Movement 1
Hoy Sick : Beginning with the feet together and hands and arms relaxed,
cross the arms left over right on the Centreline to sink the chest and expand the Don teen
This begins with the process known as Hay goang breathing. Next circling the arms inward.
Bring the hands up to chest-level with the palms facing towards the body and angled at 45 dgrees in relation to the floor. At no time during this initial sequence should the wrists actually touch together, but instead they should be spaced about one fingers width apart, crossing at the centre line.
After completing this motion, simultaneously retract both elbows, close both hands into fists and bend the knees slightly.
To begin the Hoy ma (opening the horse stance) sequence. The elbows should be pulled down, causing the shoulders to drop and the fists should be held near the ribs without actually touching the body. Pivoting on the heels, rotate the feet outward until they are in line.
Then, pivoting on the balls of the feet, swing the heels out to a distance wider than the shoulders. Raise the pelvis and keep the head and neck straight. This position ("Yee" Jee Keem Yeung Ma) completes the Hoy sick sequence. Exhale and sink the shoulders, chest and elbows.
Movement 2
"Sup" Jee Sau:
starting with both hands in the "Unborn Tan" position, Thrust both hands downward with a twisting motion, ending up with the left wrist crossed over the right on the centerline, resembling the chinese character (+), which stands for the number 10. The wrists should not touch, but should be close enough together for each to feel the presence of the other at a distance of one finger-width apart.
Movement 3
Kwun Sau (rolling arms block):
Smoothly circle both hands inward and upward so that the fingers lightly brush the ribs.
Ending up with the left hand over the right, the elbows should be in "Origin Position" with 135 degree angle structure.
Movement 4
Sau Kuen (Retracting Fist):
using the elbow as the source of power, pull both hands back to the chambered postion.
Movement 5
"Yut" Jee Choong Kuen (Character "Sun" Vertical Fist):
Bring the left fist to Origin Position on the centerline with the front of the fist facing straight ahead.
And use the elbow to piston it outward until the arm reaches full extension with the wrist straightened from its previously chambered position. On completion of the punch the knuckles should fall on the centerline.
Movement 6
Tan Sau (Palm-Up Block):
keeping the arm locked out on the centerline, open the left hand with the palm facing upward. This version of Tan Sau, which is taken to full extension, forms the root of the Biu Joang Sau motion of the Chum kiu and Wooden Dummy forms.
Movement 7
Huen Sau (Circling Hand):
Still keeping the arm straightened and on the centerline, quickly snap the wrist inward with the fingers pointing toward the body.
Slowly rotate the wrist inward and downward.
until it has made a full circle and slowly close the fist with the palm facing downward. this sequence must be performed slowly with the arm locked out to stretch the wrist and hand while developing the forearm.
Movement 8
Cheh kuen (Extension/Retraction Punch):
In one fluid and relaxed motion, retract the left fist and extend a right Vertical Fist using the elbow to push the hand out along the Centerline, with the knuckles referenced to that line. Do not start the punch by bringing the fist to Origin Position but instead shoot the fist directly from the chambered position to full extension on the centerline. While the first of the two punches illustrates the ideal structure of the basic punch, this one gives the student the "idea" that the fist should punch from whatever position the hand is in but should end up in the same centrally referenced position as the basic punch. The concept of pulling the opponent in during a strike is also introduced by this simultaneous pulling and punching motion.
Movement 9
Tan Sau:
Keep the arm straight and open the palm with the wrist on the centerline.
Movement 10
Huen Sau:
Snap the fingers toward the body and cirlcle the wrist inward
And downward
Close the fist slowly without tension, ending up with the palm down.
Movement 11
Sau Kuen:
Simultaneously retract the right arm quickly while slowly opening the left hand with the palm up. This motion develops the ability to move the hands independently at the different speeds, which is vital in advanced applications of Wing Chun tecniques that require both hands to work simultaneously, each moving at the required speed for correct timing of the individual motion it is executing.
Movement 12
Tan Sau:
Keeping the fingers pointing towards the centerline throughout the motion
Use the elbow to push the hand out along the Immovable Elbow Moving Line.
Continue to use the elbow to push the hand out along the Immovable Elbow Moving Line. The elbow starts to follow the line that the hand had taken
The forearm lightly brushes the body and the elbow should be kept in and sunken. the palm should be level with the thumb tucked. At full extension, the middle finger should be on the centreline and the elbow should be in the original position.
Note
At this point in the form, the special breathing exercise descibed in the Siu Leem Tau Hay Goang essay begins as follows: Open the mouth and place the tongue up and back to the rear soft portion of the palate. Expand the Don Teen by inhaling deeply and, still holding the expanded position, contract the Yoong Don Teen, Wiu Yum and Ming Moon. Hold this contraction momentarily and release it with exhalation. This completes one cycle of Hay Goang breathing. Five complete cycles will be performed in this Tan Sau motion, and four will be used in each of the Huen/Woo retractions that will follow. Each of the three extensions of Fook Sau will also be executed with five Hay Goang cycles, resulting in a total of 36 full cycles of inhalation, contraction and relaxation of the Don Teen. Another 36 cycles will be performed during the execution of motions 32 to 46 on the right side.
Movement 13
Huen Sau:
Keep the elbow bent and in Origin Position as the hand snaps sharply inward with the wrist on the centerline.
Continue circling the wrist slowly until the fingers point downward and the hand reaches a fully rotated position.
Movement 14
Woo Sau (Protective Hand):
At the completion of the slow circle of the wrist, sharply snap the hand upward and toward the body without moving the arm. The thumb should be tucked and fingers should tuck together, pointing 90 degrees upward. The elbow remains in Origin Position.
Using the elbow to pull the arm backward along the Immovable Elbow Moving Line, slowly retract the hand to origin position with the thumb approximately one fist-width from the chest. The middle of the outside edge of the palm heel should be on the centreline with the elbow in. As explained earler, four complete cycles of Hay Goang breathing should be performed during the span of time it takes to go from the beginning of movement 13 to the completion of this motion.
Movement 15
Fook Sau (Bridging Hand):
Keeping the hand in Origin Position, snap the wrist sharply toward the body with the elbow in. Bring the thumb and index finger together, pointing at the right shoulder with the last three fingers curled inward. This position should cause a light strain on the outer wrist which is on the centerline.
Using the elbow to push the hand out, begin to extend the hand out along the Immovable Elbow Line.
Slowly continue outward and forward until the elbow reaches Origin Position, which signals full extension of the Fook Sau Structure. The height of the hand should be between elbow- and shoulder-level. The entire motion is performed with full cycles of inhalation, contraction and exhalation from beginning to end.
Movement 16
Tan Sau:
Without stopping at the completion of the previous motion, snap the hand sharply to palm-up position with a slight forward motion of the elbow, which also raises the palm slightly.
Movement 17
Sharply snap the wrist inward
and circle it slowly.
Movement 18
At the end of the wrist rotation, continue the circling motion by whipping the fingers in an arc until they point upward, accentuating the outward snap of the wrist. The outside edge of the palm heel should be on the centerline.
Slowly retract the hand to Origin Position by pulling the elbow back along the Immovable Elbow Moving line executing another four cycles of Hay goang breathing between the beginning of movement 16 and the completion of this motion. The Fook/Tan/Huen/Woo sequence beginning with movement 15 and ending with Movement 18 will be repeated twice in movements 19-26.
Movement 19
Fook Sau (Bridging Hand):
Keeping the hand in Origin Position, snap the wrist sharply toward the body with the elbow in. Bring the thumb and index finger together, pointing at the right shoulder with the last three fingers curled inward. This position should cause a light strain on the outer wrist which is on the centerline.
Using the elbow to push the hand out, begin to extend the hand out along the Immovable Elbow Line.
Slowly continue outward and forward until the elbow reaches Origin Position, which signals full extension of the Fook Sau Structure. The height of the hand should be between elbow- and shoulder-level. The entire motion is performed with full cycles of inhalation, contraction and exhalation from beginning to end.
Movement 20
Tan Sau:
Without stopping at the completion of the previous motion, snap the hand sharply to palm-up position with a slight forward motion of the elbow, which also raises the palm slightly.
Movement 21
Huen Sau:
sharply snap the wrist inward
and circle it slowly.
Movement 22
At the end of the wrist rotation, continue the circling motion by whipping the fingers in an arc until they point upward, accentuating the outward snap of the wrist. The outside edge of the palm heel should be on the centerline.
Slowly retract the hand to Origin Position by pulling the elbow back along the Immovable Elbow Moving line executing another four cycles of Hay goang breathing between the beginning of movement 16 and the completion of this motion. The Fook/Tan/Huen/Woo sequence beginning with movement 15 and ending with Movement 18 will be repeated twice in movements19-26.
Movement 23
Fook Sau (Bridging Hand):
Keeping the hand in Origin Position, snap the wrist sharply toward the body with the elbow in. Bring the thumb and index finger together, pointing at the right shoulder with the last three fingers curled inward. This position should cause a light strain on the outer wrist which is on the centerline.
Using the elbow to push the hand out, begin to extend the hand out along the Immovable Elbow Line.
Slowly continue outward and forward until the elbow reaches Origin Position, which signals full extension of the Fook Sau Structure. The height of the hand should be between elbow- and shoulder-level. The entire motion is performed with full cycles of inhalation, contraction and exhalation from beginning to end.
Movement 24
Tan Sau:
Without stopping at the completion of the previous motion, snap the hand sharply to palm-up position with a slight forward motion of the elbow, which also raises the palm slightly.
Movement 25
Huen Sau:
sharply snap the wrist inward
and circle it slowly.
Movement 26
Woo Sau
At the end of the wrist rotation, continue the circling motion by whipping the fingers in an arc until they point upward, accentuating the outward snap of the wrist. The outside edge of the palm heel should be on the centerline.
Slowly retract the hand to Origin Position by pulling the elbow back along the Immovable Elbow Moving line executing another four cycles of Hay goang breathing between the beginning of movement 26 and the completion of this motion.
Movement 27
Pock Sau (Slapping Hand):
Keeping the arm close to the body, use the elbow to push the palm outward and forward along the Immovable Ebow Moving Line until it reaches but does not exceed shoulder-width with the elbow on the Centerline.
Movement 28
Jing jyeung (Vertical palm):
Use the elbow to piston the open palm straight ahead to full extension of the arm on the centerline without retracting the hand. This teaches the Win chun student that using the elbow to power a strike enables "Short Power" (Duen Ging) to be derived without having to pull the hand back before striking and improves "Structural Speed".
Movement 29
Tan Sau:
Keeping the elbow locked out, flip the palm upward with a twist of the arm.
Movement 30
Huen Sau:
Snap the fingers toward the body and cirlcle the wrist inward
And downward
Close the fist slowly without tension, ending up with the palm down.
Movement 31
Sau kuen:
As the left fist is retracted to the ribs, simultaneously open the right hand with the palm facing upward.
Movement 32
Tau Sau:
Keeping the fingers pointing towards the centerline throughout the motion
Use the elbow to push the hand out along the Immovable Elbow Moving Line.
Continue to use the elbow to push the hand out along the Immovable Elbow Moving Line. The elbow starts to follow the line that the hand had taken
The forearm lightly brushes the body and the elbow should be kept in and sunken. the palm should be level with the thumb tucked. At full extension, the middle finger should be on the centreline and the elbow should be in the original position.
At this point in the form, the special breathing exercise descibed in the Siu Leem Tau Hay Goang essay begins as follows: Open the mouth and place the tongue up and back to the rear soft portion of the palate. Expand the Don Teen by inhaling deeply and, still holding the expanded position, contract the Yoong Don Teen, Wiu Yum and Ming Moon. Hold this contraction momentarily and release it with exhalation. This completes one cycle of Hay Goang breathing. Five complete cycles will be performed in this Tan Sau motion, and four will be used in each of the Huen/Woo retractions that will follow. Each of the three extensions of Fook Sau will also be executed with five Hay Goang cycles, resulting in a total of 36 full cycles of inhalation, contraction and relaxation of the Don Teen.
Movement 33
Huen Sau:
Keep the elbow bent and in Origin Position as the hand snaps sharply inward with the wrist on the centerline.
Continue circling the wrist slowly until the fingers point downward and the hand reaches a fully rotated position.
Movement 34
Woo Sau (Protective Hand):
At the completion of the slow circle of the wrist, sharply snap the hand upward and toward the body without moving the arm. The thumb should be tucked and fingers should tuck together, pointing 90 degrees upward. The elbow remains in Origin Position.
Using the elbow to pull the arm backward along the Immovable Elbow Moving Line, slowly retract the hand to origin position with the thumb approximately one fist-width from the chest. The middle of the outside edge of the palm heel should be on the centreline with the elbow in. As explained earler, four complete cycles of Hay Goang breathing should be performed during the span of time it takes to go from the beginning of movement 33 to the completion of this motion.
Movement 35
Fook Sau (Bridging Hand):
Keeping the hand in Origin Position, snap the wrist sharply toward the body with the elbow in. Bring the thumb and index finger together, pointing at the right shoulder with the last three fingers curled inward. This position should cause a light strain on the outer wrist which is on the centerline.
Using the elbow to push the hand out, begin to extend the hand out along the Immovable Elbow Line.
Slowly continue outward and forward until the elbow reaches Origin Position, which signals full extension of the Fook Sau Structure. The height of the hand should be between elbow- and shoulder-level. The entire motion is performed with full cycles of inhalation, contraction and exhalation from beginning to end.
Movement 36
Tan Sau:
Without stopping at the completion of the previous motion, snap the hand sharply to palm-up position with a slight forward motion of the elbow, which also raises the palm slightly.
Movement 37
Huen Sau:
sharply snap the wrist inward and circle it slowly.
Movement 38
At the end of the wrist rotation, continue the circling motion by whipping the fingers in an arc until they point upward, accentuating the outward snap of the wrist. The outside edge of the palm heel should be on the centerline.
Slowly retract the hand to Origin Position by pulling the elbow back along the Immovable Elbow Moving line executing another four cycles of Hay goang breathing between the beginning of movement 36 and the completion of this motion. The Fook/Tan/Huen/Woo sequence beginning with movement 35 and ending with Movement 38 will be repeated twice in movements 39-46.
Movement 39
Fook Sau (Bridging Hand):
Keeping the hand in Origin Position, snap the wrist sharply toward the body with the elbow in. Bring the thumb and index finger together, pointing at the right shoulder with the last three fingers curled inward. This position should cause a light strain on the outer wrist which is on the centerline.
Using the elbow to push the hand out, begin to extend the hand out along the Immovable Elbow Line.
Slowly continue outward and forward until the elbow reaches Origin Position, which signals full extension of the Fook Sau Structure. The height of the hand should be between elbow and shoulder level. The entire motion is performed with full cycles of inhalation, contraction and exhalation from beginning to end.
Movement 40
Tan Sau:
Without stopping at the completion of the previous motion, snap the hand sharply to palm-up position with a slight forward motion of the elbow, which also raises the palm slightly.
Movement 41
Sharply snap the wrist inward
and circle it slowly.
Movement 42
At the end of the wrist rotation, continue the circling motion by whipping the fingers in an arc until they point upward, accentuating the outward snap of the wrist. The outside edge of the palm heel should be on the centerline.
Slowly retract the hand to Origin Position by pulling the elbow back along the Immovable Elbow Moving line executing another four cycles of Hay goang breathing between the beginning of movement 39 and the completion of this motion. The Fook/Tan/Huen/Woo sequence beginning with movement 39 and ending with Movement 42 will be repeated in movements 43-46.
Movement 43
Fook Sau (Bridging Hand):
Keeping the hand in Origin Position, snap the wrist sharply toward the body with the elbow in. Bring the thumb and index finger together, pointing at the right shoulder with the last three fingers curled inward. This position should cause a light strain on the outer wrist which is on the centerline.
Using the elbow to push the hand out, begin to extend the hand out along the Immovable Elbow Line.
Slowly continue outward and forward until the elbow reaches Origin Position, which signals full extension of the Fook Sau Structure. The height of the hand should be between elbow and shoulder level. The entire motion is performed with full cycles of inhalation, contraction and exhalation from beginning to end.
Movement 44
Tan Sau:
Without stopping at the completion of the previous motion, snap the hand sharply to palm-up position with a slight forward motion of the elbow, which also raises the palm slightly.
Movement 45
Sharply snap the wrist inward and circle it slowly.
Movement 46
At the end of the wrist rotation, continue the circling motion by whipping the fingers in an arc until they point upward, accentuating the outward snap of the wrist. The outside edge of the palm heel should be on the centerline.
Slowly retract the hand to Origin Position by pulling the elbow back along the Immovable Elbow Moving line executing another four cycles of Hay goang breathing between the beginning of movement 43 and the completion of this motion.
Movement 47
Pock Sau (Slapping Hand):
Keeping the arm close to the body, use the elbow to push the palm outward and forward along the Immovable Ebow Moving Line until it reaches but does not exceed shoulder-width with the elbow on the Centerline.
Movement 48
Jing jyeung (Vertical palm):
Use the elbow to piston the open palm straight ahead to full extension of the arm on the centerline without retracting the hand. This teaches the Win chun student that using the elbow to power a strike enables "Short Power" (Duen Ging) to be derived without having to pull the hand back before striking and improves "Structural Speed".
Movement 49
Tan Sau:
Keeping the elbow locked out, flip the palm upward with a twist of the arm.
Movement 50
Huen Sau:
Snap the fingers toward the body
and circle the wrist inward
Movement 51
Pull both hands to the ribs by retracting the elbows straight back.
