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Base set coordination concerns the synchronization between multiple maneuvers (i.e. a group of maneuvers). This perspective relates to a base set of maneuvers and how coordination changes effect them. A base set of maneuvers can number as few as two or as many as all of the maneuvers in the form. This perspective allows for small groups of maneuvers to be analyzed independently of one-another; or as a sub-set of the whole. In other words, analysis can be done on a specific number of maneuvers in the form (i.e. a specific section) and look at how changes in coordination effect just that section, without concern for the rest of the form.

 

For the purposes of this analysis, each "base set" (i.e. section) of the form will correspond to the numbers designated in the written and visual illustration of the form. In other words, each number in the "Execution of Long Form Two - Form Standard Execution" or "Execution of Long Form Two - Form Standard Execution - Illustration" will be considered a Base set and analyzed as such.

 

As stated earlier, even though coordination is an extremely important aspect of the form, changes in Base Set Coordination generally fall into the non-destructive category of modifications. The reason for this is because coordination changes typically don't add or take away information in the form. Rather form coordination changes typically add emphasis to specific information in a form.

 

Just as a kiai adds audible and physical emphasis to a specific maneuver, coordination changes can be just as effective by adding visual, physical, and intent emphasis (see Appendix D - Intent). And, sometimes changes in coordination are also executed with a kiai, to add further emphasis. See "Improving Your Execution of Long Form Two / General Errors - Breathing" for more information on this subject.

Base Set Coordination Manipulation

To illustrate how coordination can change emphasis, lets look at the first base set of the form (i.e. section #1 of the illustration) and analyze how coordination can change which maneuvers get emphasis with each change. Rather than re-write out the entire illustration or shorthand the description to cryptic abbreviations, a description short enough to discern what each maneuver of the base set is doing will be used.

 

So, each maneuver of base set #1 of the form will be written as follows:

 

Step-Block-Chamber

Chop

Shift-Poke-Chamber

Shift-Poke-Chamber

 

This should be enough information to build a mental visualization of the maneuvers in the form as it progresses. The only thing left is to represent the coordination between each of the maneuvers of the base set. The following legend will explain each symbol that will be used:

 

 

With this, there is enough information to succinctly write a coordination chart for the section of the form under discussion. For example, if the following were written:

 

Step-Block-Chamber : Chop : Shift-Poke-Chamber : Shift-Poke-Chamber

 

each maneuver in this base set would not contain any emphasis. Each maneuver of the form would contain the same amount of emphasis as each of the other maneuvers of the base set.

 

But, if the same section was written as follows:

 

Step-Block-Chamber : Chop+Shift-Poke-Chamber .. Shift-Poke-Chamber

 

this would denote the following:

1.the last maneuver was delayed (to emphasize that maneuver)

2.the middle two maneuvers where de-emphasized by making their individual timings shorter

3.the chop could have been changed from a major move to a minor move (if it started as a major)

Head Maneuvers

One thing that still needs to be discussed with base set coordination, looking (i.e. head turning) between base sets. When a change of direction is required, the standard and more dramatic head maneuver is to turn both the head and the eyes prior to re-positioning into the next base set. This is done even if the new direction can be viewed with just turning the eyes. This gives the observer(s) an indication as to the direction of the next base set to be executed and adds an element of flare to the form.

 

But, there is also a negative to the practice or emphasizing head turning in a real world scenario. This can be summed up with one word - telegraphing. There is a general rule in American Kenpo not to telegraph any maneuvers and some practitioners also obey this rule during form execution.

 

Either scenario has its merits. It is left up to the individual practitioner to decide how to handle head maneuvering. More important than the actual execution or not is the understanding of the pro's and con's of the maneuver. Some practitioners come to a compromise where-in the lower forms (i.e. the One's and Two's) are executed with the head maneuver, since they are the more basic and elementary forms, and left out of the upper forms (i.e. the remaining forms), since they contain more realistic and advanced maneuvering.