Target areas include the groin, thighs, and knees to compromise the attacker's mobility. 4. Low-Line Footwork and Brawling Range
Step-by-step sequences demonstrating how to transition smoothly from a defensive shield into an elbow smash, followed by a hammer fist.
: This posture protects the most vulnerable parts of the head and neck. Offensive Defense
Fast, snapping low kicks designed to create space so you can escape. Hammer Fists and Headbutts keysi fighting method techniques pdf
KFM training typically involves solo drills (shadow training, sandbag work), partner drills, and progressive sparring. Consistency is essential for instinctual, reflexive responses.
KFM rarely uses high kicks. Strikes are directed at the shins, knees, and groin to maintain balance and stability on uneven terrain. Tactical Manuevers The Clock Pattern
The keys to the Kingdom (or the Asylum) are not locked in a PDF. They are locked in the repetitive micro-trauma of elbow strikes and the instinct to cover the "Box." Stop searching for the file. Start searching for the movement. Target areas include the groin, thighs, and knees
Absorbing pad strikes on the elbows and immediately firing back. Mass Attack Simulation
Unlike the side-on boxing stance, KFM stands square to the threat. The hands are held high, not to block punches like a boxer, but to feed the forearms. Elbows pinch into the ribs.
A significant portion of KFM training is solo, often referred to as "shadow workout." This involves practicing the fluid transitions between blocks, strikes, and the Pensador guard against an imaginary opponent. The goal is to make the movements explosive and natural. Shadow work, along with training on heavy bags and focus mitts, helps a student understand how each movement fits into a specific situation. : This posture protects the most vulnerable parts
KFM training involves a combination of:
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Solo
J.S. Bach, Allemande
J.S. Bach, BWV 1007 Cello Suite no.1
J.S. Bach, Courante
J.S. Bach, Gigue
J.S. Bach, Menuett I
J.S. Bach, Menuett II
J.S. Bach, Prelude
J.S. Bach, Sarabande
J.L. Duport, 21 etuden for solo cello
A.Franchomme, 12 Caprices op.7
A.Franchomme, 12 etuden op.35
D. Popper, etuden op.76
With Orchestra
L. Boccherini, Cello Concerto in B flat Major G.482
M. Bruch, Kol Nidrei op.47
G. Faure, Elegie op.24
C. Saint Saens, Allegro Appasionato op.43
C. Saint Saens, cello Concerto no.1 in a minor
C. Saint Saens, The Swan
A. Vivald, Concerto in A-Major for violin and cello, RV 546
A. Vivaldi, Concerto in g-minor for two cello, RV 531
With Piano
J.S. Bach, Sonata no.2, Viola da Gamba, BWV 1028 – Adagio – Allegro
B. Bartok, Roumanian Folk Dances (arr. by Luigi Silva)
G. Faure, Sicielienne op.78
F. Francoeur, Cello Sonata no.4 in E-Major
G. Goltermann, Etude-Caprice op.54. no.4
D. Popper, Tarantelle op.33
D. Schostakovich, from «The Gadfly Suite»- Tarantella op.97
W. H. Squire, Bouree op.24
P. Tchaikovsky, Nocturne no.4 op.19