Forms and Sets > Long Form 3 > Frequently Asked Questions > Why aren't all the Short Form Three techniques in Long Form Three?

As mentioned many times throughout this series, the short forms are designed to start an exploration into (a) specific major theme(s) of motion, while the long forms are designed to continue exploration into that (those) theme(s). What is often missed by this statement (because it can only be implicitly determined) is that the long forms are free to explore major theme(s) outside of the ones explored in the short form. In other words, even though the long forms are specifically designed to be a continuation of the short forms, they are also free to have themes of their own. And these themes are not required to be represented in the shorter version. And, in other cases, a theme which was not explicitly mentioned or highlighted in the short form, emerges in the long form.

Because of this fact, the long versions of the forms are not limited by the requirement that they:

•have to contain all the exact same motions (or self-techniques) of the short form

•must refrain from using new motions (or self-techniques) that are not present in the short form

•must only explore the themes present in the short form

Since this is not explicitly stated in the overview of short vs long forms, many practitioners are not aware of these subtle distinctions. And, this oversight can hamper one's ability to fully analyze a form.

As a simple example of this practice, Short Form Three contains the self-defense technique Fatal Cross (which is designed to be a defense against a low-level push). There is no real explanation as to its inclusion in Short Form Three, usually other than it is considered a preview of things to come. Then, in Long Form Three, one will immediately notice that it is not included. Instead, Long Form Three contains the two self-defense techniques that are similar in nature: Parting Wings (which is designed to be a defense again a mid-level push) and Thrusting Wedge (which is designed to be a defense against a high-level push).

Upon some initial inspection, one would correctly conclude that the other two techniques, in tandem with the first technique, demonstrate the three height levels of an aggression. But they would only be partially correct if they stopped their analysis at this point. What is missing from this superficial analysis is that this is not the only reason for the change between the short and long form. Another reason is the highlighting of a new minor theme. This new theme is a categorical overview of pivot points as they relate to various positions on the practitioner's arms.

Upon an understanding this theme and a renewed examination of the maneuvers in question, one should be able to determine that the major pivot point of the initial maneuver of Fatal Cross is the shoulders; the major pivot point for the same relative maneuver in Parting Wings is the elbows; and the major pivot point of the same relative maneuver in Thrusting Wedge is the fingers.

What was previously (and purposely designed to be so) obscured, becomes apparent and obviously designed into the structure of the forms. With the asking of the proper questions and through personal examination into the forms, many of the "hidden in plain sight" details can be uncovered, appreciated, and added to one's personal bank of knowledge. And through this practice, a more complete understanding of the art, and martial arts in general, can be fashioned.