I have 3 observations, take them as positive compliments - from a laic. Observation 1) Sword never stopped, almost all of the time it moved on a circular trajectory to keep momentum. Observation 2) It seems really easy to change the direction of your attack or cover all directions. Continous motion supports it. Observation 3) I see that it is 65% hand and 33 footplay. But I also see the subtle impulses your torso puts into action.
1. For swords of this size, it's crucial to keep the momentum going. Longsword is much more sharp and controlled in comparison. 2. Exactly, especially if your footwork is on point. The whole point of the greatsword/zweihander/spadone/motante is to claim space. 3. It's all mostly footwork and core strength in these cuts, believe it or not. It just seems that way once the blade's in motion, and you're just guiding its momentum with your legs and core muscles. Pretty much the only way to get control like this with a sword of this size. Not that the sword is heavy, mind you, around 5 lbs for a sword of this size, and typically it's really long, so by the nature of the weapon, you have to change your biomechanics a bit to be fast, fluid, and deadly with a sword of this size.
The sentiment was shared! Montante was a favored weapon for bodyguards during its heyday, as it could easily keep a group of would-be assassins or muggers at bay in a semi-enclosed area like a city street. Anyone with half a brain would think twice before approaching a big hunk of steel swinging around at that speed, and it was pretty much a given that if a mercenary was being paid for their services, they knew what they were doing with said big hunk of steel.
+Peter Timowreef You should look up his actual rule set, reading it might give you a better idea of each movement, then use videos like this to reference when something is not clear.
Very fine example of how big weapons don't have to lack finesse for power. You demonstrated how easy energy and momentum can be generated and sprung in the stances and how to change angles for utilizing defense, as well as offense, in circular simple movements.
It certainly looks intimidating trying to close the distance... but I can imagine a lot of the swings wouldn't end up doing serious damage and even though the rotation generates a lot of momentum and it makes it hard to parry or deflect the blade it shouldn't be too hard for an experience swordsman to close the gap and deliver a fatal thrust.
@@tehcks It would make sense though... you need powerful swings to deflect pikes or spears thrusted towards you, so using a constant spin is a good way to do it - now the problem is it can work both ways, the more momentum you put in it the harder it becomes to control - it is still a sword and it can easily deflect when hiting a shield or piece of armor. Having such a long blade makes it almost impossible to use within grapling distance even with half-swording techniques so I guess it did end up as a very popular choice for large battles.
Amazing. I had no idea something this formidable and dynamic was a feature of late-medieval battlefields. Thank you for making this remarkable film available.
Other than the gangplank scenario, all are designed here for a non-military context. For use on the battlefield most of these movements would be all but impossible to utilise.
@@bramvanworkum he's still correct, you're not spinning it around over your head but rather using your greatsword to bind up the enemy polearms and allow your polearms to incapacitate/kill them
You always read in fiction about how a sword fight can seem like a type of dance. This displays this principle very well. Graceful, focused, force without strain.
I think this (and the video of the composed) are the only 'complete' interpretations of the Memorial. As these things go, I don't agree with all of it, and am very grateful for insight into other parts. My main interpretation difference has to be 3s (and the rules that use the same sequence) I read a "talho from behind" as a rising cut like in 1s and a "talho forward" as a descending cut. This would make 3s a ribbon cut, quite a likely basic move. It seems to me he is introducing basic techniques in the first 5 simple rules, which he then expands upon in the following ones. I fully understand if you disagree (on 3s or anything else) but would love to read your arguments. Thanks again for a great collection.
Jools Grommers If Figueiredo specified it as being a rising cut, as he does elsewhere, then I would do it as one. He says in the final parts of the memorial that the executive movements are natural, so it would make sense that he would specify in his work which cuts would be an exception. I used to be part of NoVA Assalto back when it was still active, and the rising-then-descending variant was one of the first interpretations I learned for 3s as well. It felt neither protective nor smooth, and was very easy for an opponent with any experience to take advantage of in sparring. The double descending cut creates less drastic openings on the body, moves and suppresses with more authority, is less easy itself to suppress, and is easier to pull off in sparring. It's also a MUCH less suicidal movement against people with shields. By shifting the compass during the preparation, you can maintain a fluidity of position and measure that lets you maintain the advantage and possibly even pull off an opposition technique (though this isn't specified). I would still do a rising motion to parry if doing a half cut, but the rising motion would not be a cut in and of itself as it's just the dispositive preparation, and bringing the sword all the way behind me to do that would be inefficient if in immediate need of such an active parry. I don't dislike the idea of doing a still rising cut then stepping with another cut, but I personally do not think that's what's being described there. Where in this video I ready the still cuts from behind by doing a large circle to bring the hilt behind my head, they could also easily be readied by doing a rising dispositive motion behind you, like a half-cut, checking behind you, then giving the double-cut in front. He uses the double cut in his rule 6 against a single montantero though, so I like to do the circle as my default dispositive motion as it still has utility if there's just one opponent. It depends on what you want to do. Finding something that "felt right" for the double cut was a huge irritation for me for the longest time, this was the one that felt smooth and suitably murderous.
I have been reading "from behind" as a rising cut, the people who did the translation on Oakshott seem to think this is what he means too (tried to find the discussion where one of them mentioned this, but couldn't). I don't think it matters much, Keeping the hilt in front of the face between the first and second cut keeps me pretty safe. Was just wondering. Your interpretations have helped me a lot with mine, so I can't thank you enough for that. Doesn't mean we have to agree on everything. :)
It's great if you have an interpretation of Figueiredo's rules. I am a native speaker of portuguese and couldn't read them all, let alone elaborate an interpretation. Please post your videos.
I just got myself the purple heart synthetic montante to train with (thank god or I would've cut my own arm off by now.) and I freaking love this weapon. I watched your videos before I got it to get an idea on how to wield it and I have to say you make it look so much easier than it is. I'm a grown ass man and I hardly have the strength to swing it at the speeds you do and certainly not with your fluidity and effectiveness. Of course I'll keep at it so I can get used to the weapon I just had to let you know how awesome you are with that big ass sword in your hands.
Strangely a lot of these moves remind me of the katas and medium style from Star Wars Jedi Knight 2: Jedi Outcast and Jedi Knight 3: Jedi Academy. :P It's truly elegant to look at! :D
I always knew I wanted to try Montante techniques, but this video solidified that desire - that technique is absolutely beautiful! wonderful work, friend.
Thanks for the visual interpretation of the form. This helped me tremendously in pursuit of my own. Great insight! Thanks for posting. How does the A&A handle? Have you used the one that Timeseller makes?
"Ointment! That's what you need when your head's been cut off! That's what I gave your sister Mary when they done her. 'There, there' I said, 'you'll soon grow a new one.'" -- Nursie ( _Blackadder II,_ e2 )
Hi ! Great video and great precises movements. Since i found it, I tried to look for the actual manual (well a translation) to work on the recently bought simulators of my HEMA club. I start by reading and trying stuff and then compare with your video and try to understand why you did something like this and not like that etc etc. Although i have a question about the last part of the 8s. It might be an error of translation since i had not the opportunity to make it check by a portugese speaker. Note that i am french but comfortable enough with english to get the rules. Around 2.22 during the 8s after you give the Talhos turning around, my text says "[...] and a Revez while standing still, and another putting in the right foot and another removing the same right foot [...]" but you do these moves with the LEFT. It bugs me a bit. Also why do you use double circular cuts instead of simples in the beginning of the variation 2 of the same rule ? Thank you
+David Stanley this is like asking a professional thai fighter: "how you do that?" mmm how about dedication, skill, trainning, endurance...and hours and hours of practice...
+Rico Cori You are being rather harsh. "Please tell me how I can learn this" and "Teach me your secrets right this instant" are very different requests. Nothing about his original comment implies he is looking for a "short cut". Lashing out like this is only going to discourage potential beginners. The various arts of HEMA are still growing, we can't afford to turn away enthusiastic recruits. +David Stanley First and forefost, you would need people to train with. This is somewhat complicated, because HEMA is actually a collection of martial arts, not just one. That means that a "HEMA" group might not practice this weapon, in fact most focus on a shorter German longsword. On the other hand, most HEMA practitioners learn and fence with multiple weapons, and getting involved in HEMA is your best bet to eventually get to use this one. You might even be able to convince a longsword group to begin studying the greatsword (aka Spadone, Montante or Zweihander). So that would be my recommendation. Any knowledgeable group should be able to advise you on equipment, training swords etc. The most important thing is to train.
+David Stanley I would suggest learning the longsword first with a HEMA group, either in the Italian tradition (Fiore/L'arte dell'Armizare) or in the German tradition (Kunst des Fechtens). Once you have experience with that, learning the Montante/Spadone/Zweihander/Two hander is something you should be able to achieve. The longsword is actually referred to by some masters as the "queen of weapons", because in learning it you learn the fundamental principles of most other weapons. There are HEMA groups almost everywhere nowadays, so see if there are any in your area to practice with.
bird bones It's an A&A montante trainer with a custom crossguard. It came with a longer blade when I ordered it, about the same size as the one on the spadone trainer.
Well, a Montante´s puropse is coverin the space around the fencer and hitting everything trying to move in, and it´s Rally efective. but not for duelling.
The one thing im not quite seeing is how to do a revez or talho. The talho seems top down right to left and the revez is the opposite. Basically hau/unterhau. But is it?
Can you describe the footwork on the first spin to keep balance when doing it? Whats the easiest way to make the spacing of your feet even when you spin?
This is going to sound incredibly nerdy...but can you imagine wielding lightsabers like this? Jedi would be at times used as bodyguards and a montante was used by bodyguards so... Plus it would give a decent reason for all the spinning and flashy movements used in lightsaber combat.
Do you think a persons height plays a role in how successful they can be with this type of technique? A few of the moves look like floor draggers for shorter people.
From what I've heard from other youtubers (mainly Shadiversity) this kinds of swords were made to be as tall as the wielder (or taller) That's why you see those big sweeping motions overhead. So even a person as short as 5'5 like me should be able handle it. I'm assuming the sword is 5'5 in length because another youtuber (scholagladiatoria) has a similar sword that long.
Hi, i have a question for this style, is this style all about keeping your distance away enough from the enemy to prevent him/her from grappling you? Thanks
+CC S The sword is not heavy, in fact, its only 4 pounds, but this move is similar to one you might see in the use of pole weapons, especially in the use of glaives, where the body is used to halt and rebound the weapon to great effect with circumstances restrict other forms of attack.
I'm really new to this European swordsmanship stuff . so my question is was that historically how those sword were actually used or was that more for show .
+Andy Wilson These "Rules" or "lessons" come from a manual about the serious application of a great sword in combat, whether in defense of a town, a gate, person, etc, or on the battlefield. The great sword wielder, by being able to go through these forms and combine them and even change a cut or thrust or step here or there, is meant to gain an understanding of the inherent advantages and disadvantages of using his weapon, the power it has, the space it can dominate, etc, especially if he is up against more than one opponent and needs to keep them at bay or even smash their formation. The nature of the great sword's size means that its greatest advantage lies in keeping momentum and presenting a viable threat to all comers while the user steps to keep himself safe and put his opponents at a disadvantage, which is why this may look a bit flashy, what with all the rotations and graceful bounds across the line, but the idea of the art is to keep one's mind sharp and ideally have perfect control over one's body so that the sword and body move as one, without effort (you'll notice that he does not get tired despite swinging a great big sword around, that is because he is using the power of his body and the leverage of the long handle). This sentiment is seen throughout all of the historical manuals that I have read, even if the weapons discussed are different. Hope this helps!
This is great! Im currently working on a 3d animation of a wookiee jedi and im planning on giving him a montante style saber and technique. This video is great reference
This has to be one of the coolest ways to exercise ever.
Whenever someone says that two-handed swords are heavy and clumsy, this is my go-to video to send them.
I have 3 observations, take them as positive compliments - from a laic.
Observation 1) Sword never stopped, almost all of the time it moved on a circular trajectory to keep momentum.
Observation 2) It seems really easy to change the direction of your attack or cover all directions. Continous motion supports it.
Observation 3) I see that it is 65% hand and 33 footplay. But I also see the subtle impulses your torso puts into action.
1. For swords of this size, it's crucial to keep the momentum going. Longsword is much more sharp and controlled in comparison.
2. Exactly, especially if your footwork is on point. The whole point of the greatsword/zweihander/spadone/motante is to claim space.
3. It's all mostly footwork and core strength in these cuts, believe it or not. It just seems that way once the blade's in motion, and you're just guiding its momentum with your legs and core muscles. Pretty much the only way to get control like this with a sword of this size.
Not that the sword is heavy, mind you, around 5 lbs for a sword of this size, and typically it's really long, so by the nature of the weapon, you have to change your biomechanics a bit to be fast, fluid, and deadly with a sword of this size.
I'm not a student of sword technique, more of a theatrical swordplay lover. This swordplay was really beautiful, the most beautiful I've seen.
The sentiment was shared! Montante was a favored weapon for bodyguards during its heyday, as it could easily keep a group of would-be assassins or muggers at bay in a semi-enclosed area like a city street. Anyone with half a brain would think twice before approaching a big hunk of steel swinging around at that speed, and it was pretty much a given that if a mercenary was being paid for their services, they knew what they were doing with said big hunk of steel.
The legend never dies
praise the sun
praise be the fucking sun
It'd be wild he busted out a cartwheel during one of his forms
Size him up 3 times, add some uber-knight armor and this would be the best Dark Souls boss ever
Or atack helicopter :P
0:07 Rule 1 Simple
0:19 Rule 2 Simple
0:34 Rule 3 Simple
05:52 Rule 4 Simple
1:12 Rule 5 Simple
1:35 Rule 6 Simple
Other rules got their own timecodes.
This was a lot of things but simple was not one of them.
+Peter Timowreef Divide up the movements ,visualize the applications, and it becomes so much simpler
+Peter Timowreef You should look up his actual rule set, reading it might give you a better idea of each movement, then use videos like this to reference when something is not clear.
I just cross-referenced the simple and composed versions of rule 1, and let me tell you...
The simple version is basic as FUCK in comparison.
That's how figueiredo himself called these moves. There are other rules he called "composed"
Very fine example of how big weapons don't have to lack finesse for power. You demonstrated how easy energy and momentum can be generated and sprung in the stances and how to change angles for utilizing defense, as well as offense, in circular simple movements.
Excellent dynamics!
The Sword's Path aaaayyy i see you fam! love your channel dude!
The Sword's Path Hello Allan!
Great swords - the only weapon where spinning is truly viable.
You shouldn't "spin" neither you are rather covering all your flanks. This weapon is made to use against multiple oponents so you have to be carefull.
What about Beyblades though?
pointy sticc He is the messiah!
It certainly looks intimidating trying to close the distance... but I can imagine a lot of the swings wouldn't end up doing serious damage and even though the rotation generates a lot of momentum and it makes it hard to parry or deflect the blade it shouldn't be too hard for an experience swordsman to close the gap and deliver a fatal thrust.
@@tehcks It would make sense though... you need powerful swings to deflect pikes or spears thrusted towards you, so using a constant spin is a good way to do it - now the problem is it can work both ways, the more momentum you put in it the harder it becomes to control - it is still a sword and it can easily deflect when hiting a shield or piece of armor. Having such a long blade makes it almost impossible to use within grapling distance even with half-swording techniques so I guess it did end up as a very popular choice for large battles.
Amazing. I had no idea something this formidable and dynamic was a feature of late-medieval battlefields. Thank you for making this remarkable film available.
Other than the gangplank scenario, all are designed here for a non-military context. For use on the battlefield most of these movements would be all but impossible to utilise.
Images of greatswords diving into pike formations would disagree with that
@@bramvanworkum he's still correct, you're not spinning it around over your head but rather using your greatsword to bind up the enemy polearms and allow your polearms to incapacitate/kill them
This man will survive the zombie apocalypse
Yeah this weapon was designed to deal with a large number of targets in little to no armor, it would she'd zombies
Interesting. I could tell you must've spent countless hours practicing this routine.
Well done :).
You always read in fiction about how a sword fight can seem like a type of dance. This displays this principle very well. Graceful, focused, force without strain.
I think this (and the video of the composed) are the only 'complete' interpretations of the Memorial. As these things go, I don't agree with all of it, and am very grateful for insight into other parts. My main interpretation difference has to be 3s (and the rules that use the same sequence) I read a "talho from behind" as a rising cut like in 1s and a "talho forward" as a descending cut. This would make 3s a ribbon cut, quite a likely basic move. It seems to me he is introducing basic techniques in the first 5 simple rules, which he then expands upon in the following ones. I fully understand if you disagree (on 3s or anything else) but would love to read your arguments. Thanks again for a great collection.
Jools Grommers If Figueiredo specified it as being a rising cut, as he does elsewhere, then I would do it as one. He says in the final parts of the memorial that the executive movements are natural, so it would make sense that he would specify in his work which cuts would be an exception. I used to be part of NoVA Assalto back when it was still active, and the rising-then-descending variant was one of the first interpretations I learned for 3s as well. It felt neither protective nor smooth, and was very easy for an opponent with any experience to take advantage of in sparring. The double descending cut creates less drastic openings on the body, moves and suppresses with more authority, is less easy itself to suppress, and is easier to pull off in sparring. It's also a MUCH less suicidal movement against people with shields. By shifting the compass during the preparation, you can maintain a fluidity of position and measure that lets you maintain the advantage and possibly even pull off an opposition technique (though this isn't specified). I would still do a rising motion to parry if doing a half cut, but the rising motion would not be a cut in and of itself as it's just the dispositive preparation, and bringing the sword all the way behind me to do that would be inefficient if in immediate need of such an active parry. I don't dislike the idea of doing a still rising cut then stepping with another cut, but I personally do not think that's what's being described there. Where in this video I ready the still cuts from behind by doing a large circle to bring the hilt behind my head, they could also easily be readied by doing a rising dispositive motion behind you, like a half-cut, checking behind you, then giving the double-cut in front. He uses the double cut in his rule 6 against a single montantero though, so I like to do the circle as my default dispositive motion as it still has utility if there's just one opponent. It depends on what you want to do. Finding something that "felt right" for the double cut was a huge irritation for me for the longest time, this was the one that felt smooth and suitably murderous.
I have been reading "from behind" as a rising cut, the people who did the translation on Oakshott seem to think this is what he means too (tried to find the discussion where one of them mentioned this, but couldn't). I don't think it matters much, Keeping the hilt in front of the face between the first and second cut keeps me pretty safe. Was just wondering.
Your interpretations have helped me a lot with mine, so I can't thank you enough for that. Doesn't mean we have to agree on everything. :)
It's great if you have an interpretation of Figueiredo's rules. I am a native speaker of portuguese and couldn't read them all, let alone elaborate an interpretation. Please post your videos.
Have watched vid on and off over the years. One of the best. Thanks for this!
I just got myself the purple heart synthetic montante to train with (thank god or I would've cut my own arm off by now.) and I freaking love this weapon. I watched your videos before I got it to get an idea on how to wield it and I have to say you make it look so much easier than it is. I'm a grown ass man and I hardly have the strength to swing it at the speeds you do and certainly not with your fluidity and effectiveness.
Of course I'll keep at it so I can get used to the weapon I just had to let you know how awesome you are with that big ass sword in your hands.
How did it go? I'm a skinny guy and was thinking of buying one as a way to get bigger but also have fun while doing it.
Strangely a lot of these moves remind me of the katas and medium style from Star Wars Jedi Knight 2: Jedi Outcast and Jedi Knight 3: Jedi Academy. :P It's truly elegant to look at! :D
2:46
For some reason, that little spin is just SO damn satisfying to watch
Woah... amazing body mechanics, and outstanding technique!
👍
I always knew I wanted to try Montante techniques, but this video solidified that desire - that technique is absolutely beautiful! wonderful work, friend.
It's so cool when the Montante reflects the light of the Sun!
This is the most helpful video for learning these rules. Thanks for uploading!
Y'know...the way I practice the longsword is closer to this than anything else. Beautiful flow, beautiful sword. Subbed.
Hey look guys! It's Guts! The black swordsman!
This is awesome!! Makes me really want to train with a montante or large two handed greatsword... amazing animation reference, too!
Thanks for the visual interpretation of the form. This helped me tremendously in pursuit of my own. Great insight! Thanks for posting. How does the A&A handle? Have you used the one that Timeseller makes?
Fantastic video! Anyone practicing greatsword/montante/spadone can take a lot away from this! Nice work, well done, sir!
This is how I picture Guts from Berserk using his sword.
dragonslayer guts or pre-eclipse guts cuz theres no other route than clang for the dragonslayer
the best techniques i've seen so far man i want to get into this sort of stuff
Marvelous style, a pleasure to Watch.
that there is a beautiful backyard
Slick and smooth as always 2:08
I really want to learn this myself.
Man you looked sooo cool. cant wait to get my hands on a greatword
It can`t be better! Very well done!
This video is wonderful. I decided to learn the style due to this.
I tried doing this and chopped my own head off.
Still happens to me with the longsword so yeah. :D
Not a good feeling.
"Ointment! That's what you need when your head's been cut off! That's what I gave your sister Mary when they done her. 'There, there' I said, 'you'll soon grow a new one.'"
-- Nursie ( _Blackadder II,_ e2 )
YOU DIED XD
Well, you know the rule. There can be only one
Just rub some dirt in it you'll be fine
You have an amazing foot work👍
That footwork is incredible.
Well filmed - the sun catches the blade very effectively
(And "affectively" - I was transfixed)
Outstanding skills! Astonishing!
I found this video excellent. Delightful. Inspiring. Thanks!
with enough practice an precise skill the blade an swordsman become one of a constant an very hypnotic motion
Hi ! Great video and great precises movements. Since i found it, I tried to look for the actual manual (well a translation) to work on the recently bought simulators of my HEMA club. I start by reading and trying stuff and then compare with your video and try to understand why you did something like this and not like that etc etc.
Although i have a question about the last part of the 8s. It might be an error of translation since i had not the opportunity to make it check by a portugese speaker. Note that i am french but comfortable enough with english to get the rules.
Around 2.22 during the 8s after you give the Talhos turning around, my text says "[...] and a Revez while standing still, and another putting in the right foot and another removing the same right foot [...]" but you do these moves with the LEFT. It bugs me a bit.
Also why do you use double circular cuts instead of simples in the beginning of the variation 2 of the same rule ?
Thank you
What was the purpose of this weapon? As a specific bodyguard duty?
Bookmarked. Thank you so much for this!
Still it's "Simple" yet not so Simple...... Great Job.....!!
My God, it's beautiful! Please tell me how I can learn this!
i
+David Stanley this is like asking a professional thai fighter: "how you do that?"
mmm how about dedication, skill, trainning, endurance...and hours and hours of practice...
+Rico Cori You are being rather harsh. "Please tell me how I can learn this" and "Teach me your secrets right this instant" are very different requests. Nothing about his original comment implies he is looking for a "short cut". Lashing out like this is only going to discourage potential beginners. The various arts of HEMA are still growing, we can't afford to turn away enthusiastic recruits.
+David Stanley First and forefost, you would need people to train with. This is somewhat complicated, because HEMA is actually a collection of martial arts, not just one. That means that a "HEMA" group might not practice this weapon, in fact most focus on a shorter German longsword. On the other hand, most HEMA practitioners learn and fence with multiple weapons, and getting involved in HEMA is your best bet to eventually get to use this one.
You might even be able to convince a longsword group to begin studying the greatsword (aka Spadone, Montante or Zweihander). So that would be my recommendation.
Any knowledgeable group should be able to advise you on equipment, training swords etc. The most important thing is to train.
+David Stanley I would suggest learning the longsword first with a HEMA group, either in the Italian tradition (Fiore/L'arte dell'Armizare) or in the German tradition (Kunst des Fechtens). Once you have experience with that, learning the Montante/Spadone/Zweihander/Two hander is something you should be able to achieve. The longsword is actually referred to by some masters as the "queen of weapons", because in learning it you learn the fundamental principles of most other weapons. There are HEMA groups almost everywhere nowadays, so see if there are any in your area to practice with.
Vesemir would be proud, Witcher.
This should be an example of social distancing in covid-19
Miss your vids man. Thanks for the demo
beautiful technique! what sword are you using?
bird bones It's an A&A montante trainer with a custom crossguard. It came with a longer blade when I ordered it, about the same size as the one on the spadone trainer.
+Montante Niño I saw in a Scholagladitoria video that that sword is 8 pounds - How do you lug that thing around so easily? O_o
+Demonix Gamer (Alan Castillanos) Matt Easton's two-handed sword is a Del Tin sword, and Del Tin tends to make their swords overweight.
anyone here knows how effective this fighting style is?
Well, a Montante´s puropse is coverin the space around the fencer and hitting everything trying to move in, and it´s Rally efective. but not for duelling.
holy shit that was beautiful
The one thing im not quite seeing is how to do a revez or talho. The talho seems top down right to left and the revez is the opposite. Basically hau/unterhau. But is it?
Can you describe the footwork on the first spin to keep balance when doing it? Whats the easiest way to make the spacing of your feet even when you spin?
Good grief! but is there any counter to such speed and heft besides running in the other direction?
Screw off your pommel and end him rightly
This is going to sound incredibly nerdy...but can you imagine wielding lightsabers like this?
Jedi would be at times used as bodyguards and a montante was used by bodyguards so...
Plus it would give a decent reason for all the spinning and flashy movements used in lightsaber combat.
To become a master of arms in spain back then, montante was the last weapon you had to pass a test for.
Why do you have to kick the sword? Wont that throw you off balance if the enemy decides to counter you right away?
Forgive my ignorance, but what is the purpose of kicking the blade at the start (instead of just lifting it)?
Do you think that these techniques would apply to a staff?
Which model of sword are you using?
This looks awesome.
Righteous! you just got yourself a new subscriber comrade. keep up the badassdom. Where did you get that amazing 2 handed sword from?
Should the left wrist bend so much? I am asking because i have had enough of katana traning and want to train something Europe related :)
Nice demonstration.
This just so cool looking at,
Now try x2 play back speed
Where is the tiny alleyway rule? Where you thrust in front and behind you quickly
4:44 it's almost like the weapon is pulling him, or is that just me?
Do you think a persons height plays a role in how successful they can be with this type of technique? A few of the moves look like floor draggers for shorter people.
Use a weapon proportionate to your height. Solves that problem handily!
From what I've heard from other youtubers (mainly Shadiversity) this kinds of swords were made to be as tall as the wielder (or taller) That's why you see those big sweeping motions overhead. So even a person as short as 5'5 like me should be able handle it. I'm assuming the sword is 5'5 in length because another youtuber (scholagladiatoria) has a similar sword that long.
Would it cool if I use your vids for reference when I animate?
"Try spinning, that's a good trick."
Hi, i have a question for this style, is this style all about keeping your distance away enough from the enemy to prevent him/her from grappling you? Thanks
Not really, grappling with a montante is very effective too. The style is to fight against multiple oponents with various types of weapons.
Jason Hulott n?
Why did you speed up the footage...?
great technique though i have to ask how long have you been training with the montante and do you train with other swords?
This guy's moves exactly like Nightmare's in Soul Calibur
Great work, awesome form!
But Rule 16 form 1 is definitely quite peculiar...
That's awesome and beautiful - thanks for sharing!
Is this all from the translation on wiktenauer, or are you working from another source?
the last thing u did at "guarding the lady" is that really efficient? I mean u have to stop the motion of a heavy big sword
+CC S The sword is not heavy, in fact, its only 4 pounds, but this move is similar to one you might see in the use of pole weapons, especially in the use of glaives, where the body is used to halt and rebound the weapon to great effect with circumstances restrict other forms of attack.
I'm really new to this European swordsmanship stuff . so my question is was that historically how those sword were actually used or was that more for show .
+Andy Wilson These "Rules" or "lessons" come from a manual about the serious application of a great sword in combat, whether in defense of a town, a gate, person, etc, or on the battlefield. The great sword wielder, by being able to go through these forms and combine them and even change a cut or thrust or step here or there, is meant to gain an understanding of the inherent advantages and disadvantages of using his weapon, the power it has, the space it can dominate, etc, especially if he is up against more than one opponent and needs to keep them at bay or even smash their formation. The nature of the great sword's size means that its greatest advantage lies in keeping momentum and presenting a viable threat to all comers while the user steps to keep himself safe and put his opponents at a disadvantage, which is why this may look a bit flashy, what with all the rotations and graceful bounds across the line, but the idea of the art is to keep one's mind sharp and ideally have perfect control over one's body so that the sword and body move as one, without effort (you'll notice that he does not get tired despite swinging a great big sword around, that is because he is using the power of his body and the leverage of the long handle). This sentiment is seen throughout all of the historical manuals that I have read, even if the weapons discussed are different. Hope this helps!
Please cover the mangual
If you turn into a bleyblade hard enough no one will be able to reach you
This is awesome. Finally someone with a sword that doesn’t look like they might chop their own leg off by accideng
This was cool man.
Qual o nome desse tipo de espada?
Montante.
Came here from for honor warmonger video, stayed for amazing moves.
same
You should be in the next starwars film or game of thrones maybe the next three musketeers this style of fighting would look dope af in a movie
kaparino TwoTrinkets they already use it in starwars
This is great! Im currently working on a 3d animation of a wookiee jedi and im planning on giving him a montante style saber and technique. This video is great reference
if you post it i’d definitely like to see
Yoda: "Size matters not ... unless Wookiee you are"
Thanks
2:23 LELELE LELELELELE LE LE LE LEEEE
Those sound like Blue Jays.
U don't need to kick your great sword to perform those moves
This is literally a whirlwind of death
This reminds me a lot of how Witchers fight.
Amazing footjo-... I mean... Footwork
these flashes you see is when he splits photons
Wenn dein Gegenüber in dünne Scheibchen zerfällt...
respect.
dude i love u