Ranges: How a weapon will be used is dictated by the range of the target. In Inosanto Methods we study 4 major ranges

Largo-mano ( or Long Range) The range at which, without moving opponents cannot hit each other in the head or body. The main target at this point is the hands and arms.

Sumbrada (Medium Range) The range where the body becomes accessible and the off hand can check, cover, or disarm.

Hu-bud (Close Range) The range where opponents are too close to effect Long or Medium strikes. Attacks with the butt of the stick utilizing a back fist like motion are common, as are punches with the clenched fists, hooking of limbs and neck.(which can lead to...)

Stick Grappling (Clinch, or Wrestling Range) The range when the stick is utilized to effect holds, bars and submissions. Sifu Inosanto has introduced many interesting techniques utilizing the stick in combination with silat and Machado Jui-Jitsu principles and techniques.

Single Stick Techniques

Lacosta family techniques

12 count single stick

Meet the force

Follow the force

Amerra Single Stick Basics (each pattern done five times followed by low backhand, high backhand)

Figure 8 Family

Upwards x5

Downwards x5

Ab Lau Line: Shoulder to opposite hip, follows same line back up.x5

Boo Lon Line: Hip to opposite shoulder, follows same line back up.x5

Abanico or Fanning: Wrist stays straight, pivot at shoulder, and swing elbow back and forth. Strikes to the sides of the target, very fast. High x5, Low x5, High to Low x5, Low to High x5.(each set separated by Lbh, Hbh

Basic Abecedario: 1-5 counters and follow ups

Deflections from five angles of attack. #1 forehand, #2 back hand, #3 waist forehand, #4 waist Bh, #5 thrust.

Disarms: Snake, Vine, Strip, Eject, Wave; or Sectors

Sumbrada Drills

Feed and check

Disarms

Hu-bud Drills

Double Stick Techniques (can be done as various counts 4,6,etc.)

Abecedario:A,B,C,'s All Single stick  techniques can be repeated on both sides, strikes done with out chambering arms on opposite side. (No follow thru)

Kob-Kob: Short forehand strikes torque-ing feet, hips and shoulders.

Pye-Pye: Short backhand strikes with arms crossed the body. Same torque as kob-kob.

Siniwali Techniques (weaving style: Arms can follow thru and chamber under or over each other)

heaven, standard, earth

chamber under arm  and strike downwards

chamber above elbow and strike upwards at vitals

mix in roof block / shield (four ct. I,B,II)

Redondo Techniques (repeat by hitting same side)

Heaven, standard, earth

Swing behind head(longer motion)

Swing in short circle without going behind head(short motion)

Numerado

Basic Striking Angles
There are an uncountable number of styles in Phillipino stickfighting, but they all have one common denominator that gives them adaptability. Their principles of combat are based on a pattern of angles that all attacks must fall into, regardless of style, regardless of weapon, discounting of course the use of firearms. The pattern takes the form of combinations of what may be recognized today as mathematical symbols. (See diagrams.)

With the addition sign (+) and the mutiplication sign (X) and dot, a pattern forms that any trusting attack, such as a jab with the fist or a stab with a knife, or any arching attack, such as the wide swinging blow of a club, must follow. The pattern of angles is the same whether the attacker is jabbing and swinging with a weapon or kicking and punching.

The addition sign stands for the vertical and horizontal strikes and the multiplication sign stands for the diagonal strikes. The dot in the center of the pattern represents all thrusting or jabbing motions, as opposed to the wide swinging blows. Though the dot only appears in the center of the pattern, representing primarily the center thrust that comes right down the middle, trust may actually occur at any of the angles.

Within some stickfighting styles, the angles of attack are treated as the pie-shaped areas between the lines of the mathematical symbols. Any attack, for instance, between the top vertical line of the pattern and the next diagonal line to it is treated as one angle. Escimadors from other styles direct their attention to the lines themselves and practice their defenses against each line that represents an angle of attack. The important thing is that you keep the defenses you will learn flexible enough to blend either way with the attack. Even more important is that you remain flexible enough to flow with sudden changes in angle.

The infinity sign (¥ ) that completes our drawings is the standard motion of the stick to keep the Escrimador's movement fluid. This figure- eight motion is used in its complete form or partially.

Numbering System
There are many styles of Escrima, Arnis, and Kali, and they can all be divided into northern, central, and southern styles of the Philippines. But it is interesting to note that two students coming from, say, the Toledo style, descending from the same man names Santiago Toledo, can be completely different in their movement approach and training methods. Styles borrow from each other, expand and contract like the universe, but each student makes a style workable by individualizing it for himself. Instructors remove and add their own elements to the style the teach and students, likewise, may add things to a style that were thrown out by their instructors. So in my opinion, there are no styles. I prefer to use the terms methods or systems of training. Style is something individualized. (Guro Dan Inosabto)

Striking Motions
Lobtik - The long arc or stemmed blow, similar to the motion of a sword slashing through something. This is a full-powered strike that is aimed through a desired target. This method of striking does not retract or stop at the point of impact; rather it follows its path from beginning to end. This strike does not stop until it comes to the end of its motion, unless it is met with resistance or is blocked. A variation of this motion is the stem less blow, the shortened arc or stem less blow that is pulled inward halfway through the swing.

Witik - The "rap" which is a blow that returns along the same path that it went out. This method of striking involves retraction, which is useful when switching directions or angles of attack. The advantage of this strike is its speed and uncertainty of where the next strike will come from. Faking maneuvers and multiple striking are all executed in the witik form.

Saksak - The thrust or jab. Thrusting attacks primarily go right down the middle, but may occur at any angle. There are two types of energy that go into a thrusting motion. The first is much like a jab with the end of the weapon. With a jab equal emphasis is given to the striking and retracting motions. The motion of the jabbing thrust is much like that of the witik where the retraction flows directly into the next motion.

The second kind of energy is the stab that suggests a weapon with a pointed tip such as a sword or dagger. The stabbing thrust is a fully committed killing move, delivered as a coupe de grace. The only place it might be used otherwise is as a body shot with a long or heavy blunted weapon.

Abaniko - The abaniko strike is a fanning motion that is made with the stick. It is a witik strike that switches angles of attack. The abaniko can be executed horizontally, diagonally, or vertically. It is important that the body and arms move in sync to provide the proper mechanics needed for a powerful whipping motion. Many times the abaniko is used to fake or set-up your opponent, enabling you to pick your desired target area.

Arko - The arko is the basic Escrima twirl or circle of the stick. The stick can be twirled in an upward or downward motion. Relax your hand but keep your fingers grasping the stick.

Bantay Kamay - Bantay Kamay is the "Alive Hand"or your empty hand. This is the hand responsible for the checking or monitoring of your opponent's hand or the weapon itself. It is also used for disarming, striking, thrusting with a knife and passing.

Specifics of Striking Motion

Basically, there are four striking motions that can occur in any attack. (See diagram.)

1. Lobtik - The long arc or stemmed blow.
2. Lobtik - The shortened arc or stemless blow that is pulled inward halfway through the swing.
3. Witik - The rap which is a blow which returns along the same path that it went out.
4. Saksak - The trust or jab.

A strike should take less than 2/10ths of a second.

Footwork
Escrima, and particularly Kali, use the symbol of the triangle to explain many of their combative principles. The core of the offensive and defensive movements is the knowledge of zoning and the skills in movement through footwork.

Zoning - Zoning refers to movements made with the intention of effectively blocking or evading an opponent's strike. There are two reference points, at the beginning and at the end of a given motion. If someone were to strike you, his maximal force would be aimed at a specified area; for example, your face. At the points just before and just after the desired point of impact, there is considerably less force. This is because you have to build up the force needed to accelerate your weapon, and after the point of impact it is necessary to slow down to halt the momentum of your strike. It can be very dangerous to attempt to block a strike at its point of full impact. It is best to either jam, meet the strike before it has built up full force, or pass, follow the weapon and employ a check during its retraction. A third method is to combine the two to make a meet and pass defense.

Triangle stepping - A large percentage of footwork patterns are based on the triangle. There are both forward (female) and reverse (male) triangles. The forward triangle is generally used for defensive purposes and the reverse triangle is generally used for offensive movements.

There are three points to a triangle: a frontal location, known as the point of the triangle, and two rear locations, known as the base of the triangle. When fighting, one generally places his stick or strong side on the point of the triangle and steps to either base of the triangle to initiate both offensive and defensive techniques.

Replacement Stepping - Replacement stepping is the core of the defensive movements because in Escrima one rarely steps back or retreats, instead one employs body shifting and zoning. When defending attacks to the left side of your body, it is better to have your right side forward, and vice verse. You can defend against an attack to your right with your right side forward if the timing does not allow replacement stepping; however, it is stronger and much safer to zone. This type of footwork is called replacement stepping because you are replacing the front foot with the rear foot. Although this is also triangle stepping, the distinction is made in order to emphasize its importance.

The Concept of Distance
Distance can be defined as any distance from which your opponent can strike you with an edged, impact, or anatomical weapon. There are three main distances. Offensive as well as defensive strategies must be understood, developed, and mastered in each of the three ranges. The concept of distancing must be understood because there is no set numerical distance between each range, it is determined by the height of the opponent and the length of the weapons.

Largo mano - meaning Long hand, represents the farthest distance at which you can strike or be struck by your opponent. It is a range at which your opponent cannot strike you with his weapon, but you can strike your opponent's hand with yours.

Medio - meaning "medium," is the distance that you and your opponent are given the opportunity to strike one another in the head. Because of this danger, the alive hand is introduced. In other words, you can monitor your opponent's weapon hand with your free hand.

Corto - meaning close or short, is the closest range that is encountered while standing. In this range, you are a bit too close to execute many of the actual striking techniques, with the exception of the puno. Consequently, this is typically when disarms occur and unarmed combat ensues.

The Alive Hand
Guro Dan Inosanto once said, "If a good Escrimador were asked to point out the singlemost important aspect that makes his fighting work, chances are he would refer to the use of the alive hand."

Most often, the alive hand is the one that holds the opponent's weapon hand or arm in place after the defensive motion has stopped or diverted the blow and is, therefore, a close-quarter tool. It is the transition between the fighter's defensive motion and his counterstrike. Without the alive hand holding the opponent's hand in place, his weapon might easily return again before the fighter has time to make his counterstrike. During the Spanish reign in the Philippines, and in combat situations where the ancient Filipinos fought against the Spanish in swordplay, the alive hand played an important part in confusing the Spanish swordplay. This was especially true in the southern Philippines where they were unconquered for 366 years.

When the alive hand is not being used, it is generally kept near the center of your chest.