Joachim Meyer's Longsword: Schlussel (The Key)
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- เผยแพร่เมื่อ 9 ก.ย. 2024
- Schlussel is a position which is characteristic to Meyer's system and sometimes the subject of controversy as to its usefulness.
In this video we'll try to discover Schlussel in its "natural habitat" by looking at simple movements from first principles. From this we'll move into Schlussel as a provocation and as a launching point for thrusts in opposition, and finally see the posture in some of Meyer's plays.
It’s amazing how, a static stance can look so odd, but when you put it into the actual move set, it becomes totally natural and efficient even
HEMA never ceases to amaze me
.... in a good or a bad way? :D
@@DanielPopeScholarVictoria in a good way! Speaking as a gamer, no game is good enough because historical moves look a lot cooler (due to their practicality)
The graphics and overlays really help to visualize correct form. Good work on these videos thank you!
I just discovered your channel. I love how your videos use visuals, text, and voiceovers, all while being short. So helpful.
This is the first time ive been able to understand schlussel in a way beyond "just a transition", like how many view crown or fiore's shortguard. Thank you for this!
This video is such a wealth of information presented in a really concise way, thank you so much!
Brilliant! This feels so much more natural and efficient than the big rounded pflug/ochs position switch. Really well explained, subbed!
Thank you for your clear enunciation and guidance. Great tutorial. Thank you.
Great stuff! Thank you for this!
Thank YOU for watching :)
your content is fantastic. you answered so many questions in your videos, amazing for everyone learning on their own!
Thanks. I’m glad the videos are useful.
An extremly nice video, never could whrap my head aroud it how it shoud be performed. Very nice.
Very well explained & demonstrated! Thank you I'm looking forward to reading Meyer's 1570 Manuscript when it arrives
Read the whole thing and then take time to go back and cross reference the different sections - it's definitely worth taking the time!
Some rookie knight from Medieval times pulls this video on his iScroll real quick before the duel starts.
cool. link?
Incredible, almost as if someone would like us to not stand and wait in some positions, but rather consider them as screenshot from useful motion... :D Also wow, you have awesome body control!
:D Surely we should just stand like statues ! :D
And Thanks :)
Those visualizations are amazingly helpful
Thank you so much for your interpretation! I think now I know how to use it to deal with my partner😛
I like to use it with a slight step back to disengage from a krumphau and counter-thrust!
For sure! Definitely a practical option 🙂
@@DanielPopeScholarVictoria 😁👌
loving this channel Daniel! Very clear instructional videos! No clubs near me so Im winging it :P
Thanks. I’m glad the videos can help in any way. 😊
Excellent explained. ❤
Glad it was helpful!
This is excellent!
Awesome thank you Daniel this is excellent stuff mate!
Not sure if I agree with this linear raise. The point control doesn't feel as good and defensively I don't feel like I could trust it against an incoming oberhau the way I can the other way, which I don't really perform with the strong hand's shoulder muscle but rather by pushing the pommel out from "under" the cross. It's an impulse driven by the turning of the shoulder and thus it's structurally very sound, while also keeping the strong hand's actions very simple and thus maximizing its sensitivity during the transition. But maybe I'll come to see it your way after a few months of trying it your way...
I think I see where you're coming from, though against a strong Oberhau you would also want to push "forward" as well in opposition (as in winding and absetzen type movements)
I find a circular raise (even when engaging the shoulders) leads move often to a collapse in the line, but of course, that doesn't mean I'm right :D
@@DanielPopeScholarVictoria Yeah it's also forward, but that movement comes from stepping into it rather than the hands or torso pushing it. By keeping the arms straight-ish and trying to keep the latissimus dorsi engaged, so that when it does collapse against a strong blow, it deflects it and sets me up for a counter.
Schlussesl seems to do something to my hip engagement in the thrusts, as you noted, so it seems like I should keep practicing it.
I very much enjoyed your video, but i have a questions regarding the Meyer teachings. His treaty "Gründtliche Beschreibung der freien ritterlichen und adeligen Kunst des Fechtens" shows Pflug in the thumb-grip (with the thumb resting on the blade) in figure B. Do you think, this is deliberate or can anyone use the grip, most comfortable?
Thumb grip in Pflug is a good option, particularly against people cutting over to the hands, as the thumb grip means you can rotate the guard to more easily cover the other side, not to mention the benefits for quick Zwerch and Schielhauw transitions.
However, Meyer is pretty flexible with his grips - throughought the text we see a great variety of grip changes, and a more "orthodox" grip in Pflug is entirely within his method - especially if you're cutting to Langort then withdrawing back to Pflug.
Daniel what about Winden? Does it make sense to use the linear lifting motion left right to use in Winden? I'm pretty new to practicing Winden, so I'm asking to better understand what I see about it in videos here and there.
Linear motions make sense for these kinds of "winding" actions - the goal is to 'turn' the sword (and change the fencing line) so when winding the linear actions provide the same benefits in the context you mention :)
Hi, may I ask how did you assume the initial moves during the Schlussel? And, where did you read about cutting down to the ground related to what you call a Meyer fencing? Thx and good luck. Otherwise your videos are excellent!
On cutting down to the ground into Wechsel, quite a few of Meyer's plays use this kind of cut through to Wechsel, though very specifically you can find it in 1.10R of Meyer's longsword section where he describes the full Zornhauw as cutting through Longpoint into Wechsel, and the Oberhauw cutting through longpoint down into Alber.
The second answer is more complicated; in 1.38v.1 we are told to "position yourself in this guard in much the same way you have fought previously in the Einhorn". Looking back to 1.37v.1 we are given instructions on entering to Einhorn, here from the Forgeng translation:
"Item, in the Onsset come with your left foot forward, and slash upward with the short edge from your right, once, twice, through his face; and the third time remain in Longpoint with your sword extended before you. Turn the long edg up toward your right, so that your pommel comes through under your right arm, and your hands crosswise over one another."
This last part then moves to Einhorn (for the Einhorn plays), or in this case Schlussel.
Technically you could also come into a second Einhorn winging upward cuts following the initial Einhorn entry, but these don't really add much to the discussion.
In practice while fencing the slashing up is typically a little more direct than these broad motions, though in reality as per the rest of the video, schlussel can occur at any low-high transition :)
Could you make an online school? 99% of us do not have access to such a school ...
I would love to make more of these videos for people if they’re useful :)
If you don’t have access to a school jump into any of the online hema communities on Facebook: people are happy to give advice on getting started :-)
@@DanielPopeScholarVictoria Your videos are very useful and I think you have a pedagogical talent.
@@gearstil Thanks :)
Schlüssel ! The word Schlussel doesn' t exist in german language. Ü , ä, ö can be written also ue, ae or oe.
You’re right of course :)
Typically when people are looking for things online they omit the correct characters, so the title for this makes it a little easier to find.
As for the in video references: my bad 😊
get schlusselrekt