Tai Chi Testing Charts

White Birch Traditional Martial Arts
Yang Style Tai Chi

Chuan
Rank Requirements
Larry Vincent
12/6/2012
Copyright 2012, Tien Shan Martial Arts
Page 2
TAI CHI CHUAN REQUIREMENTS

Tai Chi Beginner Requirements
Basics
Techniques
Level 1
See below
Chin Na 1-6
Applications 1-4
Yang Long Form
Section 1
Form
Push Hands
Mental
Development
None required
History /
Philosophy
Fundamentals:
1-2
2-page paper on
YANG'S TEN
IMPORTANT
POINTS
Level 2
See below
Chin Na 1-12
Applications 1-8
Yang Long
Form Section 1
(Breathing)
Yang Long
Form Section 2
None required
History /
Philosophy
Fundamentals:
1-4
2-page paper on
THE
TREATISE ON
T'AI CHI
CH'UAN
Level 3
See below
Chin Na 1-18
Applications 112
Yang Long
Form Section 2
(Breathing)
Yang Long
Form Section 3
None required
History /
Philosophy
Fundamentals:
1-6
2-Page paper on
SONG OF THE
THIRTEEN
POSTURES
Beginner Basics:
Level 1:
Blocks:
Inner Circular
Slap Block
Coiling Block
Stances:
Horse Stance
Bow Stance
Empty Stance
Strikes:
Heel Palm Strike
Swordhand Strike
Crane Hand
Kicks:
Lotus
Page 3
Movement: Smooth, comfortable, confident movement in:

Tai Chi Walking
Brush Knee and Push Floor Exercise
Level 2:
Blocks:
Hook Block
X-Block
Rising Block
Stances:
Back Stance
Strikes:
Rising Heel Palm
Kicks:
Crescent
Backwards Tai Chi Walk
Monkey Creeps Back Floor Exercise
Diagonal Flying
Level 3:
Blocks:
Double Outward
Double Outward Coiling
Stances:
Twist Stance
Strikes:
Backfist
Long-range Hook
Kicks:
Heel Kick
Toe Kick
Side Kick
Wave Hands Like Clouds Floor Exercise
Separate Foot Floor Exercise
Page 4
Beginner Techniques:
Chin Na:
1. Straight Wrist Grab, Armlock
2. Straight Wrist Grab, Hammerlock
3. Diagonal Wrist Grab, Wrist Lock
4. Diagonal Wrist Grab, Step Under
5. Double Wrist Grab, Front
6. Double Wrist Grab, Rear
7. Raised Hand Grab
8. Inverted Wrist Grab
9. Shoulder Grab, Side
10. Shoulder Grab, Front
11. Double Front Shoulder Grab
12. Double Rear Shoulder Grab,

Bridge
13. Double Rear Shoulder Grab,
Armbar
14. Anticipate the Choke
15. Two Hand Front Choke, Attack
One
16. Two Hand Front Choke, Attack
Both
17. Two Hand Rear Choke
18. Push
Applications:
1. Yield and Strike
2. Parting Wild Horses Mane
3. Lu (Roll Back)
4. An (Push)
5. Ji (Press)
6. Grasping Swallows Tail
7. Single Whip
8. Lift Arm
9. White Crane Spreads its Wings
10. Brush Knee and Push
11. Pi Pa (Playing the Lute)
12. Block, Intercept, and Punch
Beginner Mental Development:

History / Philosophy:
The name of our style
My Instructors Name
His Instructors Name
5 categories that make up a system
Chin Na
Wu Chi
Kung Bu
Tai Chi Chuan
Yin
Yang
Yang
Robert LaPointe
Liu Chao Chi
Basics, Techniques, Form, Sparring,
History and Philosophy
Grab Take
Nothingness
Bow Stance
Supreme Ultimate Fist
Soft, Passive, Retreating Energy
Hard, Aggressive, Active Energy
Fundamentals:
1. Level Height
2. Six Gates Open
3. Continuity
4. Ground Up
5. Back Straight
6. Circularity
Page 5
10 Long-Life Exercises
Exercise One Part One (y ji)
Exercise One Part Two (y y)
Two (r)
Three (sn)
Four (s)
Five Part One (w ji)
Five Part Two (w y)

Five Part Three (w bng)
Arms start at your sides, raise them to the sides until

they are overhead. Interlace your fingers, palms
facing the ceiling and lower them along your body
until your palms point to the floor. Keep your arms
straight, raise them to the front and overhead towards
the ceiling again. Separate your hands and lower your
hands to the sides towards the ground.
Interlace your fingers and point your hands towards
the ceiling. Keeping your arms straight, move in a
clockwise circle, stretching as high as you can and
bending at your waist to get as low as you can, make 5
complete circles. Reverse directions for 5 more
circles.
Right arm circles clockwise in front of the body until
it points to the right. Then the left arm circles
clockwise in front of the body behind it. Both arms
cross in front of you. Set your right foot out to the
side, heel down, toes up. Bend your right arm and
bend at the waist to try to touch your toes with your
elbow. Your left arm is straight and stretches behind
you and up to the ceiling with a cranes beak. Hold
the stretch for 5 or 6 seconds. Reverse direction for
the other side.
Hands on your knees, bend your left knee and go as
low as you can with that base leg, keeping your heel
on the floor. Point your right toes to the ceiling. Hold
the stretch for 5 or 6 seconds. Move to the other leg to
stretch the other side.
Turn to the left so that your right leg is behind you.
Bend your knees, almost touching your right knee to
the floor, and rise again. Do this 10 times. Turn and
repeat on the other side.
Legs are wide apart. Slide your right arm down your
right leg until it touches the floor, bending at the waist.
Make an arc with your right hand, skimming the floor
until you get to your left foot. Return with an arc back
to your right foot, rise up bringing your hand up your
leg. Switch to the other side repeatedly.
Legs are wide apart, hands are on your hips. Bend
backwards as far as you can and hold for 5 or 6
seconds. Bend forwards and hold for 5 or 6 seconds.
Legs are wide apart. Your right hand grabs your left
ankle, pulling your chest to your knee. Hold for 5 or 6
seconds, then switch sides.
Page 6
Six (li)
Seven Part One (q ji)
Seven Part Two (q y)
Eight (b)
Nine (ji)
Ten (sh)
Feet are together, hands gently on your knees. Make a

clockwise circle 5 times with your knees, then
counter-clockwise 5 times. Put the ball of your foot
on the floor and circle your ankle 5 times each
direction.
Right leg is back, right hand points to the front, arm
straight, hand in a fist. Circle your arm forward 10
times and then backwards 10 times. Switch feet and
arms and repeat.
Feet are shoulder width apart. Circle both arms
forward 3 times, then bend forward and extend your
arms behind you towards the ceiling, both hands in a
cranes beak. Hold for 5 or 6 seconds. Circle both
arms backwards 3 times and bend backwards with
your arms overhead, with fists.
Both arms are extended to the left side, standing in a
left-bow stance. Circle both arms down in a big circle
until theyre back where they started. Bring your left
fist to your hip. Arc your right swordhand across in
front of you as you turn to face the other direction in a
block, then put your right fist on your hip. Strike
towards the right with your left swordhand, then your
right swordhand, ending with both arms extended.
Switch directions to move to the other side.
Feet are shoulder width apart, hands are on your hips.
Bend backwards and hold for 5 or 6 seconds. Circle
both arms overhead, crossing your arms in front of
your body. Bend forward with crossed arms and push
your elbows towards the floor.
Sit down in an invisible chair, the tops of your thighs
are parallel with the floor, hands are on the opposite
knees. Bow your head forward and circle it towards
your left shoulder, then back, right shoulder, front and
finally left shoulder again. Look back over your
shoulder to stretch. Change directions.
Page 7
YANG'S TEN IMPORTANT POINTS

(a) by Yang Cheng-fu (1883 - 1936)
as researched by Lee N. Scheele
1.) Head upright to let the shen [spirit of vitality] rise to the top of the head. Don't
use li [external strength], or the neck will be stiff and the ch'i [vital life energy] and blood
cannot flow through. It is necessary to have a natural and lively feeling. If the spirit
cannot reach the headtop, it cannot raise.
2.) Sink the chest and pluck up the back. The chest is depressed naturally inward so
that the ch'i can sink to the tan-t'ien [field of elixir]. Don't expand the chest: the ch'i gets
stuck there and the body becomes top-heavy. The heel will be too light and can be
uprooted. Pluck up the back and the ch'i sticks to the back; depress the chest and you can
pluck up the back. Then you can discharge force through the spine. You will be a peerless
boxer.
3.) Sung [Relax] the waist. The waist is the commander of the whole body. If you can
sung the waist, then the two legs will have power and the lower part will be firm and
stable. Substantial and insubstantial change, and this is based on the turning of the waist.
It is said "the source of the postures lies in the waist. If you cannot get power, seek the
defect in the legs and waist."
4.) Differentiate between insubstantial and substantial. This is the first principle in
T'ai Chi Ch'uan. If the weight of the whole body is resting on the right leg, then the right
leg is substantial and the left leg is insubstantial, and vice versa. When you can separate
substantial and insubstantial, you can turn lightly without using strength. If you cannot
separate, the step is heavy and slow. The stance is not firm and can be easily thrown of
balance.
5.) Sink the shoulders and drop the elbows. The shoulders will be completely relaxed
and open. If you cannot relax and sink, the two shoulders will be raised up and tense. The
ch'i will follow them up and the whole body cannot get power. "Sink the elbows" means
the elbows go down and relax. If the elbows raise, the shoulders are not able to sink and
you cannot discharge people far. The discharge will then be close to the broken force of
the external schools.
6.) Use the mind instead of force. The T'ai Chi Ch'uan Classics say, "all of this means
use I [mind-intent] and not li." In practicing T'ai Chi Ch'uan the whole body relaxes.
Don't let one ounce of force remain in the blood vessels, bones, and ligaments to tie
yourself up. Then you can be agile and able to change. You will be able to turn freely and
easily. Doubting this, how can you increase your power?
The body has meridians like the ground has ditches and trenches. If not obstructed the
water can flow. If the meridian is not closed, the ch'i goes through. If the whole body has
hard force and it fills up the meridians, the ch'i and the blood stop and the turning is not
Page 8
smooth and agile. Just pull one hair and the whole body is off-balance. If you use I, and
not li, then the I goes to a place in the body and the ch'i follows it. The ch'i and the blood
circulate. If you do this every day and never stop, after a long time you will have nei chin
[real internal strength]. The T'ai Chi Ch'uan Classics say, "when you are extremely soft,
you become extremely hard and strong." Someone who has extremely good T'ai Chi
Ch'uan kung fu has arms like iron wrapped with cotton and the weight is very heavy. As
for the external schools, when they use li, they reveal li. When they don't use li, they are
too light and floating. There chin is external and locked together. The li of the external
schools is easily led and moved, and not too be esteemed.
7.) Coordinate the upper and lower parts of the body. The T'ai Chi Ch'uan Classics
say "the motion should be rooted in the feet, released through the legs, controlled by the
waist and manifested through the fingers." Everything acts simultaneously. When the
hand, waist and foot move together, the eyes follow. If one part doesn't follow, the whole
body is disordered.
8.) Harmonize the internal and external. In the practice of T'ai Chi Ch'uan the main
thing is the spirit. Therefore it is said "the spirit is the commander and the body is
subordinate." If you can raise the spirit, then the movements will naturally be agile. The
postures are not beyond insubstantial and substantial, opening and closing. That which is
called open means not only the hands and feet are open, but the mind is also open. That
which is called closed means not only the hands and feet are closed, but the mind is also
closed. When you can make the inside and outside become one, then it becomes
complete.
9.) Move with continuity. As to the external schools, their chin is the Latter Heaven
brute chin. Therefore it is finite. There are connections and breaks. During the breaks the
old force is exhausted and the new force has not yet been born. At these moments it is
very easy for others to take advantage. T'ai Chi Ch'uan uses I and not li. From beginning
to end it is continuous and not broken. It is circular and again resumes. It revolves and
has no limits. The original Classics say it is "like a great river rolling on unceasingly."
and that the circulation of the chin is "drawing silk from a cocoon " They all talk about
being connected together.
10.) Move with tranquility [Seek stillness in movement]. The external schools assume
jumping about is good and they use all their energy. That is why after practice everyone
pants. T'ai Chi Ch'uan uses stillness to control movement. Although one moves, there is
also stillness. Therefore in practicing the form, slower is better. If it is slow, the
inhalation and exhalation are long and deep and the ch'i sinks to the tan-t'ien. Naturally
there is no injurious practice such as engorgement of the blood vessels. The learner
should be careful to comprehend it. Then you will get the real meaning.
Page 9
THE TREATISE ON T'AI CHI CH'UAN

(b) Attributed to Wang Tsung-yueh [Wang Zongyue] (18th Century)
T'ai Chi [Supreme Ultimate] comes from Wu Chi [Formless Void]
and is the mother of yin and yang.
In motion T'ai Chi separates;
in stillness yin and yang fuse and return to Wu Chi.
It is not excessive or deficient;
it follows a bending, adheres to an extension.
When the opponent is hard and I am soft,
it is called tsou [yielding].
When I follow the opponent and he becomes backed up,
it is called nian [sticking].
If the opponent's movement is quick,
then quickly respond;
if his movement is slow,
then follow slowly.
Although there are innumerable variations,
the principles that pervades them remain the same.
From familiarity with the correct touch,
one gradually comprehends chin [intrinsic strength];
from the comprehension of chin one can reach wisdom.
Without long practice
one cannot suddenly understand T'ai Chi.
Effortlessly the chin reaches the headtop.
Let the ch'i [vital life energy] sink to the tan-t'ien [field of elixir].
Don't lean in any direction;
suddenly appear,
suddenly disappear.
Empty the left wherever a pressure appears,
and similarly the right.
Page 10
If the opponent raises up, I seem taller;

if he sinks down, then I seem lower;
advancing, he finds the distance seems incredibly long;
retreating, the distance seems exasperatingly short.
A feather cannot be placed,
and a fly cannot alight
on any part of the body.
The opponent does not know me;
I alone know him.
To become a peerless boxer results from this.
There are many boxing arts.
Although they use different forms,
for the most part they don't go beyond
the strong dominating the weak,
and the slow resigning to the swift.
The strong defeating the weak
and the slow hands ceding to the swift hands
are all the results of natural abilities
and not of well-trained techniques.
From the sentence "A force of four ounces deflects a thousand pounds"
we know that the technique is not accomplished with strength.
The spectacle of an old person defeating a group of young people,
how can it be due to swiftness?
Stand like a perfectly balanced scale and
move like a turning wheel.
Sinking to one side allows movement to flow;
being double-weighted is sluggish.
Anyone who has spent years of practice and still cannot neutralize,
and is always controlled by his opponent,
has not apprehended the fault of double-weightedness.
To avoid this fault one must distinguish yin from yang.
To adhere means to yield.
To yield means to adhere.
Page 11
Within yin there is yang.

Within yang there is yin.
Yin and yang mutually aid and change each other.
Understanding this you can say you understand chin.
After you understand chin,
the more you practice,
the more skill.
Silently treasure knowledge and turn it over in the mind.
Gradually you can do as you like.
Fundamentally, it is giving up yourself to follow others.
Most people mistakenly give up the near to seek the far.
It is said, "Missing it by a little will lead many miles astray."
The practitioner must carefully study.
This is the Treatise
Page 12
SONG OF THE THIRTEEN POSTURES

(c) by Unknown Author
The Thirteen Postures should not be taken lightly;
the source of the postures is in the waist.
Be mindful of the interchange between insubstantial and substantial;
The ch'i circulates throughout the body without hindrance.
Be still,
when attacked by the opponent,
be tranquil and move in stillness;
changes caused by my opponent fill him with wonder.
Study the function of each posture carefully and with deliberation;
to achieve the goal is very easy.
Pay attention to the waist at all times;
completely relax the abdomen
and the ch'i rises up.
When the tailbone is centered and straight,
the shen [spirit of vitality] goes through to the headtop.
To make the whole body light and agile
suspend the headtop.
Carefully study.
Extension and contraction, opening and closing, should be natural.
To enter the door and be shown the way,
you must be orally taught.
Practice should be uninterrupted,
and technique achieved by self study.
Speaking of the body and its function, what is the standard?
The I [mind-intent] and ch'i are king,
and the bones and muscles are the court.
Think over carefully what the final purpose is:
to lengthen life and maintain youth.
Page 13
The Song consists of 140 characters;

each character is true and the meaning is complete.
If you do not study in this manner,
then you will waste your time and sigh with regret.
Page 14
Tai Chi Intermediate Requirements

Basics
Techniques
Level 4
See below
Chin Na 1-24
Applications 116
Form
Push Hands
Mental
Development
Yang Long
Form Section 3
(Breathing)
Yang Long
Form Section 4
1-5
Fundamentals:
1-8
2-page paper on
SONGS OF
THE EIGHT
POSTURES
Level 5
See below
Chin Na 1-32
Applications 120
Combined
Applications 1-3
Yang Long
Form Sections 4
(Breathing)
Yang Long
Form Sections
5&6
None required
Fundamentals:
1-10
2-page paper on
ESSENTIALS
OF THE
PRACTICE OF
THE FORM
AND PUSHHANDS
Level 6
See below
Chin Na 1-44
Applications 123
Creative
Combined
Applications
Yang Long
Form Sections
5&6 (Breathing)
Any Weapon
Form (see
below)
None required
Fundamentals:
1-12
Anatomy: Bones
2-page paper on
SONG OF
PUSH HANDS
Intermediate Basics:
Level 4:
Stances:
Strikes:
Kicks:
Parting Wild Horses Mane
Fair Lady Works at Shuttles
Level 5:
Stances:
Strikes:
Kicks:
Lotus Kick to Rear
Snake Creeps Down
Level 6:
Page 15
Stances:
Strikes:
Kicks:
Intermediate Technique:
Chin Na
19. One Arm Rear Choke, Step Around
20. One Arm Rear Choke, Throw
21. One Arm Rear Choke, Gwa Tai
22. Hammerlock
23. Haymaker Punch
24. Jab
25. Front Kick
26. Roundhouse Kick
27. Crescent Kick
28. Hair Grab, Front
29. Hair Grab, Rear
30. Tackle
31. Headlock
Applications:
13. Embrace Tiger
14. Fist Under Elbow
15. Monkey Creeps Back
16. Snatching a Needle
17. Wave Hands Like Clouds
18. Separate Foot
32. Full Nelson

33. Chicken Wing
34. Bear Hug, Free In Front
35. Bear Hug, Pinned In Front
36. Bear Hug, Free In Rear
37. Bear Hug, Pinned In Rear
38. Club Overhead
39. Club Diagonal
40. Knife, Stabbing Inward
41. Knife, Stabbing Downward
42. Knife, Slicing
43. Gun, Front High
44. Gun, Front Low
19. Fair Lady Works at Shuttles

20. Snake Creeps Down
21. Open Hands Like Fan
22. Taming the Tiger
23. White Snake Sticks Out Tongue
Combined Applications
#1 Lu, Brush Knee and Push, Cloud Hands
#2 White Crane Spreads its Wings, Single Whip, An
#3 Snatching a Needle, Ji, Separate Foot
Creative Combined Applications
5 Application Combinations, each has a minimum of 3 Tai Chi
applications within it. One must be defending against a punch, one a kick,
and one a grab.
Intermediate Form Training:
Intermediate Form List
Weapon Forms
Straight Sword
Broadsword
Fan
Staff
Page 16
Intermediate Push Hands Training:

Single-Hand Drills:
#1 Circular
#2 Deflect Spear
#3 Arm Lock on Hip
#4 Wrist Grab
#5 Plucking
Intermediate Mental Development:
History / Philosophy
Chao Chi Lius Instructor
Basics teach?
Techniques teach?
Forms teach?
Push Hands teaches?
History / Philosophy teaches?
Cat Stance
Chi
Chuan Fa
Chen Ta
5 Major families of Tai Chi
Fundamentals:
7. Toe/Heel Alignment
8. Hip/Shoulder Synchronicity
9. Hands and Feet Coordinate
Anatomy: Bones
1. Humerous
2. Radius
3. Ulna
4. Carpals
5. Metacarpals
6. Phalanges (Fingers)
7. Femur
8. Patella
9. Tibia
10. Fibula
Wang Chueh-Jen
Power
Teach us to be resourceful
Demonstration skills, concentration
Spontaneity, Energy flow
Attitude, spirit, concentration, background
Xi Bu (Shee Boo)
Breath energy or spiritual energy
Fist methods (techniques)
Forms
Yang, Chen, Wu, Sun, Chang
10. Separate Weight

11. Intention
12. Attitude
11. Tarsals
12. Metatarsals
13. Phalanges (Toes)
14. Mandible
15. Maxilla
16. Zygomatic
17. Temporal
18. Parietal
19. Frontal
20. Nasal
21. Occipital
22. Vertebrae
23. Cervical
24. Thoracic
25. Lumbar
26. Ilium
27. Sacrum
28. Coccyx
29. Clavicle
30. Scapula
31. Sternum
32. Ribs
Page 17
Page 18
SONGS OF THE EIGHT POSTURES

(d) Attributed to T'an Meng-hsien
The Song of Peng
What is the meaning of Peng energy?
It is like the water supporting a moving boat.
First sink the ch'i to the tan-t'ien,
then hold the head as if suspended from above.
The entire body is filled with springlike energy,
opening and closing in a very quick moment.
Even if the opponent uses a thousand pounds of force,
he can be uprooted and made to float without difficulty.
The Song of Lu
What is the meaning of Lu energy?
Entice the opponent toward you by allowing him to advance,
lightly and nimbly follow his incoming force
without disconnecting and without resisting.
When his force reaches its farthest extent,
it will naturally become empty.
The opponent can then be let go or countered at will.
Maintain your central equilibrium
and your opponent cannot gain an advantage.
The Song of Chi
What is the meaning of Chi energy?
There are two aspects to its functional use:
The direct way is to go to meet the opponent
and attach gently in one movement.
The indirect way is to use the reaction force
like the rebound of a ball bouncing off a wall, or
a coin thrown on a drumhead,
bouncing off with a ringing sound.
The Song of An
What is the meaning of An energy?
When applied it is like flowing water.
The substantial is concealed in the insubstantial.
When the flow is swift it is difficult to resist.
Page 19
Coming to a high place, it swells and fills the place up;

meeting a hollow it dives downward.
The waves rise and fall,
finding a hole they will surely surge in.
The Song of Ts'ai
What is the meaning of Ts'ai energy?
It is like the weight attached to the beam of a balance scale.
Give free play to the opponent's force
no matter how heavy or light,
you will know how heavy or light it is after weighing it.
To push or pull requires only four ounces,
one thousand pounds can also be balanced.
If you ask what the principle is,
the answer is the function of the lever.
The Song of Lieh
What is the meaning of Lieh energy?
It revolves like a spinning disc.
If something is thrown onto it,
it will immediately be cast more than ten feet away.
Have you not seen a whirlpool form in a swift flowing stream?
The waves roll in spiraling currents.
If a falling leaf drops into it,
it will suddenly sink from sight.
The Song of Chou
What is the meaning of Chou energy?
Its method relates to the Five Elements.
Yin and Yang are divided above and below.
Emptiness and substantiality must be clearly distinguished.
Joined in unbroken continuity,
the opponent cannot resist the posture.
Its explosive pounding is especially fearsome.
When one has mastered the six kinds of energy,
the applications become unlimited.
The Song of K'ao
What is the meaning of K'ao energy?
Its method is divided into the shoulder and back technique.
In Diagonal Flying Posture use shoulder,
but within the shoulder technique
Page 20
there is also some use of the back.

Once you have the opportunity and can take advantage of the posture,
the technique explodes like pounding a pestle.
Carefully maintain your own center of gravity.
Those who lose it will have no achievement.
Page 21
ESSENTIALS OF THE PRACTICE OF THE FORM AND PUSHHANDS

(e) by Li I-yu
Formerly people said: being able to attract to emptiness, you can use four ounces to
deflect a thousand pounds, Not being able to attract to emptiness, you cannot deflect a
thousand pounds. The words are simple, but the meaning is complete. The beginner
cannot understand it. Here I add some words to explain it. If someone is ambitious to
learn this art, he can find some way to enter it and every day he will have some
improvement.
Desiring to attract to emptiness and deflect a thousand pounds, first you must know
yourself and others. If you want to know yourself and others, you must give up yourself
and follow others. If you give up yourself and follow others, first you must have the
correct timing and position. To obtain the correct timing and position, you must first
make your body one unit. Desiring to make the body one unit, you must first eliminate
hollows and protuberances. To make the whole body without breaks or holes, you must
first have the shen [spirit of vitality] and ch'i [vital life energy] excited and expanded. If
you want the shen and ch'i activated and expanded, you must first raise the spirit (pay
attention) and the shen should not be unfocussed. To have your shen not unfocussed, you
must first have the shen and ch'i gather and penetrate the bones. Desiring the shen and
ch'i to penetrate the bones, first you must strengthen the two thighs and loosen the two
shoulders and let the ch'i sink down.
The chin [intrinsic strength] raises from the feet, changes in the legs, is stored in the
chest, moved in the shoulders and commanded in the waist. The upper part connects to
the two arms and the lower part follows the legs. It changes inside. To gather is to close
and to release is to open. If it is quiet, it is completely still. Still means to close. In closing
there is opening. If it is moving, everything moves. Moving is open. In opening there is
closing. When the body is touched it revolves freely. There is nowhere that does not
obtain power. Then you can attract to emptiness and use four ounces to deflect a thousand
pounds.
Practicing the Form every day is the kung fu of knowing yourself. When you start to
practice, first ask yourself, "Did my whole body follow the above principles or not?" If
one little place did not follow them, then correct it immediately. Therefore, in practicing
the Form we want slowness not speed.
Push hands is the kung fu of knowing others. As for movement and stillness, although it
is to know others, you must still ask yourself. If you arrange yourself well, when others
touch you, you don't move a hair. Follow the opportunity and meet his chin and let him
fall naturally outward. If you feel someplace in your body is powerless, it is doubleweighted and unchanging. You must seek the defect in yin and yang, opening and
Page 22
closing. Know yourself and know others: in one hundred battles you will win one
hundred times.
Page 23
SONG OF PUSH HANDS

(f) by Unknown Author
Be conscientious in Peng, Lu, Chi, and An.
Upper and lower coordinate,
and the opponent finds it difficult to penetrate.
Let the opponent attack with great force;
use four ounces to deflect a thousand pounds.
Attract to emptiness and discharge;
Chan, Lien, T'ieh, Sui,
attach without losing the attachment.
Page 24
Tai Chi Advanced Requirements

Level 7
See below
Chin Na Lock Flow
1-3
Level 8
See below
Creative Chin Na
Lock Flow
Level 9
See below
Chin Na 15-Count
Lock Flow
Corey Wiscomb
Chin Na Lock
Flows #1, #2
Any Empty Hand
Form
6-10
2-page paper on
T'AI CHI
CH'UAN
CHING
Corey Wiscomb
Chin Na Lock
Flows #3-7
Any Weapon Form
Any Form
Basics
Techniques
Form
Push Hands
Mental
Development
Fixed Stance
Anatomy:
Muscles
2-page paper on
EXPOSITIONS
OF INSIGHTS
INTO THE
PRACTICE OF
THE
THIRTEEN
POSTURES
Free Flow
15-page paper on a
topic of your choice
Advanced Basics:
Level 7:
Stances:
Strikes:
Kicks:
Movement: Smooth, comfortable, confident movement in combined
applications.
Level 8:
Stances:
Strikes:
Kicks:
applications.
Level 9:
Stances:
Strikes:
Kicks:
Page 25

applications.
Page 26
Advanced Technique Training:

Chin Na Lock Flow:
Chin Na Lock Flow #1
o Inverted Wrist Grab Wrist Lock
o Arm Lock
o Metacarpal Throw
o Straight-across Wrist Grab Metacarpal Lock
o Straight-arm wrist lock
o Chicken Wing
o Side shoulder grab Shoulder Lock
o Straight Arm Lock
o Figure Four Lock
Corey Wiscomb Lock Flow #1
Chin Na 15-Count Lock Flow
Creative Chin Na Lock Flow
The student creates 3 Chin Na Lock Flow, each containing a minimum of
3 Chin Na or throws. They can be against a punch, kick, grab, or weapon.
Each individual Chin Na should be effective on its own, in pain
compliance or restraint. Setup strikes can be used but do not count
towards the requirement.
Advanced Form Training:
Advanced Form List
Empty Hand Forms
24-Step and Chi Kung Wu Xi Wa
48 Step
Two Person Fighting Set
Liu He Ba Fa
Ba Gua Zhang Old Form 8 Palm
Changes
Ba Gua Zhang Swimming Dragon 8
Palm Changes
Weapon Forms
Straight Sword
Broadsword
Fan
Staff
Spear
Short Staff
Page 27
Advanced Push Hands Training:

Two-Hand Drills:
#6 Circular
#7 Wrist Lock
#8 Elbow Lock
#9 Lu / Ji
#10 An / Ji
Freestyle Fixed Stance - In this push-hands exercise, the students must stay in
their stance and attempt to dislodge the other from their stance, using good Tai
Chi applications.
Free Style Free Flow In this push-hands exercise, the students can move freely
about and attempt to force any part of their opponents body to touch outside
of a circle or the ground using good Tai Chi applications.
Advanced Mental Development:
Tai Chi Creator
Oldest Tai Chi Style
Yang Style Creator
Yang Style created around
Current Yang style was popularized
by
Creator of the Wu Style
Creator of the Sun Style
Creator of the Chang Style
Three Sisters
Muscles
1. Triceps Brachii
2. Biceps Brachii
3. Deltoideus
4. Brachialis
5. Brachioradialis
6. Sartorius
7. Rectus Femoris
8. Vastus Lateralis
9. Vastus Medialis
10. Vastus Intermedius
11. Gastrocnemius
12. Soleus
13. Tibialis Anterior
14. Iliopsoas
Chang San-feng (approx 1391-1459)

Chen
Yang Lu-chan (1799-1872)
Early 1800s
Yang Chen-fu (1883-1936), Yang Luchans grandson
Wu Chien-chuan (1870-1942)
Sun Lu Tang (1861-1932)
Chang Tung-sen (1908-1986)
Tai Chi Chuan, Xing Yi Chuan, Ba Gua
Chang
15. Semimembranosus
16. Semitendinosus
17. Biceps Femoris
18. Gluteus Maximus
19. Gluteus Medius
20. Latissimus Dorsi
21. External Oblique
22. Internal Oblique
23. Rectus Abdominis
24. Pectoralis Major
25. Trapezius
26. Rhomboids
27. Serratus Anterior
28. Sternocleidomastoideus
Page 28
Vocabulary
1. Flexion
2. Extension
3. Pronation
4. Supination
5. Adduction
6. Abduction
Page 29
Page 30
T'AI CHI CH'UAN CHING

(g) Attributed to Chang San-feng (est. 1279 -1386)
In motion the whole body should be light and agile,
with all parts of the body linked
as if threaded together.
The ch'i [vital life energy] should be excited,
The shen [spirit of vitality] should be internally gathered.
The postures should be without defect,
without hollows or projections from the proper alignment;
in motion the Form should not become disconnected.
The chin [intrinsic strength] should be
rooted in the feet,
generated from the legs,
controlled by the waist, and
manifested through the fingers.
If correct timing and position are not achieved,
the body will become disordered
and will not move as an integrated whole;
the correction for this defect
must be sought in the legs and waist.
The principle of adjusting the legs and waist
applies for moving in all directions;
upward or downward,
advancing or withdrawing,
left or right.
All movements are motivated by I [mind-intention],
not external form.
If there is up, there is down;
when advancing, have regard for withdrawing;
when striking left, pay attention to the right.
If the I wants to move upward,
it must simultaneously have intent downward.
Page 31
Alternating the force of pulling and pushing

severs an opponent's root
so that he can be defeated
quickly and certainly.
Insubstantial [empty; yin] and substantial [solid; yang]
should be clearly differentiated.
At any place where there is insubstantiality,
there must be substantiality;
Every place has both insubstantiality and substantiality.
The whole body should be threaded together
through every joint
without the slightest break.
Chang Ch'uan [Long Boxing] is like a great river
rolling on unceasingly.
Peng, Lu, Chi, An,
Ts'ai, Lieh, Chou, and K'ao
are equated to the Eight Trigrams.
The first four are the cardinal directions;
Ch'ien [South; Heaven],
K'un [North; Earth],
K'an [West; Water], and
Li [East; Fire].
The second four are the four corners:
Sun [Southwest; Wind],
Chen [Northeast; Thunder],
Tui [Southeast; Lake], and
Ken [Northwest; Mountain].
Advance (Chin), Withdraw (T'ui),
Look Left (Ku), Look Right (Pan), and
Central Equilibrium (Chung Ting)
are equated to the five elements:
Metal,
Wood,
Water,
Fire, and
Earth
All together these are termed the Thirteen Postures
A footnote appended to this Classic by Yang Lu-ch'an (1799-1872) reads: This treatise
was left by the patriarch Chan San-feng of Wu Tang Mountain, with a desire toward
helping able people everywhere achieve longevity, and not merely as a means to martial
skill.
Page 32
EXPOSITIONS OF INSIGHTS INTO THE PRACTICE OF THE

THIRTEEN POSTURES
(h) by Wu Yu-hsiang (Wu Yuxian) (1812 - 1880)
sometimes attributed to Wang Chung-yueh
The hsin [mind-and-heart] mobilizes the ch'i [vital life energy].
Make the ch'i sink calmly;
then the ch'i gathers and permeates the bones.
The ch'i mobilizes the body.
Make it move smoothly, so that it may easily follows the hsin.
The I [mind-intention] and ch'i must interchange agilely,
then there is an excellence of roundness and smoothness.
This is called "the interplay of insubstantial and substantial."
The hsin is the commander, the ch'i the flag, and the waist the banner.
The waist is like the axle and the ch'i is like the wheel.
The ch'i is always nurtured without harm.
Let the ch'i move as in a pearl with nine passages
without breaks
so that there is no part it cannot reach.
In moving the ch'i sticks to the back and permeates the spine.
It is said "first in the hsin, then in the body."
The abdomen relaxes, then the ch'i sinks into the bones.
The shen [spirit of vitality] is relaxed and the body calm.
The shen is always in the hsin.
Being able to breathe properly leads to agility.
The softest will then become the strongest.
Page 33
When the ching shen is raised,

there is no fault of stagnancy and heaviness.
This is called suspending the headtop.
Inwardly make the shen firm,
and outwardly exhibit calmness and peace.
Throughout the body, the I relies on the shen, not on the ch'i.
If it relied on the ch'i, it would become stagnant.
If there is ch'i, there is no li [external strength].
If there is no ch'i, there is pure steel.
The chin [intrinsic strength] is sung [relaxed], but not sung;
it is capable of great extension, but is not extended.
The chin is broken, but the I is not.
The chin is stored (having a surplus) by means of the curved.
The li* is released by the back,
and the steps follow the changes of the body.
The mobilization of the chin is like refining steel a hundred times over.
There is nothing hard it cannot destroy.
Store up the chin like drawing a bow.
Mobilize the chin like drawing silk from a cocoon.
Release the chin like releasing the arrow.
To fa-chin [discharge energy],
sink,
relax completely,
and aim in one direction!
In the curve seek the straight,
store,
then release.
Be still as a mountain,
move like a great river.
Page 34
The upright body must be stable and comfortable

to be able to sustain an attack from any of the eight directions.
Walk like a cat.
Remember, when moving, there is no place that does not move.
When still, there is no place that is not still.
First seek extension, then contraction;
then it can be fine and subtle.
It is said if the opponent does not move, then I do not move.
At the opponent's slightest move, I move first."
To withdraw is then to release,
to release it is necessary to withdraw.
In discontinuity there is still continuity.
In advancing and returning there must be folding.
Going forward and back there must be changes.
The form is like that of a falcon about to seize a rabbit,
and the shen is like that of a cat about to catch a rat.
* Scholars argue persuasively that the use of the word li here is a mistranscription and the
passage should read chin.
Page 35
Student Thesis
Minimum of 15 pages, typed, 12-point font, double-spaced
Research paper on any martial arts topic (cleared by the instructor)
Include references
Minimize graphs, charts, and pictures
Page 36
Tai Chi Chuan Advanced Levels 10+

At these levels, each student works with the Instructor to develop a specialization and a
road-map is constructed for training towards that specialization. For example, a student
may wish to study more self-defense using Tai Chi principles and methods. He and the
Instructor will develop the goals and milestones towards that goal.
Each goal should take between 6-12 months to complete and may result in the
development of a short course, the writing of a thesis, or teaching in order to
demonstrate the knowledge attained.
Topics include, but are not limited to:
Tai Chi Chuan History

Tai Chi Chuan Styles Analysis
Meditation
Buddhism
Taoism
Qi Meridians
Tai Chi Chuan Applications
Chin Na
Self Defense using Tai Chi Chuan
Health Benefits of Tai Chi Chuan
Push Hands (Sensing Hands)
During this time, the student will continue to learn the forms of his choice, weapon and
empty hand, and show constant improvement on all previous materials.
Page 37
Page 38
Fundamentals
1.
2.
3.
4.
5.
6.
Level Height
Six Gates Open
Continuity
Ground Up
Back Straight
Circularity
7. Toe/Heel Alignment
8. Hip/Shoulder Synchronicity
9. Hands and Feet Coordinate
10. Separate Weight
11. Intention
12. Attitude
Floor Exercises
Section 1
Tai Chi Walking, Forward
Brush Knee and Push
Brush Knee and Push / Pi Pa
Block, Intercept, and Punch
Ji
Section 3
Wave Hands Like Clouds
Separate Foot
Section 5
Snake Creeps Down
Section 2
Tai Chi Walking, Backwards
Monkey Creeps Back
Brush Knee and Push to the Rear
White Crane Spreads Its Wings
Lu
Section 4
Fair Lady Works at Shuttles
Page 39
Applications
Section 1
Yield and Strike
Lu (Roll Back)
An (Push)
Section 3
9. White Crane Spreads its Wings
10. Brush Knee and Push
11. Pi Pa (Playing the Lute)
12. Block, Intercept, and Punch
Section 5
17. Wave Hands Like Clouds
18. Separate Foot
19. Fair Lady Works at Shuttles
20. Snake Creeps Down
1.
2.
3.
4.
Section 2
Ji (Press)
Grasping Swallows Tail
Single Whip
Lift Arm
Section 4
13. Embrace Tiger
14. Fist Under Elbow
15. Monkey Creeps Back
16. Snatching a Needle
Section 6
21. Open Hands Like Fan
22. Taming the Tiger
23. White Snake Sticks Out Tongue
5.
6.
7.
8.
Page 40
The name of our style
My Instructors Name
His Instructors Name
5 categories that make up a system
Chin Na
Wu Chi
Kung Bu
Tai Chi Chuan
Yin
Yang
Chao Chi Lius Instructor

Basics teach?
Techniques teach?
Forms teach?
Push Hands teaches?
History / Philosophy teaches?
Cat Stance
Chi
Chuan Fa
Chen Ta
5 Major families of Tai Chi
Tai Chi Creator

Oldest Tai Chi Style
Yang Style Creator
Yang Style created around
Current Yang style was popularized
by
Creator of the Wu Style
Creator of the Sun Style
Creator of the Chang Style
Three Sisters
Yang
Robert LaPointe
Liu Chao Chi
Basics, Techniques, Form, Sparring,
History and Philosophy
Grab Take
Nothingness
Bow Stance
Supreme Ultimate Fist
Soft, Passive, Retreating Energy
Hard, Aggressive, Active Energy
Wang Chueh-Jen
Power
Teach us to be resourceful
Demonstration skills, concentration
Spontaneity, Energy flow
Attitude, spirit, concentration, background
Xi Bu (Shee Boo)
Breath energy or spiritual energy
Fist methods (techniques)
Forms
Yang, Chen, Wu, Sun, Chang
Chang San-feng (approx 1391-1459)

Chen
Yang Lu-chan (1799-1872)
Early 1800s
Yang Chen-fu (1883-1936), Yang Luchans grandson
Wu Chien-chuan (1870-1942)
Sun Lu Tang (1861-1932)
Chang Tung-sen (1908-1986)
Tai Chi Chuan, Xing Yi Chuan, Ba Gua
Chang
Page 41
Page 42

Tai Chi Testing Charts

Hochgeladen von

Dokumentinformationen

Copyright

Verfügbare Formate

Dieses Dokument teilen

Dokument teilen oder einbetten

Freigabeoptionen

Stufen Sie dieses Dokument als nützlich ein?

Sind diese Inhalte unangemessen?

Copyright:

Verfügbare Formate

Tai Chi Testing Charts

Hochgeladen von

Copyright:

Verfügbare Formate

White Birch Traditional Martial Arts

Yang Style Tai Chi

Copyright 2012, Tien Shan Martial Arts

TAI CHI CHUAN REQUIREMENTS

Movement: Smooth, comfortable, confident movement in:

Copyright 2012, Tien Shan Martial Arts

12. Double Rear Shoulder Grab,

Beginner Mental Development:

Copyright 2012, Tien Shan Martial Arts

Exercise One Part Two (y y)

Five Part One (w ji)

Five Part Two (w y)

Arms start at your sides, raise them to the sides until

Copyright 2012, Tien Shan Martial Arts

Seven Part One (q ji)

Seven Part Two (q y)

Feet are together, hands gently on your knees. Make a

Copyright 2012, Tien Shan Martial Arts

YANG'S TEN IMPORTANT POINTS

Copyright 2012, Tien Shan Martial Arts

Copyright 2012, Tien Shan Martial Arts

THE TREATISE ON T'AI CHI CH'UAN

Copyright 2012, Tien Shan Martial Arts

If the opponent raises up, I seem taller;

Copyright 2012, Tien Shan Martial Arts

Within yin there is yang.

Copyright 2012, Tien Shan Martial Arts

SONG OF THE THIRTEEN POSTURES

Copyright 2012, Tien Shan Martial Arts

The Song consists of 140 characters;

Copyright 2012, Tien Shan Martial Arts

Tai Chi Intermediate Requirements

Copyright 2012, Tien Shan Martial Arts

32. Full Nelson

19. Fair Lady Works at Shuttles

Copyright 2012, Tien Shan Martial Arts

Intermediate Push Hands Training:

10. Separate Weight

Copyright 2012, Tien Shan Martial Arts

Copyright 2012, Tien Shan Martial Arts

SONGS OF THE EIGHT POSTURES

Copyright 2012, Tien Shan Martial Arts

Coming to a high place, it swells and fills the place up;

Copyright 2012, Tien Shan Martial Arts

there is also some use of the back.

Copyright 2012, Tien Shan Martial Arts

ESSENTIALS OF THE PRACTICE OF THE FORM AND PUSHHANDS

Copyright 2012, Tien Shan Martial Arts

Copyright 2012, Tien Shan Martial Arts

SONG OF PUSH HANDS

Copyright 2012, Tien Shan Martial Arts

Tai Chi Advanced Requirements

Copyright 2012, Tien Shan Martial Arts

Movement: Smooth, comfortable, confident movement in combined

Copyright 2012, Tien Shan Martial Arts

Advanced Technique Training:

Copyright 2012, Tien Shan Martial Arts

Advanced Push Hands Training:

Copyright 2012, Tien Shan Martial Arts

Chang San-feng (approx 1391-1459)

Copyright 2012, Tien Shan Martial Arts

Copyright 2012, Tien Shan Martial Arts

T'AI CHI CH'UAN CHING

Copyright 2012, Tien Shan Martial Arts