At 5:16I unfortunately made an error (too much cavazioni!) the correct sentence is: “Notice that the difference between a cavazione landed following a feint and a CAVAZIONE IN TEMPO is….” Unfortunately I said cavazione angolata instead of in tempo, but the two examples of the video show the proper names on the proper examples.
I've started a HEMA club in my town with a few accointances and we started with Fiore's longsword. We worked with a translated (in french) copy of Fiore's manuals, and a few interpretation and training session structure from a friend's club. (Which is too far away for us to attend) We had a lot of work finding and understanding better interpretations that our friend's club and going beyond the limited material they had shown us, but there was always another problem that bugged me. Their club went straight from the basics to the plays. But I knew, by reading Fiore's manual, that there was some training to do with the text of each Posta. I tried to find ways to turn them into drills, but my very limited experience and understanding of the source made it all quite difficult. This series of video is litterally the answer to the problem I feel I've been facing for a year now. Thank you so much.
Great teacher! Thank you for the very informative videos and translations of the manuscript. You have greatly assisted my understanding of Fiore and the Longsword. Brilliant work. BRAVO!
I'm really enjoying your explanation of Fiore's poste in this series. I'm finding my own thoughts about Fiore's Armizare to be more in line with your interpretation than most of the people I've learned from, whether remotely, or in person. Great work!
@Federico Malagutti you are an amazing teacher! Every time you upload it feels like I am being paged by Fiore himself! P.s Beginning my Burhurt journey alongside Hema work, would love some words of wisdom on disarming and trips!
Falsita = Fakery or more precisely "Falsery":this is an obsolete word in English circa 16th century, so maybe more appropriate. Your videos are awesome, I am devouring them. Thank you for the great work.
Thank you ! I am seriously waiting for these guard series . Please make - Archer Guard - Crown Guard - Boar Tusk And other guards next time … I only know some names but your videos are the one explaining in details . I am writing a high fantasy book in which my main character using these techniques . I am so eager to learn from you .
Good afternoon! My gf and I are hiking the tour du Mont Blanc in August, and I was thinking you lived near there. I have been following your content for some time now, and I would like to set up a brief personal lesson with you, and finally meet you. Your content has been so helpful, I would love to thank you in person. Let me know if you are interested. 👍🏼
Great content as usual! I would be interested in seeing your take on parrying/countering brute blows - e.g. a stronger attacker having a heavier longsword (at least compared to feders) who is trying to force through. I know Fiore talks about the futility of brute force, which is probably true with good structure. However, since most practice with feders and rarely defend against really heavy blows, this could mean trouble when you're not used to it.
Well the SIGIs we use at the club weight 1.6 kilos which is on the heavy side of Longsword findings actually! Anyway, during tournaments I basically parry heavy blows all the time. Especially at medium distances. It is mostly about the time you have left to reach the parry position. Structure is something which comes during the training phase, if the parry is not correct in it’s very concept, then the execution of it during a fight makes it problematic, even against lesser intense blows ;-)
Is the cavazione (disengage) actually referred to in Fiore's manuals? Or is it taken from Vadi or some other manual? Also, would the cavazione (disengage) be considered a mezza volta in Fiore's system? He says that all guards can make the mezza volta, but I don't believe he specifies whether you go over or underneath the sword.
1) I use the name Cavazione because it's Italian, instead of using the term disengage. It anyway appear far later in time. 2) Probably, there is not an explanation of the volte di Spada on the various manuals. Fiore just says they exist. He only explain how the volte of the body works (so, the one on your feet). Fiore says that all the guards can do the volta stabile and the mezza volta, refering to the footwrok. "We are two guards that are similar to each other, and yet each one is a counter to the other. And for all other guards in this art, guards that are similar are counters to each other, with the exception of the guards that stand ready to thrust-the Long Guard, the Short Guard and the Middle Iron Gate. For when it is thrust against thrust the weapon with the longer reach will strike first. And whatever one of these guards can do so can the other. And from each guard you can make a “turn in place” or a half turn. A turn in place is when without actually stepping you can play to the front and then to the rear on the same side. A half turn is when you make a step forwards or backwards and can switch sides to play on the other side from a forwards or backwards position. A full turn is when you circle one foot around the other, one remaining where it is while the other rotates around it. Furthermore you should know that the sword can make the same three movements, namely stable turn, half turn and full turn."
@@FedericoMalagutti In my school, I like to say that the entire art can be expressed with the three turns of the sword and the guards. However the cavazione is particularly missing from the system, which leads me to believe that the mezza volta can refer to this
@@silverswordguy4191 depending from the weapon, the times and the needs, some things receive a name while others not. So yeah it may be, I personally don't find it a problem when I teach simply because this are basic, simple movements, and the glossa of Longa is so easily understandable in terms of what it refers to that I can't doubt for a second Fiore used such movements. If we want to forcefully use a name in the manual you may go for the volta, maybe it's right, maybe not, for sure it is useful to give names to things while teaching, that's why I use Cavazione. In my training, studying and reading, I don't always try to use the names of the manual, if they aren't clear or present at all. Let's make the example of ribattere, ribattere may be a strong parry or a strong beat. The first one is defensive, the other is offensive, I prefer to say "Parata" and "Battuta" to better distinguish between the two. But for me is probably easier to do because I don't feel the "Foreign Flavour" of using specific words, like I would maybe for "Jodan No-Kamae" instead, for me it's just another Italian word, just older and not as precise as I need to refer to a specific action.
I have a series analyzing Fiore Longsword ongoing since this year. I roughly deliver a 20 to 45 minutes video every month. Watchable from “Spearman” tier and above.
I have a series analyzing Fiore Longsword ongoing since this year. I roughly deliver a 20 to 45 minutes video every month. Watchable from “Spearman” tier and above.
At 5:16I unfortunately made an error (too much cavazioni!) the correct sentence is:
“Notice that the difference between a cavazione landed following a feint and a CAVAZIONE IN TEMPO is….”
Unfortunately I said cavazione angolata instead of in tempo, but the two examples of the video show the proper names on the proper examples.
At least we can clearly see how tricky this posta can be!
@@PetrKavan ahahahahahah! Well said!
I've started a HEMA club in my town with a few accointances and we started with Fiore's longsword. We worked with a translated (in french) copy of Fiore's manuals, and a few interpretation and training session structure from a friend's club. (Which is too far away for us to attend)
We had a lot of work finding and understanding better interpretations that our friend's club and going beyond the limited material they had shown us, but there was always another problem that bugged me. Their club went straight from the basics to the plays.
But I knew, by reading Fiore's manual, that there was some training to do with the text of each Posta. I tried to find ways to turn them into drills, but my very limited experience and understanding of the source made it all quite difficult.
This series of video is litterally the answer to the problem I feel I've been facing for a year now.
Thank you so much.
I’m happy to read this. Also by reading your comment I can tell you that you have the, in my understanding, the correct way of looking at this source.
Great teacher! Thank you for the very informative videos and translations of the manuscript. You have greatly assisted my understanding of Fiore and the Longsword. Brilliant work. BRAVO!
I'm really enjoying your explanation of Fiore's poste in this series. I'm finding my own thoughts about Fiore's Armizare to be more in line with your interpretation than most of the people I've learned from, whether remotely, or in person. Great work!
@Federico Malagutti you are an amazing teacher! Every time you upload it feels like I am being paged by Fiore himself!
P.s
Beginning my Burhurt journey alongside Hema work, would love some words of wisdom on disarming and trips!
Thank you very much.
I’ll at some point do a video on disarms ;-)
Falsita = Fakery or more precisely "Falsery":this is an obsolete word in English circa 16th century, so maybe more appropriate. Your videos are awesome, I am devouring them. Thank you for the great work.
@@Noone-y5z thanks :-D
Thank you for this video - I benefit greatly from this!
The nice to see the cinematography/ video quality slowly evolving from your older videos! Doesn't need to be but I'm all for it🙌🏼
Thanks ;-)
These posta videos are great, very informative.
Thanks ;-)
Great stuff as usual! I'm definitely using it more intently these days, though I don't sit in it.
Thanks!!!
Thank you ! I am seriously waiting for these guard series .
Please make
- Archer Guard
- Crown Guard
- Boar Tusk
And other guards next time … I only know some names but your videos are the one explaining in details .
I am writing a high fantasy book in which my main character using these techniques . I am so eager to learn from you .
Good afternoon! My gf and I are hiking the tour du Mont Blanc in August, and I was thinking you lived near there. I have been following your content for some time now, and I would like to set up a brief personal lesson with you, and finally meet you. Your content has been so helpful, I would love to thank you in person.
Let me know if you are interested. 👍🏼
Write me a pm or Instagram or Facebook ;-)
Great content as usual! I would be interested in seeing your take on parrying/countering brute blows - e.g. a stronger attacker having a heavier longsword (at least compared to feders) who is trying to force through. I know Fiore talks about the futility of brute force, which is probably true with good structure. However, since most practice with feders and rarely defend against really heavy blows, this could mean trouble when you're not used to it.
Well the SIGIs we use at the club weight 1.6 kilos which is on the heavy side of Longsword findings actually!
Anyway, during tournaments I basically parry heavy blows all the time. Especially at medium distances. It is mostly about the time you have left to reach the parry position. Structure is something which comes during the training phase, if the parry is not correct in it’s very concept, then the execution of it during a fight makes it problematic, even against lesser intense blows ;-)
Looks nice.
Thanks!
Is the cavazione (disengage) actually referred to in Fiore's manuals? Or is it taken from Vadi or some other manual?
Also, would the cavazione (disengage) be considered a mezza volta in Fiore's system?
He says that all guards can make the mezza volta, but I don't believe he specifies whether you go over or underneath the sword.
1) I use the name Cavazione because it's Italian, instead of using the term disengage. It anyway appear far later in time.
2) Probably, there is not an explanation of the volte di Spada on the various manuals. Fiore just says they exist. He only explain how the volte of the body works (so, the one on your feet).
Fiore says that all the guards can do the volta stabile and the mezza volta, refering to the footwrok.
"We are two guards that are similar to each other, and yet each one is a counter to the other. And for all other guards in this art, guards that are similar are counters to each other, with the exception of the guards that stand ready to thrust-the Long Guard, the Short Guard and the Middle Iron Gate. For when it is thrust against thrust the weapon with the longer reach will strike first. And whatever one of these guards can do so can the other.
And from each guard you can make a “turn in place” or a half turn. A turn in place is when without actually stepping you can play to the front and then to the rear on the same side. A half turn is when you make a step forwards or backwards and can switch sides to play on the other side from a forwards or backwards position. A full turn is when you circle one foot around the other, one remaining where it is while the other rotates around it.
Furthermore you should know that the sword can make the same three movements, namely stable turn, half turn and full turn."
@@FedericoMalagutti
In my school, I like to say that the entire art can be expressed with the three turns of the sword and the guards. However the cavazione is particularly missing from the system, which leads me to believe that the mezza volta can refer to this
@@silverswordguy4191 depending from the weapon, the times and the needs, some things receive a name while others not. So yeah it may be, I personally don't find it a problem when I teach simply because this are basic, simple movements, and the glossa of Longa is so easily understandable in terms of what it refers to that I can't doubt for a second Fiore used such movements.
If we want to forcefully use a name in the manual you may go for the volta, maybe it's right, maybe not, for sure it is useful to give names to things while teaching, that's why I use Cavazione.
In my training, studying and reading, I don't always try to use the names of the manual, if they aren't clear or present at all. Let's make the example of ribattere, ribattere may be a strong parry or a strong beat. The first one is defensive, the other is offensive, I prefer to say "Parata" and "Battuta" to better distinguish between the two. But for me is probably easier to do because I don't feel the "Foreign Flavour" of using specific words, like I would maybe for "Jodan No-Kamae" instead, for me it's just another Italian word, just older and not as precise as I need to refer to a specific action.
If i subbed to you on Patreon, I can get good info on doing Fioire? I've been wanting to learn it for a while.
I have a series analyzing Fiore Longsword ongoing since this year. I roughly deliver a 20 to 45 minutes video every month. Watchable from “Spearman” tier and above.
I have a series analyzing Fiore Longsword ongoing since this year. I roughly deliver a 20 to 45 minutes video every month. Watchable from “Spearman” tier and above.
Am I too early dammit lol
I was too late instead! I was driving when the premiere started! Dam! XD