# Long Form 4



## jeffkyle (Apr 25, 2002)

I had heard that Mr. Parker once said something like "Any one that knows ALL about Long Form 4, everything about what is IN it, would deserve a black belt", and he would promote them any day.  I am sure it involves more than just the moves.  But i curious as to what he meant.   
Any Suggestions????


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## Robbo (Apr 25, 2002)

Although I train in an offshoot of EPAK where we don't do the AK curriculum we are close enough to the AK system to hear a few comments. The one that stuck out in my head was that Long 4 was the workhorse of Kenpo. I seem to recall that Long 5 deals with takedowns and Long 6 with weapons. So to take a stab at it I would think that Long 4 deals with all the empty hand aspects of the art. 

Now as I said I'm not familiar with these forms so I'm sure someone else can add more insight and possibly correct me.

Oh I shamelessy stole this from kenponet.com,

Short 1 - Retreating with a Front Hand Block 
Long 1 - Retreating with a Front Hand Block and a Rear Hand Counter 
Short 2 - Advancing with front hand block and front and rear hand counters, using multiple power principles 
Long 2 - Multiple attacks from a stance, crossovers, and elbow strikes 
The Basic Forms of Kenpo 
Short 3 - Basic Defenses against grabs, chokes, and holds 
Long 3 - Further defenses against grabs, chokes, and holds 
Long 4 - Defenses against punches and kicks 
Circular Hand Motions in Long 4 
Long 5 - Takedown techniques 
Long 6 - Weapons defenses against knives, clubs, and pistols 
Long 7 - Techniques with Kenpo sticks 
Two-Man Set - The Rules And Principles Of Kenpo In Combat


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## Robbo (Apr 25, 2002)

Also dug this up. 

http://www.kenpohands.com/long4.htm

Rob


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## Goldendragon7 (Apr 25, 2002)

TEACHES:

 1. The use of the DOUBLE FACTOR against a 
    two-punch combination, one factor for each 
    punch.
 2. The use of quarter beat timing when 
    calculating the use of Borrowed Force.
 3. The diagonal fanning of parries to cancel both 
    Height and Width Zones.
 4. The use of a front crossover to add power to a 
    punch off the rear hand.
 5. Threading.
 6. How to utilize a Diversified Angle of Attack 
    from an Obscure Zone.
 7. The benefits of a Grafted Principle. 
 8. Familiarizes you with the concept of 
    Progressive Directional Harmony.
 9. An introduction to working on the inside of 
    two punches. 
10. How to employ various depths of action within 
    the Dimensional Stages of Action when using 
    reverse motion.
11. Teaches you instinctive responses to varying 
    depth factors related to the Dimensional 
    Stages of Action. 
12. How to take dual action from two Points of 
    Origin, whereby both block and strike occur 
    simultaneously.
13. How to control your opponent's Height and 
    Width Zones while following a figure 8 path of 
    action.
14. The continuous flow of circular moves to 
    counter your opponent.
15. To have your natural weapons travel from Point 
    of Origin in a looping overhead manner, while 
    employing the principle of guidelining to 
    create deceptive, powerful, and accurate 
    strikes.
16. Teaches you how to first intercept a kick and 
    then redirect it through a captured means of 
    parrying.
17. The use of Object Obscurity, when properly 
    timed with your footwork to provide multiple 
    effects.
18. How to function underneath a punch while 
    interacting and interchanging offensive and 
    defensive maneuvers within the identical 
    framework of your circular movements.
19. When the dimension of depth is at a standstill 
    the dimension of width generated from a 
    rotating twist stance can be duplicated to
    obtain the desired force. 
20. The offensive use of stance changes that 
    amplifies the effectiveness of your aggressive 
    action.
21. The use of reverse and returning motion where 
    Completed Paths of Travel accentuate the value 
    of following through with your strikes.
22. That not all combat commences when you find 
    yourself in a suitable position. 
23. You learn how reverse motion can residually 
    provide defensive and
    offensive answers to combination strikes.
24. You learn that the use of a twist stance is 
    twofold, (1) while retreating to help create 
    distance, and (2) when unwinding from your 
    twist stance to gain greater power rotational) 
    when applying your second defense.
25. How to employ your furthest leg to your 
    opponent's closest leg, and your closest leg 
    to his furthest leg when executing double
    kicks to the flank (side chicken kick).
26. Simultaneous moves: like as well as opposite 
    sides.
27. Needling.
28. The use of the DOUBLE FACTOR against a 
    combination kick-punch attack, one factor for 
    each attack.
29. Gaseous Motion against multiple attackers from 
    multiple directions.
30. A detailed study of the use of opposites and 
    reverses.
31. The use of a sweeping action to divert and 
    check.
32. Altered timing for specific needs. Rhythmatic 
    changes can contribute to the power of your 
    action.
33. The flow of action can continually stem from 
    the last flow of action.
34. Angle Matching
35. Rhythmatic changes of timing and breathing to 
    activate and enhance internal energy that 
    proportionally increases power.
36. Isolated moves that when taken out of context 
    can be gainfully employed.
37. Angular maneuvers employing twist stances.
38. Transitional buckles that weaken an opponent's 
    base more than once. The use of a follow up 
    buckle that destroys an already weakened base.
39. Cradling as a means of employing dual motion 
    from two Points of Origin.
40. The use of a rotating twist stance to take you 
    into the Gaseous State of Motion in multiple 
    directions while remaining in place.
41. How to advance and retreat in a Zig-Zag 
    Pattern.
42. Various methods of executing the fingers so 
    that if one method should fail the other 
    methods may be instantly called upon as
    back-ups.
43. The use of Mid-Point Balance.
44. The themes of the self-defense techniques 
    contained in the form.
45. The principles contained in each of the 
    self-defense techniques.
46. To convert techniques from the Liquid State of 
    Motion to the Gaseous State of Motion.


NOTES ON LONG FORM #4

1. The use of corresponding angles will greatly enhance the aesthetics and effectiveness of your movements.

2. Learn to use cat stances and forward bows as "holding points" in the form. These "poses" allow you moments to harness the force, and gather your mental energy.

3. The use of rhythmatic breathing throughout this form will allow for those moments where you wish to use explosive breathing.

4. Study moments in the form where you can lock out movements.

5. Look for other moments where you can kiai in the form. 

6. Be in shape. Improve your muscle response, especially your endurance.

7. Accentuate the strength in your stances and the depth of your foot maneuvers.

:asian:


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## Klondike93 (Apr 26, 2002)

Got awhile before I get to learn this one. I still have to learn short and long 3.  I thought I new short and long 2 but after tonight, I really need to practice those forms more often.


:asian:


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## Bob Hubbard (Aug 19, 2002)

Mod Note : This is an trimmed down copy of a previous thread.


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## tonbo (Aug 26, 2002)

Hehe, GD7......

I'm going to guess that your list of what is involved in Long 4 is the....uh...."shorter than short" list.....

Peace--


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## donald (Sep 27, 2002)

Does anyone have a good site to print off the L4 breakdown? I am looking for the EPAK version. Preferably as taught through the Parker/Planas lineage. After running through it the other night. I realized I had lost alot of the understanding I had of the form. Especially when I was facing the wrong way,(6 not 12), at the completion of my run through!!!!!! Its been a good year since I've done any type of serious kenpo workout, but (by God's grace) I am trying... Thanks to ALL that respond....

Salute in Christ,
  :asian:


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## cdhall (Oct 17, 2002)

> _Originally posted by donald _
> 
> *Does anyone have a good site to print off the L4 breakdown? I am looking for the EPAK version. Preferably as taught through the Parker/Planas lineage. After running through it the other night. I realized I had lost alot of the understanding I had of the form. Especially when I was facing the wrong way,(6 not 12), at the completion of my run through!!!!!! Its been a good year since I've done any type of serious kenpo workout, but (by God's grace) I am trying... Thanks to ALL that respond....
> 
> ...



This discussion is on the "Technique Descriptions" thread but Mr. Billings has the EPAK forms and techniques typed up at
http://www.kenpo-texas.com

He uses frames so you will have to navigate to the
Forms / Katas 
section which is where you will find it.  God bless Mr. Billings.  I use his site quite a bit.
:asian:


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## Making the Journey (Jan 29, 2006)

Jeffkyle, I am just beginning Long Form Four but what I believe Mr. Parker was reffering to was sort of the more Zen side of Kenpo; four dimensional Kenpo if you will.  Sort of being emotional about the kata. Which is very vague way of saying it. I'm having a hard time putting what I'm trying to say into words, so think about that for a while and if you have anymore questions I'll try to answer them. But that's just my SUGGESTION. Haha =)


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