I suppose I better say something about Tempo. (Since I began writing this, I have written a separate post on tempo: Using tempo/timing to fence better (hema101.com)).
In Bolognese fencing, Tempo just means time. It doesn't really refer to a unit of time like seconds or minutes, it generally means 'the time needed to take an action'. An action is defined by movement without changing direction, so if I take a step forwards, this is a tempo, and if I take a step backwards, this is another tempo. If I take half a step backwards and then change my mind and take half a step backwards, this is two tempi. Likewise, if I raise my sword and then strike my sword down in a cut, this is two actions and so two tempi. It can be made more complicated than this (for example, it could be said that it is my opponent who determines how many tempi my action is based on how many actions they can take during my action).
Tempi can be short or long, and can even be referred to as a 'half tempo' for a very short action.
GD uses the word Tempo over 200 times, but most of the time he is simply saying 'In that Tempo perform this cut', i.e. he is using it to mean 'in that moment'.
It is quite an alien concept of time compared to how we think normally, but it is quite powerful as it suggests the following:
Actions take a certain amount of time.
While you are performing said action you cannot perform another action. You need to first stop that action.
If you perform an action that has a long tempo (which equals a large motion) your opponent can make a smaller tempo action more quickly. This could mean they have plenty of time to parry your strike, or it could mean they have time to counter-attack you.
If they can't perform their action in the same time that you can perform yours (because your action is small and theirs large) you can defeat them.
In order to safely attack your opponent, you need to do this 'in time', i.e. you need to find the right tempo, or the right moment, to attack.
Attacking someone in guard is dangerous, as they are still and so can react to your action. On the contrary, if they are busy moving (e.g. stepping forward, moving guard position, etc.) while you make your action, they first need to stop finish their action before they can react to you. Therefore, GD lists five tempi when your opponent is 'busy' and so it is safe (or safest) for us to attack (although he hints at a sixth tempo). It is safe(st) to attack when:
You have just parried your opponent and they are recovering (i.e. they are not making a second attack).
Your opponent's sword has passed you by, i.e. they have attacked and missed.
Your opponent is drawing their hand back in order to make an attack, i.e. you attack them while they are preparing to attack but have not actually started their attack yet.
Your opponent is changing from one guard to another, carelessly (i.e. the change of guard is not giving them an advantage).
Your opponent is stepping forward, and they still have their front foot off the ground.
There is a sixth tempo that is hinted at, and this is when you are in a favourable bind ('the straits of the half sword').
So, there you have it: In order to attack your opponent safely, you should either wait for a tempo, or bait them into giving you a tempo by making a provocation.
Provocations
A provocation is an action that you take that is not necessarily directly threatening to the opponent, although it can be, that forces or encourages your opponent perform an action that you are then prepared for so that you can safely attack. Like with other fencing systems, these are basically feints, beats and binds.
For each guard, GD gives a lot of possible provocations you can perform from various guards. Again, there is quite a bit of repetition, including information on how to counter the opponent's provocations. I've tried to summarise most of them in a table that includes the provocation you make, then the real attack you make, and a way the opponent can counter this. Often the real attacks are doubled, i.e. you thrust them and then cut them again for good measure, probably with a retreating step.
Those in grey are made from Long Tail, and those in white from Iron Door.
Table 2: Provocations
Your provocation | Your real attack (options) | Opponent counters |
Beat Falso Manco to their sword (turn your body well into the attack) | Tramazzone cut 1 Alternatively, cut 3 (Ridoppio) to arm and then Imbroccata Alternatively, feint cut 1, then make a cut 3 (Ridoppio) to the thigh | Counter thrust in Face Guard (GDF) Stocatta, and cut 2 Void and go into High Guard, then cut no. 2 |
Beat half cut no. 1 to their sword | Punta riversa, and then tramazzone cut 2 | Tramazzone cut 1 during the initial beat |
Step left and feint a punta riversa to face | Cut 5 to the face Alternatively, imbroccata | Counter thrust using entry Guard Cut 2, then cut 2 again |
Step right and feint Stoccatta | Cut 1 to head or leg | Step right and tramazzone cut 2 to the arm Alternatively, parry and thrust into Face Guard Alternatively, void cut to leg and thrust punta riversa |
Half cut 1 to the hand, then go into Narrow Iron Door. This encourages opponent to thrust. | As opponent thrusts, thrust in the Entry Guard (GDE), or Face Guard. Alternatively, if opponent disengages during the beat, parry with the true edge and thrust punta riversa. | Counter thrust in Face Guard |
Form a true edge bind on the opponent and step right | Thrust punta riversa Alternatively, if opponent disengages to the other side from the bind, thrust in the Entry Guard. | During the bind, step right and cut 2, then cut 1 |
Feint an Imbroccata that ends in Face Guard | Cut 2 | Tramazzone cut 2 |
Beat Falso Manco | Cut 1 to the arm | Cut 2 and imbraccata |
Cut 4 (Ridoppio) | Imbraccata | Cut 2 and imbraccata |
Feint tramazzone cut 1 | Cut 6 to the thigh | Face guard during the feint |
Beat half cut 2 to sword | Punta riversa to face, then cut 5 to face | Parry thrust with false edge and cut 1 to sword hand |
Bind inside | Punta riversa to chest | Volte right and cut 1 to sword arm |
The counters all involve a step backwards.
There is one more provocation given by GD, from the guard of the unicorn:
When you are in the guard of the unicorn, step to your right and give a cut 1 over the opponent's sword, then cut 6 to his face, then retreat with a cut 2 to cover his sword.
The key counter to this is to parry the initial attack with a tramazzone cut 2.
Straights of the half sword
These are attacks that can be done from a bind ('the half sword'). GD splits these into those done when the swords are 'false edge to false edge' and 'true edge to true edge'. This is a little weird to me, as I am not used to binding with the false edge. However, I have assumed that a false edge to false edge bind must be an outside bind (opponent's sword is on the right of ours), and a true edge to true edge bind must be an inside bind (i.e. opponent's sword is on the left of ours). Why? A false edge bind is only really possible in a 'carte' position, i.e. with our palm facing upwards. Therefore, I will split these binds into outside and inside instead of false/true. However, I may be wrong in my interpretation here so take this last section with a pinch of salt.
Attacks and their counters made from an outside bind
Your attack | Opponent counters |
| Face guard |
2. Step right and feint cut 5 to face, cut 2 to head, retreat with tramazzone cut 1 into Wild Boar Iron Door. | Don't react to the feint, and tramazzone 1 during their cut 2 (parry), or thrust with the Entry Guard. |
3. Thrust imbrocatta to the flank | Step back and tramazzone cut 2 to sword arm |
4. Step right (into the direction of their sword), disengaging your point under their blade and thrust to their chest, then step back and make a cut 2 to their sword. | As the opponent drops the point, thrust stocatta while maintaining contact with their sword with your true edge. Alternatively, step back and cut 1 to their hand as they thrust. |
5. Glide forward and feint a cut 1 to the head, then grip their sword (which is under yours) with your left hand. Now attack them where you want. | Retreat a pace and cut 7 to the head. |
6. Beat the opponent's sword to their left (your right), step forward and slice their face with a cut 1 then cut 2. Alternatively, after you beat, thrust in something like the Entry Guard, and then retreat with a tramazzone cut 1. | As they beat your sword, step back and use the momentum of the beat to turn a tramazzone cut 1 to their head. |
Attacks and their counters made from the inside bind
Your attack | Opponent counters |
Step left, tramazzone cut 2 to head. | Thrust in Entry Guard, or step back and cut 2 to arm or sword. |
Turn hand into Entry Guard and threaten a thrust. As they parry, slice cut 1 to chest, then cut 2 as you retreat. | When opponent turns point towards your face, draw right foot back a pace and cut 2. |
Feint cut 2, then make a cut 5, retreat with a tramazzone cut 1 | Don't move on the feint, but then thrust into Face Guard, then retreat with a cut 2. |
Push your hilt forward into your opponent's sword with point towards opponent's left side, then turn a tramazzone cut 2 to head. | As they push hilt forwards, draw back a pace and tramazzone cut 1 to sword hand. |
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