Just reading the coy li fut form thread.
Did your instructors give you reasons for the different sounds at different times in the form. Like sik,yik and wah.
If I can remember correctly “wah” is done when doing a tiger claw technique?
If they did give you that info could you tell us why?
thanks for your time
The sounds are designed to accentuate your power. They are usually used when executing “power” moves.
The diffferent sounds reflect the “intent” of hand tecniques.
If you are doing something very precise then the sound is very short and piercing.
If you are doing something more strength based then the sound is more dull and “from the gut.” (think WAH!)
Overall I think doing the sounds in the form helps to regulate the breathing.
Choy Lee Fut sounds can be considered a type of Hei Gung and as such is involved with training your “energy”. There are different sounds associated with different animals and Chan Yiu Chi did comment on them in writing.
Simplistically, different sounds correlate with different “ging”, and so naturally correlate with different technique.
I’m a bit disappointed I couldn’t lure some (at least one) senior to the boards again.
Bit boring for me…
Different Sounds
One of the reasons that there are different sounds to certain moves is because of the Qi ‘Hei’ Gung connection.
Each sound is associated to a certain movement / strike, however from a Hei Gung level each sound correlates to a certain organ.
So for instance the “Wah” sound on the Tiger Claw is very gutteral and is associated to the Stomach / Spleen Energies. These sounds are also found in the Hung Gar form of Tit Sin Juen, though most not the same sounds.
Ofcourse there is also the 6 healing sounds Qi Gung that uses 6 different sounds correlating to the Liver, Heart, Spleen, Lungs, Kidneys and the San Jiao. The sounds are used to vibrate the various organs assoiated to it, in order to strengthen and improve it’s functionality.
On a martial level, the sounds can be used to distract / surprise / shock the opponent, thus creating an opening for a sustained / continuous attack.
Hope thats of some help to you.
Re: Different Sounds
Originally posted by Pakmei
[B]One of the reasons that there are different sounds to certain moves is because of the Qi ‘Hei’ Gung connection.
Each sound is associated to a certain movement / strike, however from a Hei Gung level each sound correlates to a certain organ.
So for instance the “Wah” sound on the Tiger Claw is very gutteral and is associated to the Stomach / Spleen Energies. These sounds are also found in the Hung Gar form of Tit Sin Juen, though most not the same sounds.
Ofcourse there is also the 6 healing sounds Qi Gung that uses 6 different sounds correlating to the Liver, Heart, Spleen, Lungs, Kidneys and the San Jiao. The sounds are used to vibrate the various organs assoiated to it, in order to strengthen and improve it’s functionality.
On a martial level, the sounds can be used to distract / surprise / shock the opponent, thus creating an opening for a sustained / continuous attack.
Hope thats of some help to you. [/B]
On another level, though I don’t practice CLF, in other systems the sounds work as a mnemonic device for proper exhalation for the movements they are associated with. This contributes to power by completing the necessary connection between structure, breath, muscular strength. This is why a “tiger sound” won’t be as productive (and may be counterproductive) if used with another animal’s associated techniques.
Its seems we agree on the “wah” being tiger. What about the "sik and Yik?
Any senior clf people out there?
Sounds,
One reason I was taught was when fighting you would be able to recognise another CLF brother, or at the time someone who was on your side back then… That is why our styles sounds are distinctly different…
Our branch of CLF does not dive to deep into the Internal, and the way it appears to me, there isn’t much built into it…
There are other families that claim to have it, but from what I have seen it looks like something incorporated from another style/s… Perhaps by Chan Heung or someone earlier… who knows…
But as in all styles breathing is essential, to cultivate energy and endurance, and to focus power. A great way to learn to cycle and pace yourself in form and fighting…
Looking at CLF, to me its main approach seems to use reach and speed along with directness, an approach used to fight others who were good at fighting at that time.
Joe
This is what I remember being taught;
The five standard sounds of our system: 1) Wag6 (as in Waik), to represent the Tiger and is used in Tiger techniques. 2) Dig1 (as in Dik), to represent the Leopard and is used in kicking. 3) Yig1 (as in Yik), to represent the Dragon and is used in punching and certian Dragon techniques. 4) Hag3 (as in Hark), to represent the Snake and is used in Snake strikes or pinpoint type techniques. 5) Hog6 (as in Hok), to represent the Crane and is used in Crane strikes.
Since the sounds are related to the Five Animals and each animal serves a purpose, the sounds are made for a purpose as well. The Dragon is done to cultivate the Spirit, the Tiger to cultivate the Bone, The Leopard to cultivate the Strength, the Snake to cultivate the Qi and the Crane to cultivate the Jing.
So in my oppinion, everyone is right. It is used to help with power/strength projection, proper breathing, and also internal development.
That’s what I remember anyways,
Sincerely,
Gentleman
I am a Tang Lang Boxer. This sound/exhalation thing has puzzled me for a long while. I trained with Wah Lum for 11 years. They use these very same sounds you explain, for the most part. They claim to be Northern Praying Mantis, from what I see (hear) NPM does not make these sounds. Wah Lum claims to be Northern, but my sources have them basically southern with a hint of N Mantis. There big sound is a low gut “yee” sound, applied with blocks kicks and punches.
For the record, I parted ways with WL and I`m training in Northern Mantis Boxing. See www.
I did have the blessings to train with the Late Master Lee Koon Hung. I learned some very good forms, Lion Dance and drumming. This Man put out some great fighters and leaves a legacy. I will always respect my Southern brothers.
The CLF sounds were brought into Wah Lum by students who were exposed to it when Lee Koon Hung moved to the US. Prior to that the only sound was ‘yee’ which was used to punctuate a stop in the forms. Not related at all to power generation, I believe it’s just a marker since it coincides with the single finger ‘restore the Ming’ move. Other than that WL is quiet except for competition and performance sets.
I understand in Futsan Hung Sing there is ‘yik’ ‘wah’ and ‘tik’ (Frank’s old handle). I’ve also heard ‘sik’ and ‘hok’ from LKH branch of CLF. Are the sounds consistant across branches or are they different?
Indeed… in Lau Bun/Futsan Hung Sing CLF, we
Yik on upward/level straightline punches (no Sow Choi, Fut Juerng, etc… )
Yee on downward straightline punches (no Sow Choi, Fut Juerng, etc… )
Wah on tiger claws
Tik on kicks
Every so often a Sik may slip in during a fit of excitement… but mostly just Yik Wah Tik.
I don’t know that CMA can be very useful in a place like Atlanta, aren’t there many violent gangs there? I’ve read that it is the new "murder capital ". Quite a dangerous place to have enemies.
I don’t know… I don’t play where gangs play & enemies aren’t a concern of mine.
Huh ???
Are you saying that CMA isn’t useful in violent surrounding?
I guess 2000 years of peaceful existense in China just doesn’t prepare you for the modern semi-civilized world.