By the rhythm, speed, and characteristics of movement, one can judge both the current state of a person and stable personal characteristics. Read the article about how the type of gait characterizes personality.
- Fast movement + long steps. Such a person has a purposeful and enterprising character. Usually these are careerists or successful businessmen who know how to quickly navigate a situation and make responsible decisions. They are optimists and extroverts, surrounded by a huge number of people.
- Fast movements + small steps. Such a person is very careful and reserved. He has a narrowly focused activity, but he is quite successful in it. Such a person is intelligent, with original thinking and cold calculation.
- Slow movements + long steps. This type of gait is characteristic of a demonstrative person, for whom it is important to be in the center of attention and to show off his actions. In this way, he confirms his significance, which is most likely fragile and unformed.
- Slow movements + small steps. This is how a person walks, whose inner world is more interesting to him than the world around him. This is how creative, romantic individuals walk, immersed in their fantasies and thoughts.
- Measured movements and measured steps + hands in pockets. This is how leaders by nature walk, striving for success and power. But they are so self-critical that the latter prevents them from establishing relationships with other people.
- Slow step + hands in pockets. This type of gait characterizes a weak-willed, lazy, pessimistic person. Gait with strong swinging arms. Characterizes an energetic, light-hearted person with a wonderful sense of humor. This is a wonderful friend who knows how to listen and support. This is a kind and caring husband. And this is simply the soul of the company.
- Light gait, as if dancing. This is how emotional and open people walk. They express all their emotions without hesitation and do not worry for a long time about anything. They easily change partners, both in their personal lives and in business.
- Walking on toes. This is how a person walks, striving “to the top” in everything. He wants to be the first in everything, and often he succeeds, but his sense of superiority prevents him from developing interpersonal relationships, and he is often lonely.
- “Loud” gait (shuffling feet, strong heel tapping, etc.). This gait attracts the attention of others, which is what its owner needs. This is how ill-mannered, self-confident, boorish individuals, womanizers and slackers walk.
Of course, it is not possible to fully recognize a person just by their gait. But knowing the peculiarities of gait along with the habit of dressing, color preferences, manner of speaking and moving, it is possible to create a more or less truthful psychological portrait of a person.
Usually this does not happen, because voluntary movement is
There are such changes in the system of posture regulation that, in advance,
change the distribution of “postural” muscle activity and thereby ensure
They neutralize the consequences of movement - the so-called postural
components of voluntary movement. This proactive "understood" asset
Nosti is carried out automatically with very short central
Holds. The role of proactive activity in stabilizing the position of a star
new body can be illustrated with a simple example: a student holds
He holds a physiology textbook in the palm of his outstretched arm. If his friend
Suddenly removes this book from the palm, then the hand will jump up sharply if
If the student himself removes the book with his free hand, then the palm will remain on
Same level.
Related to the concept of posture is the concept of muscle tone. The term "that"
nous" is ambiguous; when applied to skeletal muscles it denotes
Complex of phenomena. At rest, muscle fibers have turgor
(elasticity), which determines their resistance to pressure and stretching.
Turgor constitutes that component of tone that is not associated with specific
Chesky nervous activation of a muscle, causing its contraction.
However, under natural conditions, most muscles usually have some
Degrees activated by the nervous system, in particular to maintain
postures (“postural tone”). Complete muscle relaxation when electromi
The graphical method does not register any action potentials.
Via, is achieved only in conditions of complete rest and with the exception of
Dachas of maintaining a posture in the field of gravity (the part of the body being examined is
Lives on a support).
Another important component of tone is reflex, determined
Stretch reflex. In human studies, it is revealed
According to the resistance to muscle stretching in the case of passive rotation
Limb links in a joint. If during such a study recording
If you take an electromyogram, then an electrical signal is recorded in the stretched muscle
Ric activity, indicating activation of motor
Units A healthy person has a stretch reflex during passive
Movement is observed only during the stretching process itself, in the case
A high stretching speed is sufficient. Tonic component ref
Lexa for stretching, i.e. activity in a stretched muscle, usually from
There is, as can be judged by the absence of electromyographic
Signal.
Development of motor skills. Improving motor skills
Human functions in the process of ontogenesis occur as a result of
The maturation of the nerve sections that continues in the first years after birth
Noah system and innate mechanisms involved in coordination
Movements, and as a result of learning, i.e. formation of new connections
Zey, which form the basis of the programs of certain specific engines
New acts. Coordination of new, unusual movements is characterized by
Thorny features that distinguish it from the coordination of the same movements after
Training.
The abundance of degrees of freedom in the musculoskeletal system, the impact on
The result of the movement of gravity and inertia complicates the execution of any
Motor task. At the beginning of learning, the nervous system copes
Deals with these difficulties by neutralizing interference through the development of complementary
Flax muscle tension. The muscular apparatus rigidly fixes the su-
Stakes not participating in the movement actively slow down the inertia of fast
Movements. This way of overcoming the obstacles that arise during movement is
It is energetically disadvantageous and tiring. Using Feedbacks
Still imperfect - correctional premises arising on their basis
Ve, are disproportionate and cause the need for repeated additional
Corrections.
Electromyograms show that the antagonist muscles even of those joints
Related information:
- I. Without knowing the spiritual meaning of the Word, no one can know what the sacraments of baptism and Holy Communion contain and why they are needed.
Movement six:
1. With your right foot, which takes the shape of a hook by pulling up the toe, slowly press to the right and forward (the deviation south of the eastern direction is 30°). Straighten your right leg, directing energy to the heel.
2. At the same time, continue the arc-shaped movement of your hands, one - to the right and forward, the other - to the left and back. This way you will perform a wide arm extension at the same level. In this position, the elbows are slightly bent, the wrists are at shoulder level, the palms are equally angled outward, the wrists are arched, the hands are open, and the fingers are extended. The right hand should be above the right leg.
3. The gaze is directed to the right hand.
This is the final position in the Right Foot Press form.
1. This form is characterized by complex hand movements. When performing movements such as “penetrating hand”, arm extension, girth, wide arm extension, the arms are connected and extended twice. The arcuate movement of the arms, the stance during execution, the rotation of the forearms and the change in the position of the hands - all this requires strict adherence. The first movement, the “penetrating brush,” is performed following a slight rotation of the torso to the right; move your left hand, palm up, over your right wrist and perform a penetrating movement forward; Gradually relax the wrist joint of the right hand from an extended position and point it at an angle downwards. Place your two hands, back to back, in front of your face, with both wrists at shoulder level and your elbows slightly bent. The fly and grasp performed in the 2nd, 3rd and 4th movements is a complete process of rotating the two arms.
While raising your arms, turn your left hand palm down and move in an arc in front of your face to the left, move your right hand in front of your face in an arc to the right. Following this, without stopping the movement, turn the palms of your hands up and move in an arc in front of your stomach down and up again. Bring your hands together in front of your chest to create a girth. When performing the movements described above, focus on 3 points.
First, when moving along an arc, the elbows maintain the same slight bend, but do not straighten.
Secondly, the form will be performed correctly if the following movements are clearly performed - raising the arms in front of the face, arching movement in front of the stomach, girth in front of the chest.
Third, while moving the arm along an arc, the forearm rotates. When wrapping, the palms are facing back, the right arm is on the outside (when pressing with the left leg in the 15th form, the left arm is on the outside), the shoulders are loosely lowered, and the elbows are slightly bent. Figurative representation - hands form a circle.
When performing the 5th and 6th movements, the main thing is to rotate the hands and keep the arms outside. When performing an arched extension of your arms, one to the right and forward, and the other to the left and back, do not raise your arms above your head. Hold your arms, slightly bent at the elbows, outward to maintain softness in movements; the angle at the elbow joint should not be too small. If in the process of bending the elbow joints, rotating the hands, holding the arms outside, the arcuateness of movements is disrupted, this will lead to tension in the elbow joints, disruption of the softness and freedom of movements. The rotation of the forearms and hands should be gradually completed in the process of arcuate movement of the arms; there should be no clearly expressed separate rotation of the hands. In addition, holding the hands outside must be coordinated with the movement of the leg pressing to the right.
We recommend practicing hand movements such as penetration, spreading, grasping and holding separately and then as a single movement.
2. In this form, leg movements include a transitional arching step and single leg pressing. A transitional arcing step means that the transitional movement involves performing an arcing step. The leg return and stepover in the 1st and 2nd movements are similar to the type of step performed in the 1st subform of Knee Hook and Left Stubborn Step. The direction of stepping is shifted from the strictly frontal direction by 30° to the left (30° north from the strictly eastern direction). The direction of the toe of the left foot completely coincides with the direction of stepping; there should be no deviation outward. The arched step to the left in the 3rd movement and the movement of the right leg in the 4th must be performed in accordance with the previously stated requirements for this kind of leg movements.
In the above-described movements of the arms and legs, keep the torso straight, and when moving the center of gravity, do not allow the torso to oscillate vertically.
Before performing the “foot press” movement, first of all, achieve a stable position of the torso and only then raise the knee and spread the arms. When raising the knee of your right leg, make sure that the toe is pulled down; the height of the knee lift should be such that there is no stiffening of the leg. When pressing, straighten your leg and pull the toe towards you. Direct the energy into the heel and slowly press forward and to the right (deviation from the east to the south 30°). When straightening your right leg, make sure that your foot is slightly higher than your hip. The bend of the knee of the left supporting leg is insignificant (in this case, the body rises above the surface somewhat higher than in other forms of taijiquan gymnastics and, therefore, the amount of bend of the knee is somewhat less than in other forms). Try to maintain the balance of your torso as much as possible.
Keep your torso straight, chin tucked, head slightly raised, shoulders relaxed, do not allow them to rise or tense. Expand your chest, breathe naturally (inhale when raising the knee, exhale when pressing, this contributes to the stability of the torso).
Clearly coordinate the movement of the leg with the movement of the arms, that is, with the rotation of the hands and holding the arms outside. Press with your foot, at the end point spread your arms to the sides, one to the right and in front, the other to the left and back and hold at the same height. In this case, the wrists are located at shoulder level, the elbows are slightly bent, the palms are equally directed somewhat outward, the wrists are arched, the hands are open; in the position of the hands there should be a feeling of “support” and a kind of “immersion”.
The right hand is located opposite the right leg, but does not touch it. Keeping your arms level will help you maintain your balance as you push with your leg.
When performing this movement, beginners make mistakes. For example, an unstable position of the supporting leg, deviation of the body back or forward, one arm is located higher than the other, usually the right one is lower than the left, the left supporting leg is straightened with tension or is bent too much at the knee, the toe of the right leg is not pulled towards itself, the force applied to the leg , does not reach the heel, the hand and leg doing the pressing touch, the shoulders are tense and raised, there is not enough air during breathing, as the chest is very tense.
The main reason for these errors is the following: the position of the body is unstable, the pressing is not performed at the proper height, the pressing has not yet been completed, and the internal energy is already concentrated in order to force the leg to rise high when pressing or to create the appearance of a high pressing. Before trying to immediately raise your leg high, practice this movement relaxed at a low level, because several factors influence the stability of the stance and the height of the press. First of all, the structure of some movements must meet established requirements, in addition, the body must have natural qualities, such as flexibility of the lower back and legs, muscle strength of the legs, and the ability to maintain balance. All this can be developed through constant training. People with poor physical health and advanced age can perform pressing at a low level. But do not lower the quality requirements for the remaining movements.
3. During sequential training, since there are many movements in this form and they are difficult, lack of coordination may occur, so we draw your attention to the simultaneous performance of the following movements: “penetration of the hand” and lifting the leg, stepping over (when the heel lowers to the surface) and arm extensions (when the arms are extended to the right and left), arcing step and girth execution (when the arms reach a position in front of the stomach in the process of encircling), leg movement and grasping (arms in front of the chest), knee lift and arm extension (arms in front ), pressing with the foot and holding with the hands.
4. Pay attention to the gaze, combined with the rotation of the body. In the 1st and 2nd movements, the gaze follows the left hand to the right, then again shifts to the left. When performing an arched step in the 3rd movement, move your gaze to the direction in which you are performing the step.
In the 4th and 5th movements (moving the leg forward and raising the knee), the gaze, following a slight turn of the body to the right, is moved to the right and forward, in the direction of pressing with the leg.
In the 6th movement, the gaze is directed to the right hand, which is located above the right leg.
Next form
Two peaks reaching the ears.
First movement:
Returning the leg and lowering the arms.
1. Return the shin of your right leg back, while keeping your knee at the same level, and freely lower the front of your right foot.
2. At the same time, with your left hand, located at the left-back, move up and forward and lower down to a position in front of the body. Turn both palms equally with your fingers up, then use both hands to make an arc downward to the right and left of your knee.
3. The gaze is directed forward.
Second movement:
Stepping over and spreading arms.
1. Lower your right foot forward (deflection south of east - 30°) and place it on your heel, with the forefoot pointing forward. The transverse distance between the heels of the feet does not exceed 10 cm, the center of gravity is still on the left leg.
2. At the same time, continue to lower both hands to a position near your hips. With your palms facing forward and upward, you prepare to clench your hands into fists.
3. The gaze is directed forward.
First movement:
Arching step and penetrating fists.
1. Gradually place your right leg on the entire foot, bend the knee in an arc and slowly shift your body weight forward. Straighten your left leg freely. This performs an arched step on the right. Keep your torso straight in this position, and relax your lower back and hips.
2. At the same time, clench your hands into fists and perform a penetrating arcing motion up and forward until positioned in front of your face. The shoulders are lowered, the elbows are sagging, the arms are in an arched position, the fists are at ear level, the distance between them is 10-20 cm. The fists are directed inward at an angle and resemble a “vice.”
3. The gaze is directed to the right fist.
This is the final position in the form of "Two peaks reaching the level of the ears."
1. The arched step of this form is similar to the step in the “Grab the sparrow by the tail” form. The transverse width does not exceed 10 cm. The direction coincides with the direction of pressing, which was performed with the right foot. Before stepping, first bring your shin back, relax your ankle joint, pointing your toe down freely. Only after this do you step over, but even when you lower your heel to the surface, the center of gravity should still be distributed on your left leg. When performing this movement, do not make the common mistake when stepping over, followed by an arched step, is performed without bending the leg at the knee and returning it.
2. Simultaneously with the return of the leg in the 1st movement, do the following: from a position away from the body from behind, turn the left hand upward and along the trajectory to the left of the forehead, lower it to a position in front of the body, and connect it with the right hand, the palm of which also turns upward . In this position, the two arms are equally angled upward and placed at shoulder width and level, with the elbows slightly bent. After this, we lower both hands in identical arcs down to the position to the right and left of the right knee. Many beginners make the same mistake, namely: they do not observe the simultaneity of the arc-shaped movement of the arms and their rotation. Many people move their legs faster than their arms, thereby losing coordination.
Both the pressing and returning of the leg should be performed slowly, this will quickly build leg strength and develop the ability to maintain balance.
3. Let us dwell in detail on the correct clenching of fists in the 3rd movement. From the position near the knee, use both hands to make an arcing movement down and near the hips, at this moment simultaneously turn your forearms inward and clench your fists. When clenching your hand into a fist, do not bend your wrist near your hips.
4. In Taijiquan gymnastics, the fist is clenched as follows: four fingers are brought together and bent at the joints, and the thumb is pressed to the middle finger. The clenching of the fist is natural, do not allow excessive tension. But excessive relaxation is also unacceptable; if the thumb only slightly touches the index and middle fingers, the fist will be open.
5. The point of application of force during the penetrating movement of the fists forward and upward is the base of the fist and the “mouth of the tiger”. In the final position, slightly bend both elbows so that they sag and are slightly moved to the sides, pointing the bases of the fists at an angle back - Thus, hold both arms in an arched position in the form of pincers. Be sure to keep your elbows slightly out to the sides rather than down, otherwise the bases of your fists will be vertical and your shoulder joints will be compressed. Do not allow too much distance between the fists, otherwise the height of the fists will not reach ear level.
6. When performing an arched step, due to poor execution of the penetrating movement with fists, many beginners raise the lumbar region, the torso tilts forward, the buttock protrudes, one of the main requirements of gymnastics is not fulfilled - the vertical position of the torso, and the lower back and hips are not relaxed.
In the final position there is both a slight “immersion” and a force that reaches the arms, legs and crown.
Next form
Form 15:
Turn your torso and press with your left foot.
First movement:
Rotate the torso and retract the foot.
1. Bend your left leg at the knee and squat back. Shift your center of gravity to your left leg, turn your torso to the left and back, and turn the front of your foot inward by 90°.
2. At the same time, unclench your hands and arch them from the top position to the right and left of the body, the hands are located at the same level. Palms are angled outward, elbows slightly bent.
Second movement:
Leg return and girth.
1. Bend your right leg at the knee and squat back, transfer the center of gravity to your right leg again, return your left foot to the inside of your right foot and place it on your toes.
2. Simultaneously make an arcing motion with both hands down in front of your stomach and lift it up again. This way the girth is done in front of the chest. The left hand is located outside, the palm is directed inward.
3. The gaze is directed forward.
Movement three:
Knee lift and arm raise.
1. Shift your center of gravity completely to your right leg, slightly bend your knee. Bend your left leg at the knee, lift it up, and lower your toes freely.
2. At the same time, turning your hands, perform an arched extension of your arms in front of your body to the right and left, turning your palms outward.
3. The gaze is directed forward, in the direction of pressing.
Movement four:
Pressing with the foot and spreading the arms wide.
1. With your left foot, which takes the shape of a hook by pulling up the toe, slowly press to the left and forward (the deviation to the north from the west direction is 30°). Straighten your left leg, directing energy to the heel.
2. At the same time, continue to perform an arcuate movement of your arms, one to the left and forward, the other to the right and back. In this way, a wide spread of the arms is performed at the same level. At the same time, the elbows are slightly bent, the wrist is at shoulder level, and the palms are directed outward at the same angle. The wrists are arched, the palms are open, the fingers are extended, and the left hand is placed over the left leg.
3. The gaze is directed to the left hand.
This is the final position in the Torso Rotation and Left Leg Press form.
1. The movement of the center of gravity performed in the 1st and 2nd movements is similar to the movement during the transition from the form “Grab the sparrow by the tail on the left” to the form “Grab the sparrow by the tail on the right.”
Pay attention to the clarity of the transition from the intermediate to the final position, to the inadmissibility of vertical oscillation of the body. During the 1st movement, turn the toe of your right foot 90°, the toe of your left is deviated from the north direction to the east by about 30°, so the position of the legs practically corresponds to the requirements for performing the form “pressing with the foot on the left” and “lower position on the left.” . Since everyone’s body has its own specific characteristics, different from others, the above requirements for the amount of rotation of the foot can be adjusted in order to perform high-quality pressing and lunging.
2. The left-click direction is 30° north of west, and the right-click direction is 30° south of east. Thus, these two clicks are performed in opposite directions.
3. The direction of the gaze is as follows: in the first movement, following the turn of the body to the left, direct the gaze to the left hand; in the second movement, after a slight turn of the body to the right, direct the gaze forward; while performing the press, move the gaze forward again to the left hand. Pay special attention to coordinated turns and gaze movements.
4. The features of the 3rd and 4th movements are similar to the “right foot press” movements, only the sides change to the opposite.
Next form
Lunge to the left and stand on one leg.
First movement:
Leg return and hook arm.
1. Bend your left leg at the knee and thus return it back. Do not lower your foot to the surface; the toe should hang freely.
2. Following this, turn your torso to the right.
3. At the same time, take the “hook” position with your right hand. Use your left hand to move up and to the right, in an arc in front of your face, and lower it to a position in front of your right shoulder, with your palm facing back at an angle.
4. The gaze is directed to the right hand in the “hook” position.
Second movement:
Squat and lunge.
1. Slowly bending your right leg at the knee, perform a half-squat, the center of gravity still on the right leg. Lower your left leg slightly back to the left and straighten it, thus performing a lunge to the left. In this position, the left knee is straightened, the forefoot is turned inward, and the two feet are firmly pressed to the surface.
2. At the same time, begin to lower your left arm.
3. The gaze is still directed to the right hand in the “hook” position.
Movement three:
Torso rotation and penetrating brush.
1. Bend the knee of your right leg to a full squat, turn your torso to the left, the center of gravity is still on the right leg.
2. At the same time, with your left hand, turning it outward, continue the downward movement, turning your palm to the right and moving your hand in an arc along the inside of your left leg. In this way, a forward penetrating movement is performed. Do not allow your torso to lean forward excessively.
3. The gaze is directed to the left hand.
Movement four:
Arched step and rise from the bottom position.
1. Turn the toe of your left foot outward as much as possible around the heel, as if around an axis, bend your left leg in an arc at the knee, turn the toe of your right foot inward as much as possible, around the heel, as if around an axis, gradually straighten your right leg. Shift your center of gravity forward, turn your torso slightly to the left and lift it forward. In this way, a transitional arcuate step is performed.
2. At the same time, continue to perform a penetrating movement forward with your left hand, raise your hand in a vertical position, and point your palm at an angle to the right. In the hook position, lower your right hand down from behind, but in general the arm remains straightened from behind, and turn the “hook” upward.
3. The gaze is directed to the left hand.
Then you're ready to do exercises that will increase your hand speed!
Speed kills, everyone knows it. Many great fighters have it: Muhammad Ali, Thomas Hearns, Ray Leonard, Mike Tyson, Roy Jones, Floyd Mayweather, Manny Pacquiao, I could go on and on.
Being able to hit your opponent with a punch before he can hit you with yours is perhaps one of the greatest advantages in boxing. The difference of a split second can make the difference between raising your hand in victory and lifting yourself off the canvas. Even if you were not born with speed, you still need it. Even if it's not part of your style, you still need to develop it. And I ask you to include these important exercises in your regular program, because everyone knows: SPEED KILLS!
I know the goal is speed, but don't rush yourself with these exercises. The most important factor in achieving maximum strength is relaxation. Relaxation is first of all a state of mind, which then becomes a material reality. Keep your mind clear and don't focus on one thing too much. Relax! Relax! Relax!
Instead of complementing speed with strength and precision, focus on balance and coordination. A lot of beginners try to put both power and speed together at first, but this only slows them down and forces them to load up for punches. Don't load up on your punches or try to focus on hitting the target. Instead, give your arms free rein, just try to keep your balance underneath you and your movements coordinated with the speed of your arms.
Sharp and Relaxed Breathing = Sharp and Relaxed Movement
Shadow Fighting (Pure Speed Training)
Shadowboxing is everything! The more time I spend in this wonderful sport of boxing, the more I realize that sometimes shadowboxing is all you need. This simple practice allows you to master each technique without wearing out your joints or straining your body. This underrated exercise can help you develop almost everything in boxing: footwork, balance, strength, technique, and of course in our case, SPEED!
Shadow boxing is perhaps the purest form of speed training. There are no bags to stop your blows, no gloves that press your hands down with their weight. You punch the air with just the weight of your arms. Without anything slowing you down, this is the fastest speed you can move your arms. You can hit as fast as you can imagine your combinations. Shadowboxing can develop your mental speed, your punching speed, and your hand return speed.
Shadow Boxing Exercises:
Start moving around the ring and relax your whole body. Don't worry about squeezing your hands completely. Strike correctly, but not in a way that makes your shoulders tense and tired. You need your whole body to be relaxed when you do speed shadow boxing!
Here are the beat numbers I use:
1 = left jab
2 = right straight / right cross
3 = left hook
4 = right hook / right overhand
5 = left uppercut
6 = right uppercut
*vice versa if you are left-handed
Ok, HERE THEY ARE! Follow them and combine!
|
Basic jab
Double jab
Triple jab
Jab, Right Cross
Left Hook
Left-Right-Left-Right!
|
Skillful Combinations
Uppercuts
Long Combinations (focus on sharp, fast breathing!)
|
Work 3 rounds. Exhale with every stroke and with every movement. Don't worry about doing all the combinations in the list above. Stick to your favorites and then try one or two new ones each time. You should NOT be tired. If you're tired, you're too stressed. Relax your shoulders even more and maybe even slow down a little. If you're running out of steam throwing punches in the air, imagine what it would be like in the ring.
When you step during combinations, take VERY SMALL steps. You only need to take 2-3 centimeter steps, so your legs can move as fast as your arms. If you take large steps, your feet may still be in the air, leaving your kicks without any support on your feet and without power.
Don't worry about strength! Some sequences with double backhands or double forehands will feel weak. Once again, you are only working on speed, not strength. Just let your hands fly and add a little rhythm. Take a few breaks from time to time between combinations and then get back up to speed.
One last note, watch Manny Pacquiao shadow box in the video below. What he does is a perfect example of high-speed shadowboxing. Sharp breathing, very small steps, focus on quick strikes. He doesn't focus on single hits, he focuses on entire combinations. And for the 923084723rd time, RELAX!
Quick Strikes on the Bag (Speed Endurance)
Fast strikes are not always speed. Sometimes it's endurance. Moving weight faster always takes more energy. So it's quite difficult to throw fast punches or even practice fast punches if you don't have the stamina for it.
Throwing a bunch of fast punches can wear anyone out. You don't realize it at first, but as you get tired, your slower opponent suddenly becomes faster than you. An even greater danger from fatigue is that your punches become too slow to hit your opponent. So let's work on your speed endurance so you can throw quick punches throughout the fight—not just the first round.
Exercise Impacts At Intervals:
Find yourself a partner and stand with him on opposite sides of the bag. One boxer holds the bag motionless while the second punches the bag without stopping for 15-20 seconds. Then you change. Do this until the 3-minute round is over and then take a minute break. 2-3 rounds of this exercise is a great way to finish off your bag training.
Some Thoughts About This Quick Strike Drill:
- Don't waste time bothering someone to count down 15-20 seconds for you. Instead, just count in your head or out loud while you throw your punches. When you're done, just stop and your partner will instinctively know to start throwing punches.
- You can perform various variations on the bag. In the first interval, throw regular punches, aiming high (palm down, aim for a point on the bag 15-20 cm above your head). In the second interval, throw vertical punches, aiming at shoulder height on the bag. By "vertical strikes" I mean strikes where the palm faces to the side, like a "stationary fist." In the third interval, throw SMALL short uppercuts to the bag at body level. Continue repeating until the end of the round.
Interval punching exercises develop endurance in your arms and shoulders. Which is VERY important in the later rounds of a fight or sparring. It doesn't matter if your whole body doesn't get tired...
When your arms and shoulders get too tired
your punches become too slow to hit your opponent.
Sure, you can still have your power in the later rounds, but if you don't have speed, that power won't matter! So work to make sure you increase your arm and shoulder endurance. In case you haven't noticed, this fast-punching exercise is a boxing rendition of Tabata exercises (in case you want to know more about the theory behind this training method).
A very important reminder, don't get too proud and try to hit the bag at that pace for the entire 3 minutes. Rest pauses allow your arms to regain energy to hit at maximum speed. You should always train at your true top speed (working at 100% when you are exhausted is not “true top speed”). Think about it, sprinters don't train for speed by running 2 miles at a time. Instead, they run short sprints, take a break, and repeat (aka Interval Sprints). The pauses allow their legs to regain energy to run at full speed again. This way, you spend more of your time training at full speed, rather than at half speed, which is what happens when overly ambitious beginners work out for 30 minutes without a break!
Another point about not skipping breaks is that your workout can be better when you constantly have to stop and start again. Throwing punches without stopping is easy when you are already on the move. But stopping and starting again, like in a real fight, is much more difficult when you have to keep running your rhythm. So please don't skip breaks. 15-20 seconds for each, then change!
Forced Speed Training (Pneumatic Bag and Punch Bag Stretch)
An air bag and stretch bag are excellent equipment for developing speed. In addition to improving accuracy, timing, reflexes and coordination, they are also very good for “forced hand speed” exercises. Hitting quickly is quite easy if you only hit when you feel like it. Unfortunately, this never happens in real battles. In real fights, you are always FORCED to throw punches, even when you don't want to. Because you throw these punches out of panic rather than as an act of your own intentions, these "forced punches" wear you down faster. So let's go back to the pneumatic bag and the stretch bag, they force you to hit even when you don't want to. No matter how tired you are, you MUST hit the bag.
The pneumatic bag and the stretching bag also have their own exceptional qualities. The pneumatic bag develops arm endurance and shoulder endurance. The stretch bag helps improve accuracy and timing. This projectile forces you to constantly react quickly and think quickly. Learning how to work a punching bag is an art in itself. I'll save that long explanation for another day. For now, just know that these implements will improve your hand speed. Perform 2-3 rounds on the pneumatic bag and stretch bag.
Resistance Training for Speed Muscle Development
Push-ups (Explosive Speed)
Push-ups, when performed with speed-oriented technique, can help you add speed to your punches. Since everyone's hands are different, you need to find the perfect fit for where to place your hands and how low to go. Focus on speed, not strength. You need to finish this set FAST!
TRICEPS PUSH-UPS
- Because of my long arms and thin frame, I prefer to do push-ups where I only go down a third. This means that I only work the triceps in this “stretch” phase of the push-up. I do about 10 short sets with only 10-15 reps each. Once again, I only work at the top of the pushup to maximize fast speed and try to explode with each pushup. Focus on going down fast and going up fast (most people go down slow, go up fast). When you pause, pause at the top of the push-up, not the bottom.
PUSH-UPS WITH MEDICINE BALL
- Lower yourself into a push-up position, but place one hand on the medicine ball. Once you do a push-up, quickly move your body to the other side of the ball, resting your other hand on the ball. Do push-ups as fast as you can. 3 sets of 15 times. Another variation you can do is to take 2 medicine balls and place them at a distance wider than your shoulder width. Keep one hand on the ball and the other hand on the floor between the balls. Once you do a push-up, you move your body to the side, so both arms are constantly moving to the side and to the center. (If you need a more detailed explanation of this exercise, leave a comment). Again, 3 sets of 15 reps.
COTTON PUSH-UPS
- Another type of pleometric style pushup that I like is the clap pushup. You can do 3 sets of 10-15 push-ups with clap. What is important is to spend a minimum of time in the bottom push-up position. You don't necessarily have to fly high, but just make sure you don't spend too much time with your arms bent at the bottom of the push-up.
Resistance Training for Speed
Harnesses
You can also develop fast punching speeds through harnesses and isometric training. The harnesses apply constant force as you throw punches. This constant resistance allows you to develop speed and explosiveness throughout the movement. Regular weight training cannot do this because the weight is only heavy at the beginning. Once you push the weight out, your momentum makes it easier when you throw your arm out. Swimming can be a very good aid to resistance training because the water is constantly working against you.
Isometric Workouts
Isometric training is a type of training in which you apply force, but your body does not move at all. But how can you apply force without moving?! You can do isometric arm training by walking up to a wall and getting into a punching position where you could theoretically punch the wall. Now push off the wall for 10-15 seconds, 3 sets at a time. You can stand at different angles that simulate different punches and target different muscles (chest, shoulders, triceps).
The theory behind isometric speed training is that you train your arms as if they were rubber bands. You train your arm muscles to store energy so that as soon as the hold ends... SNAP—your arm flies out like a charged rubber band.
Return Muscles
The speed of the arm's return is something that MANY boxers miss in speed training. Everyone loves to work the striking muscles, such as the chest and triceps, but rarely does anyone work the return muscles, such as the back, lats, and hamstrings. What many boxers don't realize is that the return phase is half the movement of a punch, so being able to get your hands back faster allows you to punch again much faster!
I've also noticed that many beginners do nothing more than work on the bag in training. The bag is a strong object, meaning if you hit the bag, it will always spring your arm back, which does not train your return muscles. Sure, you can easily work the bag for 10 rounds, but what happens when you spar? After you miss just a few punches in the ring, your arms will be completely tired and you won't know why. This is because you are not used to missing and you are not used to punching through the air, and your return muscles (back, back of the shoulders and lats) are not developed to return your arm back quickly enough.
The best exercises to strengthen the reflex muscles of the arm:
A fight with a shadow
- You're constantly throwing punches through the air while shadowboxing, which forces you to use your muscles to bring your arms back. Try shadowboxing at 100% speed with gloves and you will understand how weak your recovery muscles are. You don't need to add weight or do anything else. Even regular shadow boxing will help you balance your back core muscles with your front core muscles.
Pull-ups
- Pull-ups are a great exercise for the back and lats. Do 3 sets of 6, 8 or 12 reps. Whatever you can't do, just do it. Now your upper body will no longer look so hunched over.
Stretching Exercises
- I'm too lazy to list all the names of the exercises. Any exercise that simulates the throwing motion of an arm should do the trick. I have TRX Suspension bands in my gym and they work great for this, but lowering the rope or stretching stretch ropes will also work.
Stretching
Loose, relaxed muscles have the potential to move faster. Don't fight with pain in your shoulders or body. Make sure you do good stretches and spend significant time warming up your muscles. Even on days when you don't train, try to stretch. Many of the fastest fighters I have met are often the most flexible people I know. (I wrote an article about .) FYI, you should stretch AT LEAST 30-45 minutes before each workout and then another 10-20 minutes at the end of each workout. Professional boxers, and perhaps elite athletes, usually do this at double the rate.
Final Thoughts About Hand Speed Exercises
Speed starts from the head and ONLY THEN in the body...
If you can't think fast, you'll never be able to move fast.
...be that as it may, your body can't box on autopilot. Relax your mind, concentrate and stay focused, but be aware of everything that is happening around you. Don't focus on every single shot. Try to focus on the whole combination or the whole bunch. Each combination of strikes has its own purpose, whether it is to get in close, or to land a hook to the body, or simply to force the opponent to defend himself, to create space for himself to escape.
Oh, and one more thing. Don't try to do every exercise above on one day or every training day. Use several variations and focus on one thing a day rather than everything every day.
It would be intolerable to list all the movements that we can perform with our hands and fingers; in addition, we unconsciously make many movements that have only a vague and indefinite meaning; most of them have no other purpose than to bring balance, to coordinate the hands with a known position of the body.
We believe that it is sufficient to indicate the principle governing movements that have a special significance; this will give the artist the opportunity, if necessary, to find all the shades in each category of expressions.
Hand movements are divided into three categories, namely:
Pointing gestures that indicate an object.
Descriptive gestures that measure or describe an object.
Gestures are active, giving a sketch of some action.
Pointing gestures. Pointing gestures indicate a person, object, or direction.
In addition to those that serve to designate oneself, these gestures are made with the arm thrown back, with the index finger extended and accurately marking a known object (f. 52):
You, he, they, this, below, above, there.
The whole arm is bent and the index finger is pointed at the chest (f. 53).
I.
The idea of possession and the idea of a more extensive self is expressed by more or less forcefully pressing the open hand to the chest (f. 54).
Mine, belonging to me, my soul, my whole being:
This gesture, performed with both hands, will add even more importance to what it is expressing.
Number designation:
Single (f. 55), one (f. 56), two (f. 57), five (f. 58), ten - the same thing twice, many - the same thing repeated several times, half (f. 59), a little (f. 60), “not a little” (f. 61).
Descriptive gestures. They are intended to evoke the idea of some person or thing by a quick delineation of its size or shape when the size or shape is sufficient as a distinguishing feature.
The palm of the hand has precisely the purpose of determining the size and shape.
This gesture, which requires great verisimilitude, consists in the fact that in empty space distinct gestures are made that the hand would have to perform if it really, as if caressing, touched the designated object.
Most descriptive gestures in everyday life require only a quick movement, which is quite easy to perform.
Small (f. 62), large (f. 63), pointed (f. 64), flat, round, quadrangular, large, small, long, short.
We strongly recommend that mimes be as careful as possible in expanding the range of these descriptive gestures, because as soon as they become more complex, they run the risk of becoming obscure.
Active gestures. Hanging hands, brought together and spread out several times mean:
Exhaustion, beginning of irritation.
Hands lowered, convulsively clenched, clenched into a fist:
Irritation, thirst for revenge.
Fists raised at the same level as the chest: Preparation for battle.
Extend your clenched hand and open your hand with your palm up, this means:
Throw insult, contempt, a whole handful of insults in your face.
An open hand, palm down, with fingers spread, directed into the air at waist level and again vigorously squeezed (f. 65) means:
I take, I grasp, I take possession.
The same movement, but with greater sharpness, and the hand is compressed from the very beginning:
I want, I hold, I dominate and subjugate, I suppress, I destroy.
The same movement with greater softness and mystery - first the hand is open, then the fingers gradually close - means:
Theft.
The hand is raised vertically, palm inward, at face height; the hand is half-unfolded. If at the same time a movement is made with the ends of the fingers away from oneself into space (f. 66).
Starting from the forehead, this is a greeting; starting from the lips - a kiss; starting from the heart - kindness, adoration.
The same position of the hand, but the movement comes from the outside towards yourself:
Come, come closer, I am attracting you.
The same movement, wider, performed with both hands:
Come everyone.
The same movement, performed only with the index finger:
Same meaning, but more familiar connotation.
Both arms are wide open at shoulder height, the hands are also open and the palms are facing inward (f. 67):
I accept you, come into my arms; goodwill, friendship.
The same position, but the hands move from the side forward, in a wide movement, as if hugging everyone present:
Unite.
Opposite movement, with palms facing outward (f. 68):
Spread out, spread out, separate.
One hand raised vertically to the face, palm out (f. 69):
Disgust, disgust, fear. “I resist, push away, remove, protect myself, remove the obstacle.”
The same movement with both hands near the face:
Same meaning, but more emphasized.
The same movement with arms outstretched has the same effect, but with much more force. Hands moving horizontally, with palms facing down, with hooked fingers spread (f. 70):
Stinginess, thirst for capture, temptation of wealth.
The same movement with vertical hands with palms facing out:
Ferocity, the need to scratch, torment, to hurt.
Until now, these active gestures have presented only a simple sketch of the actions they signify; therefore, no further explanation was required here.
But here are other movements that are more or less symbolic; therefore, it is not without interest to find their origin.
Stretch the hand at waist height, with the palm almost turned up (f. 71).
Give up your hand (your natural weapon); ask for the hand of another, offer peace, alliance; demonstrate trust. Modern meaning of the gesture:
Respect, friendship, simple politeness.
The same movement, but the hand is closer to the body and the palm is completely turned upward: (f. 72).
Original meaning: to prepare to accept some object; figurative meaning.
Give it to me, I demand it, lend it.
In the common sense.
I demand, I ask, speak, explain to me, speak out.
The same movement performed with both hands gives more passion and persistence.
The same position of the hand with an upward movement.
To lift, to grow, to support, to bear a burden.
The same movement, faster:
Get up, be on your feet, perk up.
The hands are extended horizontally, the arms are wide open, palms facing down (f. 73).
Original meaning: I cover someone, I protect his head from a threatening blow.
Expanded meaning: I patronize, take under my protection, give shelter.
The same thing, with the hands coming down from above.
I call upon grace from heaven; I bless you and forgive you. This movement also means an agreement.
“Let misfortune fall on this head, which is dear to me, if I do not fulfill such and such an obligation.” I vouch for his head, I swear, I make a vow. The same position of the hands, with bent arms and a slow movement from top to bottom:
Calm, moderate.
Expanded meaning: silence, “stay, be patient, be calm.”
The same position of the hands, diverging in a horizontal direction.
“Spread out, lie down”; wide space, land.
Place your hands in front of you, palms together, with your fingertips facing your interlocutor (f. 74). Original meaning: image of tied hands; renunciation of natural weapons, I am unarmed, I surrender, I give myself to your mercy.
Modern meaning: “forgive, have mercy, I pray, I conjure.”
The ends of the fingers facing the sky (f. 75): prayer tin.
Both hands, connected in the form of a vessel (handful; f. 76).
Initial movement when scooping water.
Hence the expanded meaning, to collect, stock up, “full cup”, to hold something in one’s hands.
One hand is open, extended forward with the palm facing outward, fingers down (f. 77).
Initially, show your hand, do not hide anything.
The expanded sense of “look, I say that I know, this is the truth, I prove, I testify.” The same game, but the hand is raised high and the fingers are turned upward (f. 78).
The meaning is the same as above, but more solemn and in addition: “I affirm, I loudly proclaim.” Like all other expressions, these gestures, performed with both hands, acquire greater force and passion.
Both hands are lowered along the body, with palms facing the audience.
“I admit my mistake, I am guilty.”
Shake the index finger at the chin, with the palm facing the edge (f. 79).
Initially - an image of beating with a stick.
The modern meaning is “I am threatening you, beware, you will be punished, you will have to deal with me.”
Shake your index finger in front of you, with your palm facing outward (f. 80).
"No no no; it is not true; I don't want; it won't work."
The end of the index finger touches the forehead, then is quickly thrown into space, with the back of the hand facing outward (f. 81). A thought popped into my mind; "here's an idea." The same movement is much slower.
“Oh, I remember.”
Both index fingers are joined together, this means:
Union, agreement, combination.
In general, the main laws of sign language are as follows.
The palm of the hand describes the missing object, and as if caresses the imaginary surface of this object.
Hands vertically with palms facing you:
They beckon, attract, accept.
Hands vertically, palms facing out:
They move away, eliminate, push away.
Horizontal hands with palms up:
They demand, ask, raise, support.
Horizontal hands, palms down:
They cover, protect, bless, promise, calm.
The hand is wide open, extended forward and exposed.
I confess, I prove, I testify, I affirm, I proclaim.
There are also a number of symbolic gestures, very well known, which can be used on occasion, despite their vulgarity; the main thing is to apply them during:
Pull your nose with your foot, make horns, place a bump under your nose or chin, etc.
These gestures are too well known for us to describe them.
One piece of advice: the movements of the hands are very expressive, but we recommend in the most persistent way that they be used, in addition to additional movements, only with very restraint and with complete clarity.
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