General Fencing Notes:

1. While GURPS 4 makes little distinction between Trained by a Master and Weapon Master for the purposes of this camaing, Brother’s of the Coast, they are distinctly different.

2. Weapon Master: A self-taught sword-wizard. Through diligent hard work and just plain stick-to-it-ness you’ve become VERY good with your chosen weapon(s), in this case sword(s).

• Weapon Master has all of the benefits defind in GURPS 4 EXCEPT it is removed as a prerequisite of Special Skills including The SWORD!.

• In addition:

• You are +1 for all Techniques and;

• Can learn Hard level l’Competénce d’Art (Techniques) as if they are Average level.

3. Trained by a Master: You were taught by a master Swordsman, either as a personl student or a member of a Salle, who imparted certain special or secret information to you during your training process. This gives you access to certain Special/Secret Skills to which the initiated are not privy.

• Trained by a Master has all of the benefits defind in GURPS 4.

• In addition:

• You are +1 for all l’Competénce d’Art;

• Can learn Hard level l’Competénce d’Art as if they are Average level and;

• Can divert 25 of the points cost of Trained by a Master to acquiring l’Habilité and l’Competénce d’Art.

GENERAL NOTES about l'HABILETÉ (Skills) and l’COMPÉTENCE d’ART (Techniques):

1. While many of the Skills and Techniques are similar to those found in GURPS 4, they are not identical and is some ways very different.

2. Standard GURP4 rules applies related to cost to buy off Technique penalties (Average and Hard Techniques) as well as upper limit rule (no technique can be bought for more than its attack penalty).

l'HABILETÉ (Skills)

l’Compétence d’ART

All l’Compétence d’Art require weapon being used must be from the Brother’s of the Coast equipment list: “Weapons – Melee – Fencing”

Advance

The ‘advance’ is the basic forward movement. The front foot moves first, beginning by lifting the toes. Straighten the leg at the knee, pushing the heel out in front. Land on the heel, and then bring the back foot up to en garde stance. Also, the term advance is used in general for any movement forward by either step, cross, or ballestra.

Advance-Lunge

An advance followed immediately by a lunge. The extension can occur before or during the advance, but always before the lunge. A good long-distance attack, especially in combination with Handwork. An Advance, followed by a lunge might have a tempo of 1-2---3, but an advance-lunge should have a tempo of 1--2-3.

Appel

Stamping the front foot to the ground, to produce a sound to distract or startle the opponent. This may be made during an advance, or directly from an en garde position. It may precede a lunge, or be used merely as a distraction. An appel is also sometimes called a 'half-Advance'. This action may also be used to halt a bout.

Ballestra

A different type of attack to the lunge, the Ballestra involves a small jump forward. It is faster than a simple advance and can throw the opponent off-guard. ‘Ballestra’ is the French term for a cross-bow bolt.

Flèche

Flèche means 'arrow' in French. The rear leg is brought in front of the front leg and the fencer sprints past his/her opponent. This action is currently not allowed during sabre bouts, because the front and rear legs must not cross. In épée, a quick pass is essential, since the defending fencer is allowed one attack after the pass, so long as the defenders attack is in one action, with or without a parry, initiated before the pass is completed.

Cross Over

An advance or retreat by crossing one leg over the other; see also Pass Forward (passe' avant) and Pass Backwards (passe arriere).

Forward Recovery

A recovery from a lunge, performed by pulling the rear leg up into en garde, rather than pulling the front leg and body backwards. Can be used to gain ground on the opponent more secretly than a standard advance, and when used sparingly can surprise the opponent by changing the expected distance between fencers.

In Quartata

An evasive action that is recognized under category of the defensive actions ( see also "Passata-sotto"), and made with a quarter turn to the inside, concealing the front but exposing the back. This attempts to move some of the target out of harm’s way during an attack or a counter-attack. This evasive action is often executed and used in conjunction with opposition parry.

Lunge recuperate

The most basic and common attacking movement in modern fencing. This description adheres basically to the French school of fencing, and describes the legwork involved. The actions of the hand/arm/blade are considered separately from this discussion. From en garde, push the front heel out by extending the front leg from the knee. Do not bend the front ankle, or lift up on the ball of the front foot. This means that the front foot must move forward prior to the body weight shifting forward. As the front leg extends, energetically push erect body forward with the rear leg. Rear arm extends during forward motion as a counter-balance. Land on the front heel and glide down into final position, with front shin perpendicular to the ground, and both heels on the floor. During this action, the torso should remain relatively erect, and not be thrown forward. Often, the back foot can be pulled along behind during an energetic lunge. It is important, and a fundamental characteristic of the lunge, to fully extend the back leg, obtaining full power from this spring-like extension.

Aldo Nadi, of the Italian school of fencing, wrote an extensive description of how the lunge should be executed.

Passata-sotto

An evasive action which is initiated by dropping a hand to the floor and lowering the body under the opponent's oncoming blade. Often accompanied by a straightening of the sword arm to attempt a hit on the opposing combatant.

Pass Backwards

also Passe Arriere. A backwards footwork action. The front foot moves behind the rear foot on the body's outside. Landing on the ball of the front foot, the rear foot moves backwards to the ‘en garde’ stance.

Pass Forward

also Passe Avant. A forwards footwork action. The rear foot moves in front of forward foot on the body's inside. From the crossed position, the front foot moves forward into the ‘en garde’ stance.

Recovery

A return to en garde stance from any other position, generally by pulling backwards into en garde. Recovery from a lunge occurs by reversing the motions in a lunge, and recovering the extended arm last of all. A forward recovery involves moving the rear foot forward to return to en garde. For a center recovery, both feet move towards the center simultaneously.

Redoublement

From a lunge, a swift surprise attack made by performing a short forward recovery and an immediate second lunge. In terms of Right-of-way, a new action that follows an attack that missed or was parried. A redoublement takes place in a fencing tempo subsequent to that of the initial attack or riposte.

Retreat

The basic backwards movement. Rear foot reaches backwards and is firmly planted, then front leg pushes body weight backwards smoothly into en garde stance.

[edit]Blade Work

Absence of blade

The situation in a bout when the opposing blades are not touching; opposite of engagement.

Arrêt à bon temps

see Stop Hit.

Attack

The initial offensive action made by extending the sword arm and continuously threatening the valid target of the opponent.

Attaque au Fer

An attack on the opponent's blade, e.g. beat, expulsion, pressure.

Beat

A simple preparatory motion. A sharp controlled blow to the middle or 'weak' of the opponents blade, with the objective of provoking a reaction or creating an opening. The action should knock the opponent's blade aside or out of line. Your forte should contact the opponent's foible.

Bind

also Lie, Liement; An action in which one fencer forces the opponent's blade into the diagonally opposite line, (that is, from high line to low line on the opposite side, or vice versa) by taking it with the guard and forte of his own blade. See also Transfer.

Change of Engagement

An engagement of the opponent's blade in the opposite line. Changes of engagement are sometimes performed to place one fencers blade on the side of his/her opponent’s blade that he feels has an advantage, or could be just to fool with the opponent. Often, a bout with a left-handed fencer versus a right-handed will see both of them jockey for position with changes of engagements.

Compound Attack

Also composed attack. An attack or riposte incorporating one or more feints to the opposite line that the action finishes in. A compound attack does not necessarily lose right of way during its execution; it just comprises more than one indirect action. Compound attacks are usually used to draw multiple reactions from an opponent, or against an opponent who uses complex parries. A counter-attack into a compound attack must hit a clear tempo ahead of the compound attack to be valid.

Compound-Riposte

A riposte made with one or more feints. A riposte may incorporate disengages, beats, and so on, as long as it is a continuous attack.

Conversation

The back-and-forth play of the blades in a fencing bout, composed of phrases (phrases d'armes) punctuated by gaps of no blade action.

Coulé

Also graze, glisé, or glissade. An attack or feint that slides along the opponent's blade. In performing a sliding action along the opponent’s blade, it is generally the goal to establish leverage by moving forte against foible, or forte to forte.

Counter-attack

An attack made against, or into, an attack initiated by the opponent. In foil and sabre, a counter-attack does not have the right-of-way against the opponent’s initiated attack. Counter-attacking is a common tactic in épée, where one may gain a touch by hitting first, and avoiding the opponent’s attack. Counter attacks, especially in épée, are often accompanied by an action on the blade (beat, opposition, prise-de-fer, transfer).

Counter-Beat

Also Change-Beat. A beat that is preceded by a circle under the opponent's blade. This can provoke a reaction with a beat from an unexpected quarter.

Counter-Riposte

A second, third, or further riposte in a fencing 'phrase' or encounter. A counter-riposte is the offensive action following the parry of any riposte.

Counter-time

an attack that responds to the opponent's counter-attack, typically a riposte following the parry of the counter-attack.

Coup d'arrêt

see Stop-Hit.

Coupé

also Cut-Over. Another indirect attack, being an attack or deception that passes around the opponent's tip. Following a feint, the blade is pulled up and over the opponent's parrying blade. Use of the fingers and wrist ONLY is permitted, since moving the blade backwards at any time during this move invalidates the established right-of-way. Done in proper time, and with proper distance, the point may never be moved backwards, and the cut-over retain right-of-way during its entire execution.

Croisé

also Cross, semi-bind; an action in which one fencer forces the opponent's blade into the high or low line on the same side, by taking it with the guard and forte of his own blade. See also Transfer.

Cut

An attack made with a chopping motion of the blade, landing with the edge or point. Cuts, that is, attempts to hit with the edge, are only valid in sabre.

Derobement

An avoidance of an attempt to take the blade. A derobement is a reaction to the opponent’s attempt to entrap, beat, press or take the blade, in a circular, lateral, vertical or diagonal motion.

Direct

an attack or riposte that finishes in the same line in which it was formed, with no feints out of that line. Most attacks that hit are done with straight attacks.

Disengage

A type of feint. Disengages are usually executed in conjunction with an extension/attack, though technically, they are just a deception around the opponent’s blade. To use in an attack, feint an attack with an extension and avoid the opponent's attempt to parry or press your blade, using as small a circular motion as possible. Circle under the opponent's blade. The first extension must be a believable feint in order to draw a reaction. Be prepared to proceed forward with a straight attack if no parry response is forthcoming.

Double

an attack or riposte that describes a complete circle around the opponent's blade, and finishes in the opposite line. The full circle is done in reaction to the opponent’s attempt to parry the attack or riposte with one or more parries, generally circular in nature. An attempt to perform a double' against an opponent who does NOT parry results in the attack running onto the opponent’s blade, and parrying itself. A double’ may be composed of simply a circular deception, which is effective against a defender’s circular or semicircular parries, or it may be a combination of a disengage and cut-over, which is effective against two lateral parries.

Engagement

During an encounter between two fencers, the point at which the fencers are close enough to join blades, or to make an effective attack. Blade contact is also referred to as an engagement, whether just standing there, during a parry, attack au fer, or prise de fer.

Envelopment

an action to seize the opponent's blade in one line and lead it (without losing contact) through a full circle to end in the same line. See also Transfer.

Extension

The simplest action of attacking. A simple offensive action, consisting of extending the weapon arm forward. The point should move in the smoothest possible line towards the target, without wavering. Excess motion can ruin the control needed for precise, consistent hits.

False attack

an attack that is intended to miss or fall short, so as to produce a reaction from the opponent.

Feint

An offensive movement resembling an attack in all but its continuance. It is an attack into one line with the intention of switching to another line before the attack is completed. A feint is intended to draw a reaction from an opponent. This is the ‘intention’, and the reaction is generally a parry, which can then be deceived. If a feint does NOT draw a reaction, you should be prepared to immediately abandon it, or continue with it with no deception, turning it into a real attack. Feints made without conviction will not produce the desired effect.

Flick

A cut that lands with the point, often involving some whip of the foible of the blade to strike at a concealed target. In foil and épée, flick attacks often start out without the point directly threatening the target area, and comes in with a circular action, to allow the blade to bend at the end of the attack, placing the point on target, possibly by whipping past a parry.

Glide

An attack or preparatory movement made by sliding down the opponent’s blade, keeping it in constant contact.

Indirect

An attack or riposte that finishes in a line different from that in which it was formed.

Insistence

Forcing an attack through the parry, using strength.

Invitation

A line that is intentionally left open to encourage the opponent to attack.

Moulinet

In sabre, a circular cut. A moulinet is often composed of a parry, usually prime or seconde, moving thence into a circular cut. This action, while flashy and impressive, is slow, since the action pivots around the wrist and elbow, and is rarely used in modern sabre. In Historical Fencing, this is the circular motion of the fighter's blade around the opponent's blade. The hilt does not move during this maneuver.

Opposition

An action to seize the opponent’s blade and control it progressively (moving along the blade) in the same line (of the opponent). An attack or counter-attack in the same line as the opponent's blade; a combined parry and riposte. This is, by definition, an offensive maneuver, since to ‘progressively’ control the opponent’s blade you must move along its length, closing distance towards him. See also Transfer.

Point-in-Line

An established threat made with the extended arm. A point-in-line is a static threat, created by one fencer by extending the weapon and arm prior to any actions in a phrase. In foil and sabre, a Point-in-line has right of way, therefore, if the line is not withdrawn, any attack launched by the opponent does not have right of way. This can be likened to a spear poking up from the ground: If you throw yourself upon it, you have only yourself to blame. A successful attack on the blade will invalidate a point-in-line or causing the opponent to withdraw his/her arm. In épée, Point-in-line has no right of way, but is still a good idea.

Press

also Pressure. An attempt to push the opponent's blade aside or out of line from engaged blades. A press can precede a direct or indirect attack, depending on the opponent's reaction, but should be followed by an immediate threat (a full or partial extension). A press which is not followed by a threat may invite a disengage from the opponent, and an attack thereby. From an engagement, press smoothly on the opponent's foible, taking his/her blade out of line, and perhaps provoking a response. The thumb and fingers should provide the force behind this action.

Preparation

Any action that precedes the actual launch of an attack. Preparation usually consists of actions against the opponents blade to take it out of line, or to provoke a reaction. In foil and sabre, any action that occurs during a phrase or conversation that precedes the establishment of right-of-way on the part of a fencer, often accompanied with a movement forward. In calling the actions in a foil or sabre bout, a referee may indicate preparation on the part of one fencer, meaning the fencer was moving forward without establishing right-of-way, and was vulnerable to an attack made during this time.

Presentation

Offering one's blade for engagement by the opponent.

Prise de Fer

(French : Literally take the steel); also “Taking the Blade”; an engagement of the blades that attempts to control the opponent's weapon. See also beat, press, expulsion, bind, croisé, envelopment, opposition, transfer.

Remise

An immediate, direct replacement of an attack that missed, was short, or was parried, without withdrawing the arm. A remise is a direct continuation, meaning that no deceptions or changes of line occur with the continuation (replacement) of the attack. This may be done with a simple further extension of the arm, or may be accompanied with additional forward footwork (e.g. a redoublement). In foil and sabre, a remise does not have right of way over a direct riposte.

Reprise

An indirect renewal of an attack that missed, was short, or was parried. Formerly, this was defined as an attack after a return to en-garde, or a withdrawal of the arm after a failed attack. Currently, a reprise is defined as a continued attack that uses an indirect action to reach the target. This indirect action may consist of a change of line, opposition, a withdrawal of the arm, or other action that does not immediately threaten the target. In foil and sabre, a reprise does not have right of way over a direct riposte.

Riposte

An attack with right-of-way following a valid parry. A simple (or direct) riposte goes straight from the parry position to the target. A riposte may attack in any line. Consider its equivalent in a conversation.

Salute

A blade action performed before a bout or lesson. Indicates respect and good sportsmanship. A handshake is usually exchanged after a bout.

Simple

An attack or riposte that involves no feints.

Stop Cut

also Stop Thrust, Stop-in-Time. A counter-attack that attempts to take advantage of an uncertain attack. A properly performed Stop Hit allows a fencer to counter-attack into an oncoming attack, hit his opponent, and then still parry the oncoming attack (allowing a possible valid riposte as well). It may try to break the continuance of an attack by 'stopping' into it. However, it is still a Counter-attack, and does not have Right-of-Way against a continuous attack.

Thrust

An attack made by moving the sword parallel to its length and landing with the point.

Opposition

engagement in one line, and continuing the control with that same line. Also, moving the blade laterally, controlling with the same side of the blade, and the same line of the opponent’s. e.g. quarte to sixte, septime to octave, and vice-versa.

Trompement

The action of hitting an opponent at the end of a feint, after a successful deception.

Whip-over

In sabre, a touch that results from the foible of the blade whipping over the opponent's guard or blade when parried. Whip-overs are usually not counted, and formerly were a way of saying that even though the blade hit, it was parried prior to body contact, and was not valid. However, with the advent of electric sabre, whip-overs are being allowed more often. The FIE has resolved this by introducing a new standard of stiffness for sabre blades (put into effect in 1999).

[edit]Parry-related terms

Counter-Parry

also circular parry. A parry that moves in a circle to end up in the same position in which it started. A counter-parry usually traps an attack coming in a different line, but in the same high/low line. Thus, Parry Counter-Six (circular outside hide) is effective against attacks in the Four line (inside high).

Line

The main direction of an attack (e.g., high/low, inside/outside), often equated to the parry that must be made to deflect the attack; see also point in line.

Lines

The means of referring to a position or area on a fencer’s body. The idea behind ‘lines’ is that the torso, as facing the viewer in ‘en garde’ is bisected both laterally and vertically. There are then four quadrants of the body. The quadrants which are above the lateral line are referred to as ‘high line,’ those below as ‘low line.’ The left-hand-side, referred to as chest, is the outside. The right-hand-side, referred to as flank, is the inside. The lower chest side quadrant is then referred to as 'out-side low line.’

The common parries in foil and epée are: sixte (inside-high), quarte (outside-high), octave (inside-low), and septieme (outside-low). Angled (up-and-down) parries can also be used. I sabre, tierce replaces sixte to guard the inside-high line, quarte becomes more erect, seconde replace octave on the inside-low line, and prime replaces septieme. Quinte is used in sabre to protect the head.

Neuvieme

Parry #9; blade behind the back, pointing down; alternatively, similar to elevated sixte. Originally used in sabre, to defend the back against a passing or overtaking opponent. Covers the outside line on the back.

Octave

Parry #8; blade down and to the inside, wrist supinated. The point is lower than the hand. Covers the inside low line.

Parry

A simple defensive action designed to deflect an attack, performed with the forte of the blade. A parry is usually only wide enough to allow the attacker's blade to just miss; any additional motion is wasteful. A well-executed parry should take the foible of the attacker's blade with the forte and/or guard of the defender's. This provides the greatest control over the opponent's blade. In sabre, the guard should be turned appropriately using the fingers to protect the wrist.

Parries generally cover one of the 'lines' of the body. The simplest parries move the blade in a straight line. Other parries move the blade in a circular, semicircular, or diagonal manner. There are eight basic parries, and many derivatives of these eight. (see Prime, Seconde, Tierce, Quarte, Quinte, Sixte, Septime, Octave, Neuvieme). See also Lines.

In foil, the opponent's blade should not only be deflected away from the target, but away from off-target areas as well. An attack that is deflected off the valid target but onto invalid target still retains right-of-way. In sabre, the opponent's blade need only be deflected away from valid target, since off-target touches do not stop the phrase. Sabre parries must be particularly clean and clear to avoid the possibility of whip-over touches. In épée, a good parry is simply any one that gains enough time for the riposte; opposition parries and prise-de-fer are commonly used, since they do not release the opponent's blade to allow a remise.

Beat Parry

deflecting the incoming attack with a sharp striking motion.

Opposition Parry

deflecting the incoming attack without ever losing contact with the blade from the initial engagement.

Yielding Parry

deflecting the incoming attack by maintaining contact with the blade and changing the point of contact between the blades, moving from a position of poor leverage to one using the forte for strong leverage.

Semicircular Parry

A parry that moves from a high line to a low line, or vice versa. The parry can also cross the body. The parry must be made in a semicircle to provide the enveloping movement needed to trap the attacking blade.

Prime

Parry #1; blade down and to the outside, wrist pronated. The point is significantly lower than the hand. Covers the outside low-line (this is a rare sabre parry).

Pronation

The position of the hand when the palm is facing down. See supination.

Quarte

Parry #4; blade up and to the outside, wrist supinated. The point is higher than the hand. Covers the outside high line.

Quinte

Parry #5; blade up and to the outside, wrist pronated. The point is higher than the hand. This parry, more than any other, is subject to different interpretations in different schools (in foil and épée). In foil and épée, this parry generally covers the inside high line, since the pronated wrist can push further down that the supinated wrist (in Quarte). If the point and hand are lifted, this parry can also cover the inside low line with a sweeping action upwards, carrying the opponents point over the outside shoulder. In sabre, the blade is held above the head to protect from head cuts, but should still point slightly forward ready for riposte.

Seconde

Parry #2; blade down and to the inside, wrist pronated. The point is significantly lower than the hand. Covers the inside low line in sabre, replacing octave.

Septime

Parry #7; blade down and to the outside, wrist supinated. The point is lower than the hand. Covers the outside low line.

Sixte

Parry #6; blade up and to the inside, wrist supinated. The point is higher than the hand. Covers the inside high line. This is generally the parry taught as the basic en garde position in foil and épée.

Supination

The position of the hand when the palm is facing up. See Pronation.

Tierce

Parry #3; blade up and to the outside, wrist pronated. The point is significantly higher than the hand. Covers the inside high line. This is the basic en garde position in sabre.