wrist – backhand.

6.0 WHITE CRANE DISPLAYS WINGS

6.1 WHITE CRANE SPREADS WINGS





Up and down, expanding. Extend your arms like a wild goose with weight on right

foot. Left foot empty and down. Starts in a Corner Hand.

APPLICATION:

Confirm right and left side distinction in well aligned posture. Develop expansion.

Scatter incoming fists or kick.

6.2 CRANE DRIES BOTH WINGS




Above Afgan statue is Atlas holding Buddhist monument at about 100 CE. As done in Tai

Chi, this would be characterized as pure Yang.

MOVEMENT DESCRIPTION: Shifting left onto brief double weight and raise arms,

but do not raise shoulders.

APPLICATION: Not clear what the martial application is. However, the hand position

is somewhat similar to the Muy Tai en guarde position. It is a considerable challenge

to keep sternum soft while under the pressure of this position.

7.0 LEFT BRUSH KNEE TWIST STEP

MOVEMENT DESCRIPTION: Forward and Up. Brush over left, filling knee and

ADVANCE forward. Follow through is a palm strike. The right leg may be raised

momentarily at end-point.




APPLICATION: Strike.

8.0 STRUM PIPA (LIFT HANDS LEFT)

MOVEMENT DESCRIPTION: Settle onto Yang foot in withdrawing but nimble stance.

APPLICATION: Receive attack.

9.0 LEFT AND RIGHT BRUSH KNEE STEP

See #7.0




BRUSH KNEE

HAND YANG FOOT SPIKE UPPER JOINTS LOWER JOINTS

Peng /Rebound Front Open Closed

MOVEMENT DESCRIPTION: Brush knee left, then right, then left again.

10.0 STRUM PIPA - Lift hands Left

See #8.0

LU – LIFT HANDS

HAND YANG FOOT SPIKE

Lu /Draw In /Deflect Heel

11.0 LEFT BRUSH KNEE TWIST STEP

See #7.0




BRUSH KNEE - PENG


Peng /Rebound Front

12.0 ADVANCE STEP, DEFLECT, PARRY, AND PUNCH

12.1 DEFLECT LEFT 45º and DOWN (sink)




MOVEMENT DESCRIPTION: Open foot left 45 degrees and block with right hand

down toward lowered left hand palm. Use 1:30 Corner.

APPLICATION: Block or deflect.

12.2 ADVANCE RIGHT TO 45º, DEFLECT RIGHT

MOVEMENT DESCRIPTION: Open right foot to 45 degrees and shift weight to right

foot.

APPLICATION: Block

12.3 STEP, DEFLECT, PARRY, AND PUNCH

MOVEMENT DESCRIPTION: Step, shift forward to left foot with power available to

punch.




APPLICATION: Strike opponent solar plexus.

12.4 AND PUNCH

13.0 LIKE SEALING, AS IF CLOSING (Withdraw and Push)


Withdraw. “Cross your hands. Spread your hands apart. Push forward.”





APPLICATION: Like Sealing like Closing means to stop the opponents hands either

with sticking (adhering) or double hand push.

14.0 CROSS HANDS (Gather / Lu)

Traditional name:




MOVEMENT DESCRIPTION: Turn right 90 degrees then cross HANDS. Crossed

HANDS means your wrists cross each other to make X shape.

APPLICATION: Block downward strike or kick.

15.0 EMBRACE TIGER, RETURN TO THE MOUNTAIN

15.1 RIGHT BRUSH KNEE STEP (TURNING RIGHT TO 10:30 CORNER)

MOVEMENT DESCRIPTION: Unfolding the crossed arms, you turn on your left heel

stepping right contacting/striking into the 10:30 o'clock corner.

APPLICATION: Fend off or strike with left hand

MOVEMENT DESCRIPTION: You turn right on left leg into a Right Bush Knee. See

15.2 ROLL BACK See 3.0.




MOVEMENT DESCRIPTION: Rolling the right hand over the left, with draw and turn waist same as in in Sparrow Tail.

15.3 Ji / Press See 3.0.

MOVEMENT DESCRIPTION: Same as in in Sparrow Tail.

15.4 PUSH See 3.0 Same as in in Sparrow Tail.




5.5 TRANSITION - FOUR COUNT – TO REVERSE DIRECTION TO TWO RAISED PALMS





First Count: Shift back to weight to left foot

Second Count: Turn left leaving weight on left foot.

Third Count: Shift weight right while still turning left.

Fourth Count: Step forward with left into two palm push, with right toe turned in.

Application: Turn to face new opponent.

16.0 FIST UNDER ELBOW

MOVEMENT DESCRIPTION: Transition to 3:00 with left foot forward and empty heel

down.

APPLICATION: the traditional name Guarding Punch under the Elbow confirms that

this is basically an “on guard” posture.

17.0 LEFT AND RIGHT STEP BACK TO REPULSE MONKEY

Retreat and unwind arms three times. Lu (Collect)

17.1 FOOT BACK TO REPULSE MONKEY (WITH RIGHT HAND)




17.2 FOOT BACK TO REPULSE MONKEY (WITH LEFT HAND)

17.3 FOOT BACK TO REPULSE MONKEY (WITH RIGHT HAND).




MOVEMENT DESCRIPTION: Retreat with one foot sticking to opponent arm with

opposite hand.

APPLICATION: When an opponent drives or strikes toward you.

18.0 FLYING OBLIQUELY

19.0 LIFT HANDS UPWARDS – FOURTH

See 5.0.




19.1 SHOULDER STRIKE


Shift forward, stop at hips and shoulder/elbow drift forward.

APPLICATION: Whole body lined up and behind contacting/striking shoulder.

19.2 SPRING WRIST


Sometimes called nose-breaker. The body turns left with the flat of right hand rising




and the palm of left hand focusing the downward focus.

APPLICATION: Line up whole body behind whipping flat of wrist.

20.0 WHITE CRANE SPREADS WINGS

See 6.1.




21.0 LEFT BRUSH KNEE TWIST

See 7.0.




22.0 NEEDLE AT SEA BOTTOM

22.1 TRANSITION - SHIFT WEIGHT TO LEFT, RAISING RIGHT FOOT 22.2 TRANSITION - SHIFT WEIGHT BACK ONTO RIGHT FOOT RESETTING LEFT

22.3 SINK THEN FOLD WAIST FORWARD – ROUND AND LOWER BACK


From Raised HANDS raise right arm to eye level. . Squat first, then bend forward

with piercing down hand (or Hands). Bend from hips and tailbone. Keep head up!

APPLICATION: Raise hand to remove or tighten opponent's grasp. Pull opponent

down. If opponent springs back follow him with strike to groin.

23.0 FAN THROUGH BACK (FANBACK)


The arms spread like a cloth fan. The contacting/strike point being left hand or right

elbow.





APPLICATION: Strike left or back strike with elbow.

24.0 TURN BODY and STRIKE (WITH CLOSED BACKHAND)

Traditional name(s): Flinging Body Punch or Turn Body and Strike.


You turn right while crossing wrists below ribs and continue torso turn with back-fist

moving out then withdrawing down. Contact/strike with right palm.




APPLICATION: from FANBACK Method chop opponent at your back

25.0 ADVANCE STEP, DEFLECT, PARRY AND PUNCH

See 12.3.

APPLICATION: Move up to contact/strike opponent.

25.1 DEFLECT LEFT 45º and DOWN

Traditional name(s): Withdraw (shift left), Advance, Parry, Block, Punch.

MOVEMENT DESCRIPTION: Shift to Yang left foot turning slightly left. Reset (up and

then down) right foot.

APPLICATION: Intercept kick or low punch.

25.2 ADVANCE RIGHT TO FORWARD 45º, PARRY and GUARD LEFT





APPLICATION:

25.3 STEP, PARRY

See 12.3.


Shift to left foot with power available to punch.

APPLICATION:




Strike to solar plexus.

25.4 AND PUNCH

26.0 STEP UP, GRASP SPARROW SPARROW'S TAIL

See 3.0





Move arms to left to hold ball and ADVANCE forward with right foot. Then Sparrow's

Tail ending toward reverse direction.

27.0 SINGLE WHIP (second time)

See 4.0.

28.0 CLOUD HANDS (First)





The legs side ADVANCE to open and then close toward left. The arms move in a

gentle oblong. Done six times per Yang Sau Chang 1980 film and nine times with

others. The HANDS here can simply swap up and down at the transition between

turns.

MOVEMENT DESCRIPTION: Cloud HANDS means your HANDS move like the swirling

of clouds. The HANDS and turning and stepping are all closely coordinated. As a

beginner, you can focus on swapping hands from up to down and then moving

hands side to side from waist.

APPLICATION: Disrupt attack from front and slip behind opponent.

29.0 SINGLE WHIP

See #4.0.




30.0 HIGH PAT ON HORSE (TALL SCOUT LEFT)

MOVEMENT DESCRIPTION: Sink right to strike with right hand. Shift forward left

with crossed HANDS then spreading HANDS to set up kick right.

APPLICATION:

Palm strike to face.

31.0 LEFT AND RIGHT SEPARATE FEET

31.1 TRANSITION - SEPARATE FEET RIGHT (KICK TO RIGHT SIDE)




MOVEMENT DESCRIPTION: Lower center of gravity squatting on right leg. Step

obliquely to left and kick to right corner while arms spread for balance and right leg

rising.

APPLICATION: Toe turned and strikes groin or strike by front palm.

31.2 TRANSITION - LEFT TALL SCOUT





31.3 TRANSITION - LEFT SEPARATE FEET - KICK LEFT

See 31.1

32.0 TURN BODY KICK WITH HEEL (left)


Turn to around to the rear using right heel for axis point, and then you kick with Ji /

Press forward using your heel.




APPLICATION: Meet surprise attack from rear

33.0 LEFT AND RIGHT BRUSH KNEE TWIST STEP

33.1 Right Brush Knee

33.2 Left Brush Knee

See 9.0.




34.0 ADVANCE STEP, PLANT, PUNCH


Sink into left leg lowering torso. Torso drops forward to plant the punch.

APPLICATION: A waist turning and weight lowering driven punch.

35.0 TURN BODY AND STRIKE (turn and chop)

SEE 24.0


36.1 TRANSITION - ROLL LEFT, LEFT 45º, DEFLECT LEFT and DOWN




36.2 Parry

See 25.0.

36.3 TRANSITION - ADVANCE LEFT WITH LEFT BLOCK,

See 12.3.




36.4 THEN PUNCH SHIFTING FORWARD

37.0 RIGHT KICK HEEL

MOVEMENT DESCRIPTION: Movement description: advance forward, cross wrists

and single right kick. The wrists un-cross synchronously with kick, (or earlier if

balance is an issue).




APPLICATION: Front heel kick.

38.0 LEFT HIT TIGER

38.1 TRANSITION - HOLD BALL RIGHT

Quarter turn right and hold ball with right hand on top.




38.2 LEFT HIT TIGER

39.0 RIGHT HIT TIGER (BOX EAR WITH RIGHT FIST)

40.0 TURN BODY, KICK WITH RIGHT HEEL

40.1 GRIND (Right) ON LEFT HEEL

MOVEMENT DESCRIPTION: Shift back and turn left on left heel blocking with right

fist toward left.

APPLICATION:




40.2 TURN RIGHT WITH RIGHT BACKHAND AND SPREAD ARMS AND KICK

MOVEMENT DESCRIPTION: Turn on left heel and spread arms front and rearward

for balance.

APPLICATION: right heel kick to opponent’s knee or waist.

41.0 TWIN PEAKS SRIKES EARS

41.1 TRANSITION: From Heel Kick, lower arms by either side of still raised knee

and place foot into 4:30 corner.

41.2 BOX BOTH EARS




MOVMENT DESCRIPTION:

APPLICATION:

42.0 LEFT KICK WITH HEEL

MOVEMENT DESCRIPTION: From Box Ear with both Fists turn and settle on left leg.

Then left front kick.

43.0 TURN BODY, KICK WITH RIGHT HEEL




MOVEMENT DESCRIPTION: Spin around to right to face 9:00 o'clock again and kick.

APPLICATION:

Just fancy?

44.0 ADVANCE STEP, DEFECT, PARRY, AND PUNCH

See 44.0.




45.0 LIKE SEALING AS IF CLOSING (WITHDRAW and SEAL SHUT)

MOVEMENT DESCRIPTION: See #13.0

46.0 CROSS HANDS


CROSS HANDS - LU


Lu /Draw In /Deflect Heel




47.0 EMBRACE TIGER RETURN TO MOUNTAIN (AND SPARROW TAIL)


48.0 OBLIQUE SINGLE WHIP

MOVEMENT DESCRIPTION: See #4. Note: Beginning Direction is 2:00 'clock per




Yang Sau Cheng circe 1980 film.

49.0 WILD HORSE PARTS MANE

MOVEMENT DESCRIPTION: Turning on left leg to 4:00 o'clock corner ADVANCE and

move arm forward and up.

Turning on right to corner. ADVANCE and move arm forward and up.




Turning on left leg to corner ADVANCE and move arm forward and up.


APPLICATION: Strike which combined with ADVANCE behind opponent

50.0 GRASP SPARROW'S TAIL

50.1 LEFT WARD OFF




50.2 RIGHT WARD OFF

50.3 ROLLBACK




50.4 PRESS

50.4 PUSH

50.5 TRANSITION – TURN TO BIRD BEAK

MOVEMENT DESCRIPTION: See # 3.0




51.0 SINGLE WHIP

MOVEMENT DESCRIPTION: See #4.0.

52.0 JADE MAIDEN THREADS SHUTTLE

MOVEMENT DESCRIPTION: You begin with a transition which is addressed in #52.1

below. Then there are four turning strikes. The first turn is a quarter turn to the

left. The second turn is a three quarter turn to the right. The third is a half turn to

the left. The fourth turn is a three quarter turn to the right.

52.1 Transition from Single Whip to First Shuttle:




MOVEMENT DESCRIPTION: From Single whip, turn one half turn to reverse

direction with left hand going under extended right elbow. Then make ball

52.2 First Shuttle:

MOVEMENT DESCRIPTION: A quarter turn to the left contacting/striking opponent's

chest with lower hand and blocking with higher hand.




52.3 Second Shuttle:

MOVEMENT DESCRIPTION: A three quarter turn to the right contacting/striking

opponent's chest with lower hand and blocking with higher hand.

54.4 Third Shuttle:




MOVEMENT DESCRIPTION: A quarter turn to the left contacting/striking opponent's

chest with lower hand and blocking with higher hand.

52.4 Fourth Shuttle:

MOVEMENT DESCRIPTION: A three quarter turn to the left contacting/striking

opponent's chest with lower hand and blocking with higher hand.

ADVANCED: Traditional names: Maiden Works the Shuttle. The name is in

metaphor to a “shuttle slipping in and out when weaving silk”.

53.0 GRASP SPARROW'S TAIL




See #4.0.

54.0 SINGLE WHIP


55.0 CLOUD HANDS (second)





The legs side ADVANCE to open and then close toward left. The arms move in a

gentle oblong. Done three times per Yang Sau Chang 1980 film. Optionally, the

HANDS here can be kept equidistant with a “ball rolling” action at the transition

between turns.

MOVEMENT DESCRIPTION: Cloud HANDS means your HANDS move like the swirling

of clouds. The HANDS and turning and stepping are all closely coordinated.


56.0




57.0 SINGLE WHIP


57.0 SQUATTING SINGLE WHIP (LOW SINGLE WHIP)

MOVEMENT DESCRIPTION: Above is much too low for most players. Just relax and

sink a bit into right leg, the lean in a bit as come forward and rise.

APPLICATION: Disengage backwards and down then (if need) strike forward to

crotch.




58.0 GOLDEN COCK STANDS ON ONE LEG (BIRD ON ONE LEG)


APPLICATION: Block, knee, or kick strikes.

59.0 LEFT AND RIGHT STEP BACK DISPATCH MONKEYS (MONKEYS)




60.0 FLYING OBLIQUELY (DIAGONAL FLYING)

61.0 LIFT HANDS UPWARD (RAISE HANDS)





APPLICATION:

62.0 WHITE CRANE DISPLAYS WINGS (CRANE)

MOVEMENT DESCRIPTION: See # 6.0

APPLICATION:

63.0 LEFT BRUSH KNEE TWIST STEP (BRUSH KNEE LEFT)




64.0 NEEDLE AT SEA BOTTOM (SEA BOTTOM)

65.0 FAN THROUGH BACK

MOVEMENT DESCRIPTION: See #23.




66.0 TURN BODY, WHITE SNAKE DARTS TONGUE (TURN, BACKHAND,

STRIKE)

MOVEMENT DESCRIPTION summary: From FANBACK, turn right with torso

swinging a back hand. Withdraw then strike.

APPLICATION: Backhand Strike




67.0 DEFLECT, PARRY, AND PUNCH

68.0 GRASP SPARROW'S TAIL (ADVANCE and SPARROW'S TAIL)




69.0 SINGLE WHIP

70.0 CLOUD HANDS (Third)

MOVEMENT DESCRIPTION: See 28.0 or use Optional Four Hands technique. The

arms move in a gentle oblong. Done six times per Yang Sau Chang 1980 film.




MOVEMENT DESCRIPTION: The HANDS and turning and stepping are all closely

coordinated.


71.0 SINGLE WHIP




72.0 HIGH PAT ON HORSE WITH PIERCING PALM (Snake Bite)

72.1 Transition: See # 30.0.

72.2 Piercing Palm

MOVEMENT DESCRIPTION: Withdraw left palm over right wrist by turning waist left.

Swap wrists uprightly. Move left arm forward with right turn of waist.

APPLICATION: Finger strike to throat.

73.0 CROSS-SHAPED LEGS - RIGHT KICK WITH HEEL (or Lotus kick)





APPLICATION: Heel kick.

74.0 ADVANCE STEP PUNCH TOWARD GROIN


74.1 Transition – Advance Step




74.2 Punch toward Groin

75.0 ADVANCE STEP GRASP SPARROW'S TAIL

75.1 Transition – Advance


Straighten up turning left 45 degrees. Swap hands uprightly.

75.2 SPARROW'S TAIL (BEGINNING LEFT WARD OFF. ENDING BIRD BEAK)





76.0 SINGLE WHIP


77.0 SQUATTING SINGLE WHIP (LOW SINGLE WHIP)

See #57.0.




78.0 STEP UP SEVEN STARS


APPLICATION: Block.

ADVANCED: Forward with the Big Dipper. Advance, Make Bucket.

79.0 RETREAT ASTRIDE TIGER




MOVEMENT DESCRIPTION: Flow down and forward.

APPLICATION: Deflect with left and descending strike with right

80.0 TURN BODY SWEEP LOTUS (LOTUS KICK) 11:00


DESCRIPTION:

APPLICATION: Kick from unexpected angle.




81.0 DRAW BOW AND SHOOT THE TIGER (SHOOT THE TIGER)

MOVEMENT DESCRIPTION: In the first step we need to turn our bodies like an upright

cylinder. We turn our body from the spine and the movement at its most obvious level is the

orientation of the waist in front. For example, when we go to single weight right with right foot

at 45degrees, the waist or Dantien should be turned maybe thirty degrees left with the right qua

slightly closed and the left qua fully open. Before, making the empty step forward, we begin to

turn the waist halfway back toward.

APPLICATION: Corkscrew wrists as strike opponent

ADVANCED: Bend the Bow to Shoot the Tiger. In bend the bow, we might first

study from turning the cylinder to expanding the sphere upwards, in other words

adding a upright dimension. The top of the bow is the top of the head, the bottom

in the short bow is the coccyx or in the long (more powerful) bow the bottom of

your feet. “An” includes bending the bow and releasing. Near the very end of the

Set, This method focuses in on Bending the Back (bow) prior to releasing the arrow

(Fa Jin)






83.0 LIKE SEALING, AS IF CLOSING (WITHDRAW and SEAL SHUT)





84.0 CROSS HANDS


85.0 CLOSING POSTURE





CONCLUSION

“…his body has that combination of suppleness, emptiness, and immobility that is a

good clue to what he is doing with his mind.” - John Burdette on Buddhist monk.

Practice!

If this writing were all that could be said about the Yang form, then it would not be nearly done. The chance we have is far, far above these words and is posed in a

discussion of art by the poet Jeanette Winterson: "What art does is to coax us away from the mechanical and towards the

miraculous."

CONCLUDING NOTES




In the end, the full martial and meditative potential reside in Wu Ji.

Responsiveness and awareness are the foundation of Tai Chi.

Energy can be understood as the Flow of movement through your body,

throughout the set, through your opponent.

Each Method can be practiced alone and the end point of each can serve as the stance for standing meditation or simply isometric strengthening.

Although a Yang player need only do the Wu Ji Method(s), to do so is to risk Yin without Yang and hence be incomplete.

ABOUT TONY HANSLIN

As a college student, Tony Hanslin coached the Dartmouth varsity rowing team,

which placed third in the nation under his tutelage. After Dartmouth, Tony went on to participate in and later run the family business of developing Eastman and Olde

Farms in Grantham, N.H. Additionally Tony served as president of Yankee Barn Homes for three decades. Tony earned a Master of Arts Degree from Antioch University in Keene. N.H.

Beginning In 1990 Tony practiced a Korean martial art for five years and then

joined the pursuit of Tai Chi. Tony studied for a number of years under two teachers. Dennis Fieury; who taught the meditative and graceful dimensions of the art; and Master John Toy, who teaches the martial or fighting dimensions as well as

the meditative aspects. Tony also studied the Tai Chi sword in China with Li De Yin and has attended numerous related workshops, including two with Moshe

Feldenkrais, one with YAANG YANG, and one with Bruce Frantzis.

Tony lives with his wife, Holly Ostrander, in Grantham, N.H. where he spends much of his time teaching and performing Tai Chi in their gardens and tea house.

tai chi long set - beginners

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