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Tai Chi Power Cuts by Scott Meredith
Tai Chi Power Cuts by Scott Meredith
Tai Chi Power Cuts by Scott Meredith
Introduction:
My
film
Tai
Chi
Power
CUTS
has
two
main
sections,
as
shown
in
the
list
below:
THEORY
1. INTRODUCTION
2. SHAN
ZHONG
ENERGY
FLOW
3. SHAPES
AND
GRIPS
4. STANDING
ENGAGEMENT
CYCLE
PRACTICE
1. THREE
LUNAR
RINGS
2. MAJOR
LITERARY
GOD
3. MINOR
LITERARY
GOD
4. EMBRACE
THE
MOON
(mis-‐labeled
as
RIGHT
WHIRLWIND)
5. SEARCH
GRASS
FOR
SNAKE
6. FACE
WIND
BRUSHING
DUST
7. PUSH
BOAT
WITH
CURRENT
8. LEFT
RIGHT
SWORD
WHEELS
9. NIGHT
DEMON
SEARCHES
THE
SEA
10. SHOOT
THE
GOOSE
11. MAIDEN
WORKS
SHUTTLE
12. CIRCLE
SLICE
The
theory
section
covers
the
essential
energetic
framework.
That
is
a
long
segment
of
the
movie
and
this
document
won’t
go
further
into
that.
The
energy
work
goes
even
deeper
than
what’s
discussed
in
the
film.
Once
you
have
the
shan-‐zhong
engagement,
that
then
links
up
with
the
dantian
and
waist
energy
activation.
At
some
future
time
I’ll
write
more
deeply
about
all
that,
but
if
you
haven’t
deeply
worked
and
understood
the
energy
coming
form
this
basic
sword
practice,
and
learned
how
to
carry
it
over
to
the
empty-‐hand
Tai
Chi
form,
the
deeper
explanation
of
the
energy
process
won’t
mean
anything.
The
practice
section
consists
of
the
12
cut
techniques
listed
above.
These
are
all
authentic
moves
of
the
Zheng
Manqing
Tai
Chi
sword
sequence.
The
full
sequence
is
long,
complex,
hard
to
learn,
takes
a
lot
of
room
to
practice,
and
brings
up
various
practical
challenges.
But
some
kind
of
Tai
Chi
sword
work
is
essential
to
understand
the
deeper
levels
of
internal
energy.
Therefore
I
surgically
extracted
the
12
cutting
moves
listed
and
wrapped
each
one
separately
as
a
repeatable
drill
for
which
any
number
of
reps
can
be
practiced
in
stationary
mode
within
a
small
space.
In
the
film,
each
of
the
drills
is
shown
in
this
isolated,
extractive
mode.
If
you
just
get
the
visual
sense
of
any
given
move,
you
should
at
least
understand
how
to
work
it
for
energy,
even
though
people
who
insist
on
the
sword
form
as
a
theatrical
dance
performance
will
complain
and
assert
that
you
suck.
Pay
no
heed
to
that,
your
personal
energy
harvest
and
augmentation
is
all
that
matters.
This
document
does
assume
that
you
are
closely
familiar
with
the
contents
of
the
CUTS
film.
In
this
document,
I
list
out
a
few
supplemental
performance
details
for
each
of
the
12
techniques.
These
are
things
that
it
would
have
been
too
tiresome
to
lecture
about
on
the
film.
This
kind
of
talk
is
tedious
to
watch
and
takes
up
too
much
film
time.
With
this
companion
document,
on
the
other
hand,
you
can
study
at
your
leisure
and
gradually
refine
your
execution
of
each
technique,
combing
through
the
list
one
by
one.
All
that
said,
I
want
to
list
out
a
few
general
principles
that
apply
across
all
Tai
Chi
work,
sword
included.
Relax:
This
is
the
most
important
thing.
Don’t
let
sword-‐handling
affect
your
mind
and
lead
you
into
a
tense
unconscious
tendency
of
mind
or
body.
Body
Upright:
Don’t
lean
your
upper
body
front,
back,
left
or
right.
Distribute
Weight
Properly:
In
almost
every
pose,
the
weight
is
not
shared
evenly,
not
50-‐50
distribution
on
your
feet.
One
foot
is
always
bearing
distinctly
more
weight,
whether
70%
or
100%.
There
is
a
lot
more
to
say
about
weight
distribution
in
Tai
Chi.
For
the
nuances
please
check
out
my
film
Tai
Chi
Power
SINGULARITY
and
my
books
Juice:
Radical
Taiji
Energetics;
Tai
Chi
PENG
Root
Power
Rising
and
Tai
Chi
SURGE
Radical
ZMQ
Energetics.
Turn
Waist:
Physically,
the
sword
motions
are
all
powered
through
overt
waist
motion.
There
is
however
a
lot
more
depth
to
the
classical
teaching
of
‘the
waist
as
commander’.
That’s
actually
a
very
deep
and
substantial
teaching
on
the
function
of
the
pure
internal
power
–
not
just
(or
even
primarily)
mechanics.
However,
for
more
details
you
will
have
to
watch
my
postings
or
new
books
etc.
because
it’s
too
detailed
to
get
into
here.
Beautiful
Lady’s
Hand:
Generally,
even
with
the
oddball
‘sword
pointing
fingers’
shape
and
likewise
the
actual
sword-‐gripping
shape
(both
taught
in
the
film),
you
try
to
keep
your
wrist
straight
but
not
stiff.
GRIP
PRESSURE
VARIANCE
Grip
Pressure
Variance
is
an
extremely
important
aspect
of
the
internal
side
of
sword
work.
It
is
essential,
but
I
don’t
often
get
into
it
because
it
is
highly
liable
to
be
grossly
misunderstood.
It’s
best
appreciated
by
students
with
a
very
deep
and
solid
tangible
control
of
their
internal
state
and
flow
of
the
energy.
Though
from
the
above
it
sounds
very
advanced
and
scary,
it’s
actually
extremely
simple,
so
simple
that
most
people
would
overlook
it
altogether:
for
maximum
energy
result,
you
need
to
vary
your
grip
pressure
in
holding
the
sword
as
you
move.
Obviously
there’s
no
physical
difficulty
in
doing.
But
it’s
an
advanced
concept
for
that
very
reason:
inexperienced
people
will
overdo
it.
In
Japanese
swordsmanship,
there’s
a
fundamental
idea
of
gripping
the
sword
loosely
and
softly
right
up
to
the
final
moment
of
a
cut.
They
make
huge
swings
and
momentum
and
the
sword’s
weight
do
most
of
the
work,
set
into
motion
by
the
legs,
hips,
and
back.
The
hands
(Japanese
sword
is
a
2-‐handed
grip
for
the
most
part)
stay
loose
for
precise
targeting.
As
the
blade
actually
contacts
and
bites
into
a
target,
the
hands
finally
grip
the
handle
strongly,
at
the
end.
The
idea
here,
in
the
Tai
Chi
sword
work,
is
conceptually
somewhat
similar.
The
problem
comes
in
that
the
last-‐minute
grip
tightening
in
the
Japanese
sword
work
is
way
too
physically
over-‐powered
if
applied
to
Tai
Chi.
The
essential
issue
here
is
that
as
soon
as
the
teacher
“gives
permission”
to
grip
more
strongly,
people
will
over
do
it
and
tense
up.
That’s
the
worst
thing
that
can
happen.
Still
the
fact
remains
that
for
maximum
internal
energetic
effect
of
the
Tai
Chi
sword
training,
you
must
incorporate
grip
pressure
variance.
Not
because
you
are
actually
cutting
anything
or
want
to
destroy
anything.
As
always,
it
is
a
way
of
helping
to
lead
the
mind
(and
with
it
the
energy)
to
your
hands.
It’s
a
way
of
keeping
the
mind
on
the
gameboard.
Without
this
GPV
principle,
your
mind
will
become
deadened
as
you
go
through
the
movements,
and
the
cuts
will
no
longer
function
as
an
internal
exercise.
So
you
need
to
think
of
GPV
as
strong
medicine
that
follows
the
usual
principle:
the
right
dose
cures;
the
over-‐dose
kills.
To
get
it
right,
try
to
think
of
it,
not
as
a
tensing
of
any
kind,
but
just
as
degrees
of
softness.
When
you
are
in
transition,
just
starting
to
come
into
a
cut,
grip
the
sword
with,
say,
3
ounces
of
pressure.
At
the
culminating
moment
of
the
cut,
you
must
sensitively,
using
more
mind
than
body,
ramp
up
to
grip
at
4
ounces
of
pressure.
That’s
all.
As
with
all
my
stuff
this
isn’t
really
a
physical/mechanical
thing.
But
it
has
a
hugely
amplifying
energetic
effect.
Also very important: the locus or focus of that additional "1 ounce" of grip
pressure variance is your middle finger. All the fingers wrap to grip the
sword but the slight physical pressure variance is applied through the middle
finger alone for the most part.
Now
what
about
the
other
hand,
the
‘pointing
fingers’?
You
might
expect
from
the
above
description
that
the
GPV
will
only
affect
the
energy
of
the
hand
holding
the
sword.
Sounds
sensible,
but
that
would
be
a
mechanical
point
of
view.
In
fact,
if
you
really
understand
and
correctly
use
this
principle
of
internal
sword
work,
the
Grip
Pressure
Variance
will
surge
the
power
also
into
your
other
(non-‐sword)
hand
also,
at
the
moment
you
apply
the
4
ounces
(culmination
of
the
cutting
motion).
At
that
moment
your
mind
will
very
naturally,
very
slightly
re-‐engage
or
‘refresh’
the
shaping
of
the
pointing
fingers
also,
and
that
will
surge
energy
through
them
as
well.
This
is
the
strange
working
of
internal
practice
as
opposed
to
external.
1. THREE
LUNAR
RINGS
(三還套月)
This
is
the
first
dynamic
of
the
form
and
you’ll
have
the
sword
in
your
left
hand.
You
aren’t
cutting,
only
pressing
with
the
hilt
of
the
sword.
Keep
the
hilt
about
level
of
the
shan-‐zhong
point,
about
solar
plexus
height
in
the
final
press.
Relax
your
arms
completely
(while
still
gripping
and
controlling
the
sword
properly)
on
the
downswing,
and
try
not
to
restore
any
excess
or
unnecessary
tension
as
you
raise
and
join
your
hands
for
the
actual
forward
press.
The
feet
just
alternate
right
forward
/
left
forward,
in
place.
There
is
a
slight
waist
turn
toward/into
the
hip
of
the
forward-‐stepping
leg.
This
does
not
need
to
be
overdone,
but
try
to
begin
to
feel
the
non-‐physical
‘charge’
energy
of
these
very
subtle
waist
rotations.
If
you
do
enough
reps,
this
one
drill
can
create
the
shan-‐zhong
engagement
so
you
wouldn’t
even
need
to
worry
about
the
others.
2. MAJOR
LITERARY
GOD
(大魁星)
This
is
the
first
of
the
alternating
poses
shown
in
the
film.
This
alternation
between
two
poses
is
the
primary
structure
of
most
of
the
drills,
so
please
read
this
section
carefully,
as
this
discussion
applies
to
most
of
the
other
drills
in
the
list.
The
alternation
is
typically
between
two
end-‐point
poses,
let’s
call
them
A
and
B,
so
from
A
to
B
then
back
to
A,
so
the
practice
is
a
continual
in-‐place
cycle:
A
è
B
è
A
and
so
on.
In
some
cases,
the
mini-‐sequence
includes
an
optional
3rd
pose,
thus
becoming
A
è
B
è
C
è
A.
This
initial
example
involves
only
2
end-‐
point
poses.
The
first
is
MAJOR
LITERARY
GOD
(大魁星),
transitioning
to
SWALLOW
BEATS
WATER
(燕子抄水).
The
first
important
point
here
applies
to
all
the
drills
in
this
document
that
are
transitions
between
two
distinct
poses.
It’s
very
simple:
feel
the
pose
and
feel
its
power
waves,
just
after
you
enter
it.
This
means
you
pause
for
a
micro-‐beat
or
two
and
actually
feel
the
surge
of
energy
and
internal
power
from
the
shan-‐zhong
through
your
arms
and
hands.
This
is
absolutely
essential,
and
it
enables
a
level
of
internal
training
that
you
can’t
get
from
zipping
through
the
full
sequence
once
a
day,
which
is
the
most
that
people
who
practice
Tai
Chi
sword
typically
do.
Because
they
do
it
as
a
dance,
they
miss
this
pause
for
“annealing”,
letting
the
energy
spread,
settle,
and
saturate.
You’ll
really
feel
it,
and
it
feels
absolutely
amazing
-‐
this
isn’t
just
abstract
words.
Do
that
at
both
‘ends’
that
is,
the
A
and
the
B
poses
of
the
drill
(or
the
A
and
the
C
sides
if
it’s
a
3-‐part
drill).
The
next
thing
about
this
drill,
and
some
of
the
others
below,
is
that
it
involves
a
“micro-‐shift”
in
the
sword
grip.
You
hold
the
sword
with
your
palm
out
above
your
head
with
your
leg
raised,
then
you
arc
the
sword
backward
and
come
up
from
underneath
to
point
the
sword
about
level
with
the
shan-‐zhong.
In
that
pose
(Swallow)
the
blade
is
held
vertically
and
you
need
to
learn
a
soft,
quick,
subtle
slight
shift
of
right
hand
grip
to
allow
the
sword
to
sit
perfectly
vertically
kind
of
cupped
in
your
palm,
which
will
feel
almost
rolled
into
a
cylinder.
Then
to
get
back
to
the
raised
position,
you
slightly
roll
the
sword
handle
outward
for
a
grip
better
suited
to
the
outward
facing
next
phase
(above
your
head).
The
blade
is
also
vertical
in
this
pose,
but
for
this
one
because
the
angle
of
your
arm
is
different,
the
‘seat’
of
the
sword
handle
in
your
hand
must
change
accordingly.
The
palm
of
the
gripping
(right)
hand,
with
the
sword
handle
now
flatly
and
sideways
pressed
against
it,
faces
outward.
Play
with
these
two
poses
until
you
begin
to
feel
and
understand
the
slightly
different
gripping
style
that
each
imposes.
Then,
learn
to
softly
and
unnoticeably
shift
your
grip
while
smoothly
transitioning
between
the
full-‐body
configurations
of
the
poses.
This
is
our
first
example
of
the
need
to
master
micro-‐shifts
in
gripping.
The
majority
of
the
upcoming
transitions
(below
in
this
document)
will
require
this
kind
of
handling.
Strangely
enough,
attention
to
this
in
the
way
just
described
greatly
helps
to
draw
the
energy
from
the
shan-‐zhong
out
into
your
arms
and
hands.
3. MINOR
LITERARY
GOD
(小魁星)
This
is
another
A
è
B
è
A
type,
a
typical
two
end-‐point
transition
drill.
The
A
pose
is
MINOR
LITERARY
GOD
and
the
B
pose
is
WASP
ENTERS
CAVE
(黄蜂入洞).
Here
again,
you
want
to
extend,
pause,
feel
the
waves
of
arm
power
at
the
end-‐points,
especially
in
the
MLG
(A)
end.
Once
you
have
begun
to
feel
the
surges
of
energy
at
the
end-‐point
poses,
then
begin
to
maintain
the
fullness
of
the
internal
power
throughout
the
shift
itself.
You’ll
need
to
shift
slowly
but
smoothly
and
continuously
to
begin
to
feel
this.
It
may
not
come
easy
for
some
tense
people
but
eventually
you’ll
get
it
and
you’ll
be
alike
OMG!
SO
IT
WASN’T
JUST
A
PILE
OF
WORDS
AFTER
ALL!
Nope,
it
is
something
very
real,
very
tangible
and
quite
amazing.
Again
with
this
set,
you
need
to
perform
a
micro-‐shift
of
your
grip
in
changing
between
the
poses.
You
will
feel
the
sword
handle
very
naturally
tending
to
rotate
all
on
its
own
in
your
hands
if
you
grip
it
as
lightly
as
possible
in
the
transition.
In
rising
to
the
MLG
(A)
pose,
you
must
open
your
right
foot
outward
to
about
45
degrees.
When
you
turn
leftward
into
the
WEC
(B)
pose,
your
right
(supporting)
foot
must
again
pivot
on
the
heel
to
close
45
degrees
on
the
other
side
(inward),
so
it
can
be
the
rear
foot
supporting
a
decent
Tai
Chi
70/30
stance
with
a
double
hand
sword
grip
in
the
WEC
(B)
pose.
4. EMBRACE
THE
MOON
(怀中抱月)
Note:
Mis-‐labeled
as
‘RIGHT
WHIRLWIND’
(右旋風)
This
is
the
first
3-‐pose
sequence,
the
A
è
B
è
C
è
A
type,
where
the
B
pose
is
BIRD
ROOSTS
IN
FOREST
(宿鳥歸林)
and
the
C
pose
is
BLACK
DRAGON
WAGS
TAIL
(烏龍擺尾).
I
suggest
you
first
learn
and
get
a
feel
for
this
by
going
B
è
C
è
B
a
number
of
times,
then
you
can
add
in
A
for
the
full
sequence.
This
sequence
is
incredibly
powerful,
especially
if
you
take
your
time
to
feel
the
surges
in
your
short
pause
at
BDWT
(C)
end
point.
Again
you
will
need
to
rotate
on
your
(left)
heel
to
re-‐position
your
foot
each
time
you
go
from
C
back
to
ETM
(A).
Just
as
in
MAJOR
LITERARY
GOD,
or
in
any
pose
that
requires
you
to
lift
one
foot,
your
entire
upper
body
must
be
a
fully
relaxed
as
possible,
shoulder,
neck
and
arms,
or
else
your
balance
will
not
be
stable.
All
this
foot-‐raising
is
just
a
way
to
make
you
aware
of
upper
body
tension
via
the
very
obvious
checkpoint
of
balance
and
stability.
It
is
a
built-‐in
automatic
relaxation
check.
5. SEARCH
GRASS
FOR
SNAKE
(撥草探蛇)
(Note
that
in
the
full
ZMQ
sword
sequence,
this
move
comes
before
the
previous)
This
is
one
of
the
most
powerful
of
all
the
drills,
also
the
simplest
to
perform
physically.
Like
the
LUNAR
RINGS,
it
involves
only
a
single
technique,
done
alternating
left/right.
The
key
thing
here
is
that
you
will
feel
the
energy
surging
up
directly
from
your
forward
foot
as
it
loads
on
each
cut
with
the
footwork
change.
There
is
some
waist
rotation
into
the
direction
of
the
lead
foot.
Just
feel
the
humongous
power
waves
coming
up
from
feet
through
torso
into
shan-‐zhong
and
then
your
arms.
Your
sword
hand
is
palm-‐down
(with
the
sword)
as
you
cut
rightward,
palm
up
as
you
cut
leftward.
Your
two
hands
come
close
together
as
you
cut
left,
separate
at
the
end
of
the
rightward
cut.
Work
this
one
a
lot,
it’s
simple
and
will
hugely
build
your
power
charge.
Again
your
arms
must
be
as
absolutely
relaxed
as
possible,
as
long
as
you
don’t
lose
control
of
the
sword.
Try
to
feel,
not
only
the
end-‐point
surge
and
charge,
but
also,
try
to
maintain
the
full
arm
packing
throughout
the
transition.
Here
I
want
to
make
a
general
point
about
momentum
that
applies
to
most
of
these
drills.
Momentum
is
generally
not
desired.
There’s
a
bit
of
natural
trajectory
of
a
somewhat
heavy
object,
but
as
much
as
possible
try
to
keep
full
control
of
the
sword
at
all
times
yet
with
the
softest
possible
grip
and
the
“fullest”
possible
arms.
6. FACE
WIND
BRUSHING
DUST
(迎風拂塵)
This
is
the
same
as
the
previous
(SEARCH
GRASS
FOR
SNAKE)
except
that
the
cut
point
is
high
rather
than
low.
All
the
same
considerations
apply,
and
similar
results
accrue.
7. PUSH
BOAT
WITH
CURRENT
(順水推舟)
The
B
pose
here
is
METEOR
CHASES
THE
MOON
(流星趕月).
Here
again
all
the
above
considerations
apply,
particularly
at
the
PBWC
(A)
pose.
This
one
is
incredible!
In
your
pause-‐and-‐feel
here,
you
will
get
huge
layered
tsunami
pulses
of
internal
power
through
both
arms
to
your
hands.
Hold
it
and
feel
it,
then
try
to
maintain
the
dual-‐arm
full
charge
as
you
transition
to
the
B
end-‐point.
Do
lots
of
these.
8. LEFT
RIGHT
SWORD
WHEELS
(左右車輪劍)
This
one
is
an
advanced
sequence
consisting
of
five
sub-‐moves.
It’s
here
to
provide
an
interesting
test
of
waist
activation
for
those
who’ve
reached
the
point
of
really
feeling
the
energy
(internal
power
charge)
at
the
waist
(not
merely
the
mechanical
waist
motion.
Unless
you
are
very
experienced
(in
which
case,
why
are
you
even
following
this
film?)
leave
this
one
as
a
kind
of
‘final
exam’,
after
you
feel
very
comfortable
with
all
the
other
drills.
Key
thing
here
is,
all
cuts
are
cuts,
not
smacks
–
i.e.
the
blade
is
never
flat
to
the
target
vector,
always
edge-‐leading
on
every
cut.
9. NIGHT
DEMON
SEARCHES
THE
SEA
(夜叉探海)
This
is
another
A,
B,
C
sequence,
where
A
is
EMBRACE
THE
MOON
(怀中
抱月),
B
is
NIGHT
DEMON
SEARCHES
THE
SEA
(夜叉探海)
and
C
is
RHINO
GAZES
AT
MOON
(犀牛望月).
Again,
as
in
the
other
A,
B,
C
types,
you
may
wish
to
begin
by
mastering
B
è
C,
then
later
add
in
ETM
(A).
This
is
another
chance
to
feel
the
internal
waist
activation
power,
even
as
you
maintain
the
dual-‐arms
charge
from
the
shan-‐zhong
engagement.
You
will
have
to
perform
two
micro-‐shifts
of
grip,
especially
in
hitting
with
the
end
of
the
sword
hilt.
The
sword
is
however
vertically
(sharp
edges
up/down,
not
left/right
sideways)
throughout
all
poses.
The
raised
foot
pose
is
another
relaxation
check.
Be
very
conscious
of
the
waist
rotation
involved
in
the
shift
to
the
hilt
strike
at
the
end
RGM
(C).
10. SHOOT
THE
GOOSE
(射雁式)
The
B
pose
here
is
WHITE
APE
OFFERS
FRUIT
(白猿獻果).
Perform
a
large,
soft
scoop
and
feel
the
whole
body
surge
in
the
transition.
In
STG
(A),
extend
the
sword
fingers
(left)
hand,
and
place
the
forward
foot
lightly
with
no
weight
at
all,
only
a
toe
touch.
Feel
the
surge
down
your
full
extended
arm.
This
is
another
extend/compress
alternating
pair
of
poses.
Note
that
you
need
some
micro-‐grip
shifting
in
transitioning
to
WAOF
(B)
pose.
11. MAIDEN
WORKS
SHUTTLE
(玉女穿梭)
The
B
pose
here
is
WHITE
TIGER
TWITCHES
TAIL
(白虎搖尾).
Here,
be
careful
not
to
let
momentum
take
over
in
the
shift
from
A
to
B,
as
it
will
tend
to.
Control
the
sword
completely
but
softly.
Relax
your
right
shoulder
so
that
there
is
no
tense
jamming
the
sword
up
into
the
MWS
(A)
pose.
On
the
MWS
(A)
pose
the
sword
is
held
out
at
45
degrees
upward,
on
the
B
it
is
absolutely
vertical.
Try
to
maintain
your
dual-‐arm
charge
throughout
the
transitions,
back
and
forth,
never
losing
it.
If
you
lose
it,
pause
longer
at
one
of
the
end-‐point
poses
until
you
feel
both
arms
recharging
again
from
the
shan-‐zhong.
12. CIRCLE
SLICE
(stationary 左右落花)
Stationary
form
of
LEFT
RIGHT
FALLING
PETALS.
Note
that
in
the
full
sequence
this
is
performed
walking
backwards,
but
is
shown
in
the
film
as
an
in-‐situ
drill.
Try
to
keep
the
sword
level
throughout.
The
tip
of
the
sword
makes
a
very
small,
tight
“u-‐turn”
at
the
end
point
of
each
sweep.
After
10
or
so
cuts,
smoothly
change
hands.
If
you
have
begun
to
do
well
in
the
micro-‐shifts
of
grip
in
the
other
drills,
you’ll
find
the
macro-‐shift
of
grip
here
from
right
to
left
and
back
is
not
difficult.
After
doing
a
number
of
cuts,
always
put
the
sword
down
softly
and
stand
quietly.
Feel
the
huge
packing
of
power
into
both
arms
cestus
(forearms,
wrists,
and
hands)
that
results
from
this
drill.