Wednesday, September 11, 2013
Guard Pass: Long Step
From the step over position where one leg is trapped. My right leg is in between B's legs. To do the longstep I switch my grips so that my left hand has a same side collar grip near the chest and my right hand goes to the inside of the same side knee. My left leg comes in close and almost pinches B's leg in between both of mine. My left elbow touches the mat first and once it touches I switch my hips so my left hip hits the mat as I kick my right leg up and out hard. My right hand pushes against the inside of the knee to stop B from coming back into me.
Wednesday, September 4, 2013
Guard Passing: Reacting after the Pass and Clock Choke Attack
We drilled a reaction off passing guard. A common reaction done by the bottom person is to shrimp out and face the top passer. We simulated this position by doing an X pass off the Reverse De La Riva hook. Pretend I am passing to my left side. Once I get around the legs, B shrimps out and is facing me. My right hand goes to B's top shoulder (their left) as my left foot steps toward the head. This creates an angle where my hips are facing B's head. From this position I take a big backstep with my right leg and drop my left elbow into the space under B's left armpit. My left hand grabs the cross lapel and my right hand grabs the back of the lapel with 4 fingers in. My left knee is bent with my foot flat on the floor and my right leg is extended.
I want to transition so that my right shin come across B's back with my left leg out or in. From here I can attack the back.
A transition we worked on is after backstepping, B would turn away to their knees. We are looking for this reaction as it opens a clear path to shoot my right leg in and take the back.
An attack off this position is to attack kimura on B's top (left) arm. A reaction for them is to grab their own lapel or belt. From here I release the kimura grip and grab my own lapel with my left arm to trap B's arm. My right hand untucks B's lapel and once I have the lapel loose I pass the lapel from my right hand to the left keeping B's arm trapped. I then switch back to my position behind their back and use my right hand to get a collar grip and attack the clock choke.
Clock choke variation: Instead of going with my head down on the mat I can bring my hip in behind B's head in a movement similar to kesa gatame. From here I just walk towards the head like a traditional clock choke. This idea behind this variation is to address the possibility of being rolled which is something that sometimes happens when doing the traditional clock choke.
I assume that the back can still be taken with these grips.
I want to transition so that my right shin come across B's back with my left leg out or in. From here I can attack the back.
A transition we worked on is after backstepping, B would turn away to their knees. We are looking for this reaction as it opens a clear path to shoot my right leg in and take the back.
An attack off this position is to attack kimura on B's top (left) arm. A reaction for them is to grab their own lapel or belt. From here I release the kimura grip and grab my own lapel with my left arm to trap B's arm. My right hand untucks B's lapel and once I have the lapel loose I pass the lapel from my right hand to the left keeping B's arm trapped. I then switch back to my position behind their back and use my right hand to get a collar grip and attack the clock choke.
Clock choke variation: Instead of going with my head down on the mat I can bring my hip in behind B's head in a movement similar to kesa gatame. From here I just walk towards the head like a traditional clock choke. This idea behind this variation is to address the possibility of being rolled which is something that sometimes happens when doing the traditional clock choke.
I assume that the back can still be taken with these grips.
Half Guard Submission: Loop Choke from the Top
This submission was taught from top of half guard, but I assume that it can be done from side control as well. When on top I make sure I have good shoulder pressure. My hand that would underhook passes the lapel closest to the head to my head control hand. From here I pass. A key detail is isolating B's near side arm. From this position I bring my head to the mat where my knees were as I walk towards B's head. If I I having trouble finishing the choke I can do a forward roll.
I think a detail of the choke is not having it too loose. I felt that if my hand came behind the head the choke would be lost.
I think a detail of the choke is not having it too loose. I felt that if my hand came behind the head the choke would be lost.
Escape: Side Control Concept
Sometimes when stuck in side control, shrimping and turning into the person are very difficult. One of the better options is to use my hip bump or bridge to create space. When I hip bump I bring my knee to my elbow and use that connection to create a barrier. My free leg can go over the back to help me face the top person. I then use my free leg and bring it across the top person as a knee shield to create space. From this position I extend my body out, bringing my upper body away from the top person. The arm that would block the cross face can post on the ground and I can elevate my body off the ground and close the guard.
Dealing With Spider Guard Grips
I have two options when dealing with the foot on the bicep. For my first option I swim my hand from the outside inso that my palm rests against B's thigh. I push away to clear the hook and hopefully the grip.
Option two is to bring my knee right behind B's knee/thigh and in one motion pull back while shooting my hips forward. It's possible to go into a leg drag/torreando. For the leg drag (if the other foot is on the bicep) I take my free hand and bring it across my body and behind B's ankle. I use my free hand to change the angle of the leg and fit it into the pocket of my hip.
Option two is to bring my knee right behind B's knee/thigh and in one motion pull back while shooting my hips forward. It's possible to go into a leg drag/torreando. For the leg drag (if the other foot is on the bicep) I take my free hand and bring it across my body and behind B's ankle. I use my free hand to change the angle of the leg and fit it into the pocket of my hip.
Sit Up Guard: 3 Sweeps
The position starts from De La Riva guard. Top player has a same side lapel grip with their right hand. I am playing De La Riva with my left foot and my right foot is on T's left thigh. To set up sit up guard I break the lapel grip and kick back T's left thigh. As I kick back I pass the arm to my left hand. At this point I should be controlling T's right arm while having my left foot resting on their left thigh.
Sweep 1:
A common reaction for T is to use their left hand to push down on my right ankle and step over the leg. As they step over my right leg comes behind their trapped leg and I use my hips to come up and straight out their leg to sweep them backwards. Once I finish the sweep my right arm comes up and my forearm blocks their hip at the inside of their thigh.
Sweep 2:
Another common reaction is for T to step back. When they step back my left leg is the one that hooks behind T's right leg. I let go of sleeve grip in my left hand and post my left hand of the floor. As I post my left hand my right arm shoots through the legs as I come up to sweep. Again I block the hip with my forearm on the inside of the thigh.
Sweep 3:
Sometimes T steps back, but only enough so that it is difficult for me to maintain my right foot on T's left thigh. When they do this I keep the arm grip tight and start to fall to my right side. As I fall I bring T's right knee onto my body. My main goal is to move toward T's left leg so that my right hand can reach the back of T's left knee. Once I am able to do that T's weight is on my body. In one motion I begin to flatten myself out so and when my back is flat against the mat, I place both my feet on the ground and upa as I push with my right hand.
Sweep 1:
A common reaction for T is to use their left hand to push down on my right ankle and step over the leg. As they step over my right leg comes behind their trapped leg and I use my hips to come up and straight out their leg to sweep them backwards. Once I finish the sweep my right arm comes up and my forearm blocks their hip at the inside of their thigh.
Sweep 2:
Another common reaction is for T to step back. When they step back my left leg is the one that hooks behind T's right leg. I let go of sleeve grip in my left hand and post my left hand of the floor. As I post my left hand my right arm shoots through the legs as I come up to sweep. Again I block the hip with my forearm on the inside of the thigh.
Sweep 3:
Sometimes T steps back, but only enough so that it is difficult for me to maintain my right foot on T's left thigh. When they do this I keep the arm grip tight and start to fall to my right side. As I fall I bring T's right knee onto my body. My main goal is to move toward T's left leg so that my right hand can reach the back of T's left knee. Once I am able to do that T's weight is on my body. In one motion I begin to flatten myself out so and when my back is flat against the mat, I place both my feet on the ground and upa as I push with my right hand.
Guard Pass: Shin/Knee Slice to Leg Drag
I learned two guard passes from the position where you step over the bottom person's leg so that their leg is trapped. If their legs are open then the option to knee slice, shin slice, or x pass is there. A lot of times the bottom player will cross their feet which takes those options away. I still have two pass options from this position.
The first is a smash pass to the opposite side. If I am over the bottom players right leg, I want to smash his legs to the opposite side and pass. My right hand grabs the same side lapel and my left goes to the otuside of B's right knee. I stand up a little to give myself space to turn both my feet at an angle (about 45 degrees to create a diagonal line across B's body). The angle gives me the leverage I need to help smash the legs. My chest drops down so that it is touching my left hand and using both my hand and my chest, I smash the legs to the side. I can usually slip my right leg out at this point, but before I do that I windshield my left shin over both B's legs to trap them. Once I have my shin trapping B's legs, I can then release my right leg and post out. At this point I can release the lapel with my right hand and cross face, driving B's body up. This motion helps to create space and allows me to bring my right knee in tight to the body. From here I can simply mount with my left arm having a underhook.
My second option is when the bottom player resists the smash to the side.When I feel them resisting the push on the outside of their leg, I bring the inside of my right knee to the inside of B's right. I straighten my right leg and in one motion collapse and slide my right knee/shin along B's right shin. This motion puts a lot of pressure on B's leg and makes it difficult for them to keep the leg trapped. More often than not my leg will slip out. I end up in a position where my right hip is laying on B's legs and my right hand is gripping the lapel. It's important to keep my right elbow in tight to the hip. My immediate reaction is to plant my head on the ground and jump to the other side. When they turn into me again, my left arm comes across their back with my elbow tight to their hip and I jump back over again. Everytime I jump over I post my head and hand on the floor.
Knee slice/Shin Slice
Off the same guard passing position when B's right leg is trapped. If the legs are open I can knee/shin slice. The main difference between the two is what comes over the leg first. If I am knee slicing, my right knee comes up and over B's right shin. Once I clear the rest of my leg I use my left hand grip on the outside of their leg in conjunction with my body to shift their legs over to the side. I end up at the end of a leg drag position.
The shin slice is similar except my shin windshield wipers over first. I've had more success with the shin slice and find it easier than the knee slice. An important detail is to keep the inside of my right knee against the inside of B's right knee.
Grip detail: Instead of gripping the outside of the knee, I can grab the bottom of the pants at the ankle.
Sometimes the bottom player will bring their left leg across the hip to create space and stop the slice. They will also hook their right foot and start playing a reverse De La Riva position. At this point my left hand goes to grip the bottom of the pants on B's right leg. My right hand lets go of the lapel and comes around the outside of B's left leg and I pass the ankle grip in my left hand to my right. My left hand can go back to gripping the same side lapel. I push my knee into the thigh and when they push back I straight my leg and knee slice out like in the pass above. Expect to jump over the side immediately. If I don't have to jump I can just pass and bring B's legs over my right to isolate their hip movement.
Double Under:
For this double underpass I grab the pants above the butt. This is different to the traditional arm wrap that is shown. With the pants grip I pull the bottom player onto my quads. From this point I pick a side that I want to pass. If I choose to pass to the right my right arm comes around the hip. I have two grip options. The first is I can leave my forearm against B's hip. The second is to get a thumb in grip on the cross lapel that is no higher than their belly button. This is to keep them from having the chance to push on the elbow and stop the pass. From here I use my left grip to pull B up while I post my left foot and use my left knee to post againt B's butt. My right knee comes next to B's hip. As I start initiating the pass some flexible people may be able to resist. To finish the pass on these people I have to redirect their body. To do this I let go of my left hand grip and punch my forearm/bicep against B's hip. This motion will help to clear the legs. A pass option off of the lapel grip is to grab the bottom of the same side lapel with my left hand. I can wrap my arm beneath B's body as they are elevated. This creates a trap for their hip and makes it hard for them to hip escape out.
The first is a smash pass to the opposite side. If I am over the bottom players right leg, I want to smash his legs to the opposite side and pass. My right hand grabs the same side lapel and my left goes to the otuside of B's right knee. I stand up a little to give myself space to turn both my feet at an angle (about 45 degrees to create a diagonal line across B's body). The angle gives me the leverage I need to help smash the legs. My chest drops down so that it is touching my left hand and using both my hand and my chest, I smash the legs to the side. I can usually slip my right leg out at this point, but before I do that I windshield my left shin over both B's legs to trap them. Once I have my shin trapping B's legs, I can then release my right leg and post out. At this point I can release the lapel with my right hand and cross face, driving B's body up. This motion helps to create space and allows me to bring my right knee in tight to the body. From here I can simply mount with my left arm having a underhook.
My second option is when the bottom player resists the smash to the side.When I feel them resisting the push on the outside of their leg, I bring the inside of my right knee to the inside of B's right. I straighten my right leg and in one motion collapse and slide my right knee/shin along B's right shin. This motion puts a lot of pressure on B's leg and makes it difficult for them to keep the leg trapped. More often than not my leg will slip out. I end up in a position where my right hip is laying on B's legs and my right hand is gripping the lapel. It's important to keep my right elbow in tight to the hip. My immediate reaction is to plant my head on the ground and jump to the other side. When they turn into me again, my left arm comes across their back with my elbow tight to their hip and I jump back over again. Everytime I jump over I post my head and hand on the floor.
Knee slice/Shin Slice
Off the same guard passing position when B's right leg is trapped. If the legs are open I can knee/shin slice. The main difference between the two is what comes over the leg first. If I am knee slicing, my right knee comes up and over B's right shin. Once I clear the rest of my leg I use my left hand grip on the outside of their leg in conjunction with my body to shift their legs over to the side. I end up at the end of a leg drag position.
The shin slice is similar except my shin windshield wipers over first. I've had more success with the shin slice and find it easier than the knee slice. An important detail is to keep the inside of my right knee against the inside of B's right knee.
Grip detail: Instead of gripping the outside of the knee, I can grab the bottom of the pants at the ankle.
Sometimes the bottom player will bring their left leg across the hip to create space and stop the slice. They will also hook their right foot and start playing a reverse De La Riva position. At this point my left hand goes to grip the bottom of the pants on B's right leg. My right hand lets go of the lapel and comes around the outside of B's left leg and I pass the ankle grip in my left hand to my right. My left hand can go back to gripping the same side lapel. I push my knee into the thigh and when they push back I straight my leg and knee slice out like in the pass above. Expect to jump over the side immediately. If I don't have to jump I can just pass and bring B's legs over my right to isolate their hip movement.
Double Under:
For this double underpass I grab the pants above the butt. This is different to the traditional arm wrap that is shown. With the pants grip I pull the bottom player onto my quads. From this point I pick a side that I want to pass. If I choose to pass to the right my right arm comes around the hip. I have two grip options. The first is I can leave my forearm against B's hip. The second is to get a thumb in grip on the cross lapel that is no higher than their belly button. This is to keep them from having the chance to push on the elbow and stop the pass. From here I use my left grip to pull B up while I post my left foot and use my left knee to post againt B's butt. My right knee comes next to B's hip. As I start initiating the pass some flexible people may be able to resist. To finish the pass on these people I have to redirect their body. To do this I let go of my left hand grip and punch my forearm/bicep against B's hip. This motion will help to clear the legs. A pass option off of the lapel grip is to grab the bottom of the same side lapel with my left hand. I can wrap my arm beneath B's body as they are elevated. This creates a trap for their hip and makes it hard for them to hip escape out.
Thursday, July 11, 2013
Side Control to Back Control
From the classic side control position with the arm over. Trap the arm between my head and arm. The arm should be trapped so that it is next to ear closest to bottoms head. From here I transition to North South and left the same side leg as the arm trapped. In one motion I shuck my shoulder to clear the arm and force the bottom person to be in a position where their arm is trapped and their back is faced towards me. If they get to their knees, transition to the back.
Guard Pass
Spider Guard Leg Lasso Pass:
It's important to stay active.
Try to have one hand free.
The arm that is lasso'd: The hand circles to the outside of the thigh. The free arm cross grips at the ankle and pulls the leg down to the ground and initiates a smash pass. One hand stays at the knee while the other comes up the back to grab the lapel behind the neck. The grip on the back lapel has to be tight to keep the person from hip escaping away.
When the hand cannot be circled to the outside of the thigh, force half guard and with the lasso'd hand grab as far up the bottom's lapel. This will keep them from extending out and creating space to do moves like omoplata. Sapao said from this position to just keep good pressure and wait for the opportunity to pass. Once the pass is complete, if the grip cannot be broken on the lasso'd arm, put the knee on the face or chest and posture up.
Sapao recommended to drill the duck under drill when the bottom person is playing foot on bicep. You can transition to a armbar right off the pass as well.
For the guard pass I use off defended omoplata/triangle. Head on the outside of the leg with my arm cross holding the same leg. Keep the elbow tight in the crotch to prevent armbars. Also, if possible grab my own lapel with the arm that is holding the leg. If not, the arm is an acceptable grip as well. If person posts against shoulder/head to prevent pass, stand up and pull the leg with the grip and stack the person on their head.
For the last pass the person may roll and try to get to their knees. When this happens spin around the head to the other side. This can be done with the last two passes if not all.*Lucas Leite* seat belt off torreando. *Same Concept
A concept Sapao told me about was the willingess to smash. For example if someone is playing open guard, instead of engaging straightforward, grab the ankles, pull them into you, and smash them over. You can hold them in a smashed position by pinching your knees on their hips.
It's important to stay active.
Try to have one hand free.
The arm that is lasso'd: The hand circles to the outside of the thigh. The free arm cross grips at the ankle and pulls the leg down to the ground and initiates a smash pass. One hand stays at the knee while the other comes up the back to grab the lapel behind the neck. The grip on the back lapel has to be tight to keep the person from hip escaping away.
When the hand cannot be circled to the outside of the thigh, force half guard and with the lasso'd hand grab as far up the bottom's lapel. This will keep them from extending out and creating space to do moves like omoplata. Sapao said from this position to just keep good pressure and wait for the opportunity to pass. Once the pass is complete, if the grip cannot be broken on the lasso'd arm, put the knee on the face or chest and posture up.
Sapao recommended to drill the duck under drill when the bottom person is playing foot on bicep. You can transition to a armbar right off the pass as well.
For the guard pass I use off defended omoplata/triangle. Head on the outside of the leg with my arm cross holding the same leg. Keep the elbow tight in the crotch to prevent armbars. Also, if possible grab my own lapel with the arm that is holding the leg. If not, the arm is an acceptable grip as well. If person posts against shoulder/head to prevent pass, stand up and pull the leg with the grip and stack the person on their head.
For the last pass the person may roll and try to get to their knees. When this happens spin around the head to the other side. This can be done with the last two passes if not all.*Lucas Leite* seat belt off torreando. *Same Concept
A concept Sapao told me about was the willingess to smash. For example if someone is playing open guard, instead of engaging straightforward, grab the ankles, pull them into you, and smash them over. You can hold them in a smashed position by pinching your knees on their hips.
Thursday, June 6, 2013
Mount: Brabo Choke
From side control when someone has their forearm posted on my throat. With my underhooking hand I push the elbow across their body and trap it against their head like an arm triangle. I take out his lapel and pass it to my crossface hand. From there I mount and loosen my grip on the lapel as I move to S mount I loosen my grip on the lapel so that I can bring my forearm against their neck. From S mount I fall to my side and push their arm across their body to finish the brabo choke.
Monday, May 27, 2013
Guard Pass: Death Pass Off Leg Drag
From the leg drag position instead of pass towards the back I pass towards the trapped leg. I get a collar grip and grip the pants at the butt with my other hand. I bring both my knees in between the legs and make a wide base, stretching out B. I put my left hand on B's bottom leg at the knee and hold it as I walk towards the head. When I feel ready to pass I sprawl my hips out and clear the leg. From here I move back towards B's legs to trap the hips. I use the shallow collar grip to create pressure on B's head and keep them from turning into me.
Guard Pass: Leg Drag Options
Double guard pull.
We both have RDLR hooks on the thighs.
I grab a two on one grip on the ankle of the pants. I straighten out my hook and drag the leg to my right hip. From here my hands go to the knee of the trapped leg. I turn towards the side of the trapped leg and bring my knees to the ground. I then shift over laterally to drag the leg across.
DLR:
As I go into the open guard and B tries to get a DLR hook on my right leg. My right hand shoots down along my leg and I block B's ankle grip. My hand should actually be in a backhand position so that my palm is blocking the grip. From this position I walk into the free leg and place both hands on the knee. I fall to my side like I would an ankle lock. My right hand stays at the knee as I place my left hand on B's toes. I can use my hand to create pressure on the foot for an ankle lock. To get the leg drag I go to my back and grab the pants at the ankle. I lift my hips and drag the leg across. I turn towards the side of the trapped leg and bring my knees to the ground. I then shift over laterally to drag the leg across
If they are sitting, come in and scoop up the leg at the heel and drag across.
If open guard I get a cross ankle grip. My same side hand goes to the foot and I push the foot towards the hip to make the leg create a perpindicular angle. I jump forward and drag the leg across.
A control grip from the leg drag is to grab the opposite side collar to trap the leg between my arm and hip. My other arm can get a same side underhook and grab the lapel behind the neck. As I pass, I use my same side underhook to put B on their side. My left knee comes up to the back of B. I can use the position to control or take the back.
We both have RDLR hooks on the thighs.
I grab a two on one grip on the ankle of the pants. I straighten out my hook and drag the leg to my right hip. From here my hands go to the knee of the trapped leg. I turn towards the side of the trapped leg and bring my knees to the ground. I then shift over laterally to drag the leg across.
DLR:
As I go into the open guard and B tries to get a DLR hook on my right leg. My right hand shoots down along my leg and I block B's ankle grip. My hand should actually be in a backhand position so that my palm is blocking the grip. From this position I walk into the free leg and place both hands on the knee. I fall to my side like I would an ankle lock. My right hand stays at the knee as I place my left hand on B's toes. I can use my hand to create pressure on the foot for an ankle lock. To get the leg drag I go to my back and grab the pants at the ankle. I lift my hips and drag the leg across. I turn towards the side of the trapped leg and bring my knees to the ground. I then shift over laterally to drag the leg across
If they are sitting, come in and scoop up the leg at the heel and drag across.
If open guard I get a cross ankle grip. My same side hand goes to the foot and I push the foot towards the hip to make the leg create a perpindicular angle. I jump forward and drag the leg across.
A control grip from the leg drag is to grab the opposite side collar to trap the leg between my arm and hip. My other arm can get a same side underhook and grab the lapel behind the neck. As I pass, I use my same side underhook to put B on their side. My left knee comes up to the back of B. I can use the position to control or take the back.
Side Control Attack: Arm Trap
I am in side control on B's left side. I have their left arm trapped with my right underhooking arm and grab my lapel with my right hand. My head is tight to the arm to keep it in control.
Americana Attack:
B may try to bring their arm around my head to post off my throat. I follow the motion of the arm and catch the wrist with my left hand. From there I lock up an americana and finish.
To block their arm from coming around my head, I lower my my forehread to the ground as I follow the motion of the arm. A common reaction will be for them to try and shrimp out to create space. As they shrimp out I put my knee on their chest. My left hand posts on the floor behind their head as I bring my left leg over their head. My right shin stays tight to their chest as I sit back with the straight armlock. It's important to hook the head with the leg.
Sometimes the far side armbar is a more viable option. A common reaction that happens is when I go knee on chest and post my leg out, the bottom person reaches across to grab the knee. The far side armbar is still possible, but B's right arm will be in the way blocking my leg. They can use their free arm to peel my leg off of their head or defend their arm.
When going for the far side armbar, I keep my knee on their chest and windshield my foot to the other side of B's arm. This way when I go around for the far side armbar I am able to trap B's head effectively.
Americana Attack:
B may try to bring their arm around my head to post off my throat. I follow the motion of the arm and catch the wrist with my left hand. From there I lock up an americana and finish.
To block their arm from coming around my head, I lower my my forehread to the ground as I follow the motion of the arm. A common reaction will be for them to try and shrimp out to create space. As they shrimp out I put my knee on their chest. My left hand posts on the floor behind their head as I bring my left leg over their head. My right shin stays tight to their chest as I sit back with the straight armlock. It's important to hook the head with the leg.
Sometimes the far side armbar is a more viable option. A common reaction that happens is when I go knee on chest and post my leg out, the bottom person reaches across to grab the knee. The far side armbar is still possible, but B's right arm will be in the way blocking my leg. They can use their free arm to peel my leg off of their head or defend their arm.
When going for the far side armbar, I keep my knee on their chest and windshield my foot to the other side of B's arm. This way when I go around for the far side armbar I am able to trap B's head effectively.
Thursday, March 21, 2013
Closed guard Combo
I have a deep cross collar grip with my left hand.
First attack I put my left foot on the hip to escape my hip and go for the cross collar choke. If B tries to block the choke I grab their wrist, strip it to the ground, and bring my chest to their tricep. From here I can either use a sleeve grip or push on their tricep to finish the brabo.
Second option is to bring my right foot to the hip and block their arm and go for an arm bar. If they pull the arm out I have the option to go for triangle and from there omoplata.
First attack I put my left foot on the hip to escape my hip and go for the cross collar choke. If B tries to block the choke I grab their wrist, strip it to the ground, and bring my chest to their tricep. From here I can either use a sleeve grip or push on their tricep to finish the brabo.
Second option is to bring my right foot to the hip and block their arm and go for an arm bar. If they pull the arm out I have the option to go for triangle and from there omoplata.
Rolling Back Take
I have B in turtle and I am on their left side.
My left arm comes over their left shoulder and my right comes underneath their right armpit. I grip my wrist and keep a strong grip. My left shoulder bases on the back of their head as I put my head right next to B's right ear. I do a head stand and fall forward. I use my seat belt grip to take their back.
My left arm comes over their left shoulder and my right comes underneath their right armpit. I grip my wrist and keep a strong grip. My left shoulder bases on the back of their head as I put my head right next to B's right ear. I do a head stand and fall forward. I use my seat belt grip to take their back.
Gordo Seminar
Technique 1:
When I am on bottom half guard with an underhook.
a. I get onto my side as much as possible
b. My free arm blocks the cross face. I keep my chin down and head tucked underneath
c. My free hand pushes against the knee as I use the underhook to come up
d. I take the back
Technique 2:
Person on top overhooks.
a. I stay on my side as much as possible.
b. My free arm blocks the cross face. I keep my chin down and head tucked underneath
c. My free hand pushes against the knee as I slide my body further beneath the person on top
d. I use the elbow of my underhooked arm to pinch down on the overhook to keep the person on top from basing as I sweep them over the opposite side
Note. In live training I find that having a belt grip or lapel grip work well. It's important to remember to get the hips underneath the other person. Gordo said that when you push the knee, right when they try to bring their knee back is when you should sweep them. He said if they keep letting their knee get pushed, go to the back.
Technique 3:
There are two methods Gordo showed to defend yourself when getting smashed.
First: Try to block the crossface and put the forearm of my free arm against the throat. Shrimp out so that I am facing the top person and slide my top knee in. Push with my forearm and extend with my knee to create space. Immediately get grips to control the distance.
Second: If I am unable to shrimp out, create a butterfly hook with my free leg. My free arm grabs the belt. Once I have my butterfly hook I square back up with the top person. As I elevate with the butterfly hook, I pull with the belt grip and regain guard.
Technique 4:
Option with the butterfly hook and underhook.
Shrimp out and get butterfly hook. Square back up, elevate, and trap opposite arm at the elbow. This allows me to trap B's whole arm. Sweep.
Technique 5: Stopping the knee slide pass if they are passing to my right
I can plant my left foot on the ground, placing my left knee right below B's butt. This forces their posture up, raising their center of gravity. This makes it a very uncomfortable position for them.
B. Once my knee is under their butt, I use my knee to push them forward and take their back.
C. If they keep coming forward I put my hand on their based knee and sweep them over the opposite way.
Technique 6: Guard opening and pass
I grip the lapel with my right hand and keep my forearm and elbow on B's hip. This is meant to keep them from being able to omoplata or triangle me. I base out my left leg and slip my left hand inside B's guard to the mat. I walk my left hand forward as I push my hips back opening the guard. Right away I stack B using all the weight of my hips as my left hand goes acros the body to pass.
Techniqe 7: Triangle defense.
I place both hands on the knee and follow the direction of my trapped arm. I place my body diagonally as I use my hips and back to put pressure on the leg. This should make it difficult to keep the triangle closed and difficult to close the triangle.
When I am on bottom half guard with an underhook.
a. I get onto my side as much as possible
b. My free arm blocks the cross face. I keep my chin down and head tucked underneath
c. My free hand pushes against the knee as I use the underhook to come up
d. I take the back
Technique 2:
Person on top overhooks.
a. I stay on my side as much as possible.
b. My free arm blocks the cross face. I keep my chin down and head tucked underneath
c. My free hand pushes against the knee as I slide my body further beneath the person on top
d. I use the elbow of my underhooked arm to pinch down on the overhook to keep the person on top from basing as I sweep them over the opposite side
Note. In live training I find that having a belt grip or lapel grip work well. It's important to remember to get the hips underneath the other person. Gordo said that when you push the knee, right when they try to bring their knee back is when you should sweep them. He said if they keep letting their knee get pushed, go to the back.
Technique 3:
There are two methods Gordo showed to defend yourself when getting smashed.
First: Try to block the crossface and put the forearm of my free arm against the throat. Shrimp out so that I am facing the top person and slide my top knee in. Push with my forearm and extend with my knee to create space. Immediately get grips to control the distance.
Second: If I am unable to shrimp out, create a butterfly hook with my free leg. My free arm grabs the belt. Once I have my butterfly hook I square back up with the top person. As I elevate with the butterfly hook, I pull with the belt grip and regain guard.
Technique 4:
Option with the butterfly hook and underhook.
Shrimp out and get butterfly hook. Square back up, elevate, and trap opposite arm at the elbow. This allows me to trap B's whole arm. Sweep.
Technique 5: Stopping the knee slide pass if they are passing to my right
I can plant my left foot on the ground, placing my left knee right below B's butt. This forces their posture up, raising their center of gravity. This makes it a very uncomfortable position for them.
B. Once my knee is under their butt, I use my knee to push them forward and take their back.
C. If they keep coming forward I put my hand on their based knee and sweep them over the opposite way.
Technique 6: Guard opening and pass
I grip the lapel with my right hand and keep my forearm and elbow on B's hip. This is meant to keep them from being able to omoplata or triangle me. I base out my left leg and slip my left hand inside B's guard to the mat. I walk my left hand forward as I push my hips back opening the guard. Right away I stack B using all the weight of my hips as my left hand goes acros the body to pass.
Techniqe 7: Triangle defense.
I place both hands on the knee and follow the direction of my trapped arm. I place my body diagonally as I use my hips and back to put pressure on the leg. This should make it difficult to keep the triangle closed and difficult to close the triangle.
Triangle Defense
When in a triangle I grip B's knee and put the same side knee as my trapped arm in the middle of their butt. As I posture up, I use my knee for leverage and escape my head.
Subscribe to:
Posts (Atom)