Train with music

Train with music in combat sports, it’s a message for you.

Your rhythm in martial arts.

To be a fighter and be very effective it is necessary that you begin to think in a simple way that it is something deeply intense in its consequent implications.

Fighting in a simple way is one of the most difficult things to do, it is extremely complicated.

When you study drills, routines and combination models, in reality everything evolves into an improvisation that is based around intuition, the perception of an instant, vision, your sensation, your sensitivity, body contact and your real intention.

Everything has to be fused together.

Your thinking becomes fast, what you have trained for hours is internalized, the body cannot think but moves as you trained and responds to external impulses (those of your opponent / aggressor) as you perceive them, the fight is too fast to think you are on autopilot, you work unconsciously.

The more you prepare and work out, the more you can put logical and rational thoughts into combat, but if you consider this in a street assault you don’t have this time.

Your body must move on “autopilot“, responding to external stimuli in the most correct way.

If you see all the various techniques you learn as separate, then this is a lot of material for your mind to work on and will not lead to practical, real functionality.

You won’t be able to do anything.

The techniques must flow you can not think of them at that moment.

Simplifying everything, it must be your essence, there are not many techniques but you who move adapting to the moment, this is the way to go.

You have to be like water

Combinations can be performed with an incredible variety of shots and from various angles but when you understand the use of your body correctly you simplify everything to their essence by tending to follow simple models of combinations.

Most multiple combinations are based on simple body rotation.

The choice of combinations of shots, such as the upright, hook or jab and cross, etc. is guided by the angle that your body has at that moment is by the spaces in your opponent’s guard, by his position.

Because your body is moving in a three-dimensional space adapting to the moment and from that position it must download the sequence of blows, the movement of your feet is the secret of your strokes.

This means that the core of the body, that is, your legs and torso is the essential region where if you modify the shots makes no difference, the arms are just an addition, a way of taking the power generated in the center of the target.

Use your body

If you learn to hit using the motor of your body, that is, the thrust of the legs and the rotation of the torso you can very quickly change the sequence of your shots and your position, if you hold the shots tight it also gives you the possibility to change the shot if you see a space in the guard of your opponent, So it is much more difficult for the opponent to counter, because you can be tighter short direct, less predictable.

Body rotation is necessary to develop power in your shots and make them effective, you can compare it to a fulcrum with two opposing charge springs that rotate generating power.

The three-dimensionality of body and space

But your advantage is that you have a body that works not on a plane but in a three-dimensional way and that therefore if it is true that a standard jab and the Cross would be like holding your wheel (torso) on a horizontal plane instead your uppercut and overhand strokes are on a different plane like keeping the wheel inclined, but you can perform multiple shots with the same hand generating the rotation and reloading in the same direction, or as often happens by giving different angles to the plane of the individual shots, but as you can guess it changes the angle but continues to use the same body mechanics, except if you want to see it so of a doubled shot where it is not really delivered but is instead used to build the second shot with power, The first is just a support to create space, a bounce.

Whether you are using punches or elbows, the essential movement is always the same, you have to generate it from the push and rotation of your body.

A good way to train the ability to put these elements together is to work a lot on your core, the central structure of your trunk and it is through the practice of rhythmic exercises without using your arms at the beginning but only movements to understand the generation of power from the movement of your legs and your central body.

Run DRILLS with a RHYTHM, train with music

When you perform exercises and drills to learn techniques it is normal that at the beginning you are focused on learning the sequence, the correct position of the body of the hands, the steps, the weight of the body and the precision of the movements.

Bravo, everything is correct but as soon as you have internalized these movements you have to start performing the DRILLS putting emphasis on certain blows and movements, speed and power, it does not have to be all the same.

Doing DRILLS with rhythm means that you have to do them using all the methods to hit that you know and you have to mix them together with dodges and evasions and parries, etc.

You have to mix everything together because it’s your band.

Doing this means that not only is it your body that is learning to move, but you are learning the timing of the shots by putting emphasis on the strong shot and as you move within a time.

The secret to hitting hard is to do it at the right time of a combination set of movements consisting of dodge shots steps etc.

If you work with this approach and this attention and look for shots with different times (speed) and power (accents) you are on your way to learning that’s how it hits a professional.

The music accent is when you have to hit hard

It is important to see combat as a dance and make it come to feel to your body.

Play with shots.

Look for rhythm maybe at the beginning with some simple time like pop music, if you lose the rhythm you move the shots until you are back in time, do it until the sense of rhythm enters you so you don’t think about it anymore but enter the rhythm instinctively not on purpose.

You have to listen to the timing and hit on the loud movement of the music.

What I want to tell you is that if you always hit the same you become like someone who speaks monotonously without accents and variations of voice you are a fucking boring and above all predictable robot.

Now try to put three or four shots at each pulse from a standstill and then make the same three or four shots from a different angle, then on the other side.

Then dodge each loud accent of the music instead of inserting a shot, then two dodges per accent, then take two steps every normal accent not the loud one of the music.

Take steps forward, snap back steps back one per beat or two steps on a certain accent.

Then mix dodges and any steps.

Throw very short shots to place next from four or eight shots of Uppercut or Jab Cross, up and down in the middle, angled, etc.

Now put all these elements together.

Sounds!

You have to hear the rhythm of the music and fight on that rhythm.

I insist, train with music! and train with music! and still train with music!

Once you own the pace you can play to lose the pace, then hit right before or immediately after.

You’re doing Fusion: you’re discordant and then be batting.

Both are valuable because you are anticipating or slightly delaying the shot but deliberately.

You’ll see how tiring this exercise is, perform many rounds, fight with the rithm of the music.

When I started studying martial arts, I started to study punch and foot blows but the important thing was not to insert the blows at a certain moment, on the beat of a rhythm from a certain angle through my body that moves and guide from there is in those given my blow.

Then instead of just placing one shot you have to learn on that beat to place two or three inside that beat.

Try to make this army on the spot.

Of course, if you want to place more shots it means you have to go faster and shots need to be shortened, but your body is still moving.

You have to feel your shoulders loose to be fluid and moving.

You’re playing an instrument and it’s your body, it’s like on a stringed instrument where your left hand moves at one speed but right to another and putting accents.

This is your body and your arms.

You need to be loose, fluid and perform this in the midst of dodges, evasions, snap backs, steps, etc.

Doing all these things together while you’re on the punchline of time or in relation to the rhythm of the music means you’re performing a kind of improvised dance that can focus on a single aspect consisting of the shots, footwork, dodges and parades all mixed into one type of shadow boxing But inserted in a defined rhythm, the rhythm of the fight, when he heard this you will notice.

Initially perform the shots with pace and accents on the spot, then once you start to feel that you are on time then start inserting the footwork, perform the steps you always know inside the rhythm.

Now every now and then he tries footwork and shots to get in and out of time, change pace for a moment, you know what that means?.

Are you anticipating or slowing down the pace against your opponent, because you have to dictate the rhythm, or do you want to “dance” to your opponent’s music?.

If you like you can also do it, but if you want to go fast with a sprinter you have to be really fast.

Every now and then, however, he goes back to the army as a stop, then again with the movement of the steps and now also add the dodges you know ( lowering, right to left, bobbing and weaving, etc.).

If you train with music your body feels much more than without music and goes much deeper feeling it even when it’s not there.

Train with music!

Relax, listen to the rhythm and follow it, let the rhythm let the music enter into you.

You remember the music that is used during Muay Thaimeetings, it’s tribal music but the rhythm changes according to the round they’re facing, it’s no accident and they train with this music, they internalize it, they “dance” on it.

You ask me what I’m trained with?.

Mmm ok I’ll tell you I put Cuban Salsa and Cubaton (Cuban reggaeton), do you think it’s a coincidence that South Americans are strong fighters?.

No is one of the secrets is their musicality because they accustom the body to movement and this movement with rhythm put it to even when they fight.

Now put the music you like but use music that has marked accents to hear it well while you train the bag but not only.

Work and train with music.

Have you ever seen Miguel Cotto doing the sack or the rope he puts on?.

Okay, go and see.

I didn’t tell you how to put ghost notes!!!

Okay, one more time.

Now turn on the stereo and train with the music!

Train with music!

Street Fight Mentality & Fight Sport

Andrea