TACFIT® Tactical Fitness Systems The TACFIT26 Exercise Manual Scott Sonnon, Chief Operations Officer Copyright 2013 by RMAX International All rights reserved. No part of this book may be used or reproduced in any manner whatsoever without written permission except in the case of brief quotations embodied in critical articles and reviews. For information address: RMAX International P.O. Box 501388 Atlanta, GA 31150 Website: WWW.RMAXINTERNATIONAL.COM Email comments and questions to:
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TACFIT® is a registered trademark of Sconik International LLC. DISCLAIMER: The information in this book is presented in good faith, but no warranty is given, nor results guaranteed. Since we have no control over physical conditions surrounding the application of information in this book the author and publisher disclaim any liability for untoward results including (but not limited) any injuries or damages arising out of any person's attempt to rely upon any information herein contained. The exercises described in this book are for information purposes, and may be too strenuous or even dangerous for some people. The reader should consult a physician before starting TACFIT® or any other exercise programs. LEGAL STATEMENT: When purchasing equipment, or any other products from RMAX International, the purchaser understands the risks associated with using this kind of equipment and/or other products, and the purchaser understands and assumes any and all the risks associated with following instructions from other products, and agrees not to hold RMAX International, as well as any officers, members, employees, assistants, volunteers, assignees, or agents of any type whatsoever, acting on or in behalf of the aforementioned entities and persons, responsible for injuries, maintenance, and/or supervision.
ATTENTION: Nothing within this information intends to constitute an explanation of the use of any product, or the carrying out of any procedure, or the process introduced by, or within any material. This site, and its officers and employees accept no responsibility for any injuries, or damages arising out of any person's attempt to rely upon any information contained herein. Consult your doctor before using this, or any other exercise device. Do not use if you have an injury, or are experiencing pain or inflammation in parts of your body without first consulting your doctor. Use this product at your own risk. Failure to follow instructions, and/or using this product in any way other than its intended use could result in injury. IMPORTANT: Please be sure to thoroughly read the instructions in this book, paying particular attention to all cautions and warnings shown for TACFIT to ensure their proper and safe use.
CLUBBELL SECTION
4
Ape
48
Clubbell Two Handed Swipe
5
Quad Press Basic
49
Clubbell Gama Cast
6
Gecko
50
Clubbell Shoulder Park Squat
7
Base Switch Continuous
51
Clubbell Clockwork Squat
8
Base Switch Alternating
52
Clubbell Two Handed Head Cast
9
Spinal Rock Basic
53
10
Spinal Rock Pike
54
Ring/Strap Double Row
11
Spinal Rock Straddle
55
Ring/Strap Single Row
12
Spinal Rock Knee Drop
56
Ring/Strap Lawnmower
13
Mountain Climber
57
Ring/Strap Extension
14
Burpee
58
Ring/Strap Knee Press
15
Tadpole Sprawl
59
Ring/Strap Swoop
16
Quad Hop Sprawl
60
Ring/Strap Rocca Press
17
Quad Press Forward Ellipse
61
Ring/Strap Roll Out
18
Quad Press Hopping
62
Ring/Strap Knee to Chest
19
Quad Press Clapping
63
Ring/Strap Feet to Bar
20
One Leg Squat High Box
64
Ring/Strap Cradle
21
One Leg Squat Medium Box
65
Ring/Strap Skinner
22
One Leg Squat Low Box
66
23
One Leg Squat Spinal Rock
67
Box Step-up
24
Parallel Squat
68
Box Hop-up
25
Ball Squat
69
Box Hop-up Ball Squat
26
Ball of Foot Squat
70
Box Hop-over Parallel Squat
27
Jump Squat
71
28
Front Lunge
72
Parallette/Box Knee Press
29
Rear Lunge
73
Parallette/Box Forward Ellipse
30
Jump Switch
74
Parallette/Box Backward Ellipse
31
Airborne Lunge
75
Parallette/Box Swing Plank
32
Parallette/Box Rocca Press
33
Jump-up Pullup
77
Parallette/Box Planche Press
34
Commando Pullup
78
Parallette/Box Shoulder Press
35
Chinup
79
36
Pullup
80
RING/STRAP SECTION
BOX SECTION
PARALLETTE/BOX SECTION
KETTLEBELL SECTION
BAR SECTION
Kettlebell Two Handed Deadlift
37
Kettlebell Goblet Clean
38
Medicine Ball Neck Squat
82
Kettlebell Goblet Squat
39
Medicine Ball Shotput
83
Kettlebell Goblet Throw
40
Medicine Ball Floor Slam
84
Kettlebell Figure Eight
41
Medicine Ball Jump Throw
85
Kettlebell Push Press
42
Kettlebell Two Handed Swing
43
Sandbag Deadlift
87
44
Sandbag Clean
88
Leg Thread
45
Sandbag Clean Squat
89
Bear
46
Sandbag Thruster
90
Kong
47
BODYWEIGHT SECTION
MEDICINE BALL SECTION
76
SANDBAG SECTION
81
86
Clubbell Section In any exercise where a specific weight of Clubbell is not recommended, it is because that skill progresses by movement, not by increasing weight. Therefore, if you do not know at what weight to begin, start at the Delta level weight for Clubbells: 15lbs for Men and 10lbs for Women. You may go lighter still, if this proves too challenging for you. Once you complete Alpha (Level 4) of that workout successful with good form in every repetition, then you can begin over at Delta (Level 1) of that workout, and increase the weight: from 15lbs (men) / 10lbs (women) to 25lbs (men) / 15lbs (women). Repeat this process with the same weight through ever level 1-4, before starting over again with yet another heavier weight. You are not training only one workout, or only one tool. So, do not expect this progress to be consistent. You will plateau sometimes. You will need to back down to a lighter weight sometimes. Use common sense, and lift no heavier a weight that you can keep good form without pain on that specific day.
Clubbell Two Handed Swipe Represented in Alpha, Lima and Zulu Programs. Prepare backswing between the legs with elbows locked and shoulders packed down. Sit back with a flat back, pushing the end of the clubbell far behind you. Drive legs into the ground, mid-foot, tucking pelvis under, and hips snapping forward to swing clubbell forward and upward. Pull elbows to ribs with clubbell to one side of your head, driving neck of clubbell under the barrel. Drive clubbell over your shoulder next to your ear, not over your head. Keep your forearms perpendicular to each other, and your forearm of the shoulder over which you cast the clubbell elbow in and close to your head. Exhale and without arching your spine or rocking your heels, only using your core exhale strength, pull the clubbell over and down to your ribs. Then, drive it out locked in front of you before beginning the next backswing. Switch grips in between sets, half way between total repetitions, or in between stations.
5
Clubbell Gama Cast Represented in Bravo, Echo, Papa and Tango Programs. Begin with Clubbell held at centerline. With clubbell parallel to shoulder adjust it to one side of your body, your forearms and knuckles perpendicular to each other at a right angle. Drive clubbell over your shoulder next to your ear, not over your head. Keep your forearms perpendicular to each other, and your forearm of the shoulder over which you cast the clubbell elbow in and close to your head. Keep clubbell from hitting your back. Switch your forearms so the clubbell now sits behind the opposite shoulder. Remember to keep forearms perpendicular to each other. Exhale and without arching your spine or rocking your heels, only using your core exhale strength, pull the clubbell over and down to your ribs. Return to centerline, before switching directions. Switch grips in between sets, half way between total repetitions, or in between stations.
6
Clubbell Shoulder Park Squat Represented in Charlie, Hotel, Quebec and Uniform Programs. Prepare backswing between the legs with elbows locked and shoulders packed down. Sit back with a flat back, pushing the end of the clubbell far behind you. Drive legs into the ground, mid-foot, tucking pelvis under, and hips snapping forward to swing clubbell forward and upward. Pull elbows to ribs with clubbell to one side of your head, driving neck of clubbell under the barrel. As the clubbell continues to rotate, move it to one side of your body, as you squat downward. Catch the barrel of the clubbell on the soft tissue (trapezius); elbows tight together. Squat as low as you can. Lifting the head straight upward drive your feet into the ground to push the clubbell off your shoulder. Lock your elbows before gravity pulls them to hyperextension. Reach behind you with the clubbell to start the next repetition. Switch shoulders. Switch grips in between sets, half way between total repetitions, or in between stations.
7
Clubbell Clockwork Squat Represented in Foxtrot, Kilo and November Programs. Prepare a sideswing in front of the knees with elbows locked and shoulders packed down. Pull elbows to ribs with clubbell to one side of your head, driving neck of clubbell under the barrel. As the clubbell continues to rotate, move it to one side of your body, as you squat downward. Gently land the barrel of the clubbell on the soft tissue (trapezius); elbows tight together, torso rotated 45 degrees toward the shoulder holding the clubbell. Squat as low as you can. Lifting the head straight upward drive your feet into the ground to push the clubbell off your shoulder. Drive legs into the ground, mid-foot, tucking pelvis under, and hips snapping forward to swing the clubbell up. Lock your elbows before gravity pulls them to hyperextension. Swing the clubbell in front of both knees from torso rotation to switch shoulders. Exhale through the mouth with the leg drive. Exhale as you catch the clubbell in a squat. Switch grips in between sets, half way between total repetitions, or in between stations.
8
Clubbell Two Handed Head Cast Represented in Oscar, Victor and Yankee Programs. Begin with Clubbell behind the head, barrel down (like the back position of Gama Cast or Swipe). With clubbell parallel to shoulder adjust it to one side of your spine, your forearms and knuckles perpendicular to each other at a right angle. Keep clubbell from hitting your back. Exhale and without arching your spine or rocking your heels, only using your core exhale strength, extend your elbows overhead until your elbows lock. Keep your shoulders packed down (deltoids off your ears, space between your shoulders and neck; don’t shrug.) Slowly yield clubbell over your shoulder next to your ear, not over your head. Keep your forearms perpendicular to each other, and your forearm of the shoulder over which you cast the clubbell, elbow in close to your head. Inhale through your nose before you cast out the next repetition. Switch grips in between sets, half way between total repetitions, or in between stations.
9
Ring/Strap Section
Ring/Strap Double Row Represented in Alpha, Echo, Hotel, Mike, Romeo and Whiskey Programs. With two rings, one in each hand, begin with shoulders flat to floor and elbows locked. Drive hips upward to maximum range, and pinch knees together, heels down. Exhale and row rings to ribs, keeping forearms pinched to ribs. Maintaining this top position, sit downward, bending at hips before allowing your elbows to straighten. Lower your shoulders back down to the mat under control until elbows lock fully extended. Inhale through the nose.
11
Ring/Strap Single Row Represented in Alpha, Echo, Hotel, Mike, Romeo and Whiskey Programs. With two hands on one ring, begin with shoulders flat to floor and elbows locked. Drive hips upward to maximum range, and pinch knees together, heels down. Exhale and row ring to centerline chest, keeping forearms pinched to ribs. Maintaining this top position, sit downward, bending at hips before allowing your elbows to straighten. Lower your shoulders back down to the mat under control until elbows lock fully extended. Inhale through the nose. Switch grips in between sets, half way between total repetitions, or in between stations.
12
Ring/Strap Lawnmower Represented in Alpha, Echo, Hotel, Mike, Romeo and Whiskey Programs. Begin with shoulders flat to floor and elbows locked. Drive hips upward to maximum range, and pinch knees together. Row ring to centerline chest, keeping forearms pinched to ribs. Thread one leg under the driving leg, and roll your upper arm into the strap of the ring with an exhale through the mouth. Maintaining this top position before you slowly thread your knee back under toward bridge to roll back down to the mat under control until elbows lock fully extended. Inhale through the nose. Switch grips in between sets, half way between total repetitions, or in between stations.
13
Ring/Strap Extension Represented in Alpha, Echo, Hotel, Mike, Romeo and Whiskey Programs. Begin with shoulders flat to floor and elbows locked. Drive hips upward to maximum range, and pinch knees together. Row ring to centerline chest, keeping forearms pinched to ribs. Thread one leg under the driving leg, and roll your upper arm into the strap of the ring with an exhale through the mouth. Once fully supported by the strap, twist at the torso to align the top shoulder over the bottom shoulder, touching the strap, and extend your arm directly up the line of the strap. Maintain this top position before you regrab the ring, and slowly thread your knee back under toward bridge to roll back down to the mat under control until elbows lock fully extended. Inhale through the nose. Switch grips in between sets, half way between total repetitions, or in between stations.
14
Ring/Strap Knee Press Represented in Charlie, Juliet and Quebec Programs. With knees down, tuck the tailbone and round the midback so that your elbows and triceps pinch tightly to your ribs and widely flaired back muscles. Bring your knuckles together. This is the “cradle” position for the rings. Exhale, tighten your core, as you internally rotate your forearms until your elbows lock, with your elbow “pits” pointed away from you and your little fingers are facing each other. Slowly yield your elbows, and slide your forearms back into the starting position. Do not allow your elbows to pop outside or above your back. Maintain strong torso curl and pelvic tuck. Inhale through the nose.
15
Ring/Strap Swoop Represented in Charlie, Juliet and Quebec Programs. Beginning with feet flat, lean forward into the ring “cradle” position from the Knee Press. Adjust forward onto balls of feet, but keep knees locked and quads strong. The higher your hips are over your head, the more challenging it becomes, but don’t allow the straps to be so low that your head touches the floor. Dive forward keeping your hands in place until your elbows lock with an exhale through the mouth. Keep your pelvis tucked under to prevent arching at lower back. Press your shoulders down into the rings to prevent shrugging your shoulders. Once your elbows lock strong, you can press back to the original position for the next swoop. Inhale through the nose.
16
Ring/Strap Rocca Press Represented in Charlie, Juliet and Quebec Programs. Begin with the rings low or your feet elevated. Like the Swoop, lower yourself into the “Cradle” position with hips elevated as high as your strong stabilization permits. Exhale through the mouth and drive the rings straight down to extend your elbows. As you press overhead, remember to press your shoulders packed (shoulders away from neck and ears; no shrugging). Slowly yield and bend your elbows to return to “cradle” position. Inhale through the nose.
17
Ring/Strap Roll Out Represented in Charlie, Juliet and Quebec Programs. With knees locked, tuck the tailbone and round the midback. Keep your elbows and triceps pinch tightly to your ribs and widely flair your latissimus (back) muscles. Bring your knuckles together in the “cradle” position. Exhale, tighten your core, drive your hands overhead as far as you can without pain in the shoulders, and without arching at lower back. Stay shallow and high to decrease intensity. If you bend at the back or feel pain in your shoulders, you have gone too deep. Shallow with strong core builds better, high quality movement which will be sustainable and injury-free. Exhale through the mouth the entire range, and do not soften the belly; extension should be the deepest exhale and strongest core contraction. Slowly pull your elbows back into the starting position. Do not allow your elbows to pop outside or above your back. Maintain strong torso curl and pelvic tuck. Inhale through the nose.
18
Ring/Strap Knee to Chest Represented in Golf, Oscar, Tango and Xray Programs. Stand with upper arms parallel to the ground. Test leaning back and lifting knees, while resisting elbow extension. Feel the rocking motion. Arms should remain as unmoving as possible both into and out of the position of knees to chest. You will move; your elbows will extend and you will rotate your spine 90 degrees when performed correctly. However, if you do not resist this inertia, you will only isolate the shoulders and grip. To use the core, you must exhale strongly to pull knees to chest. As you begin to dip backward, resist elbow extension with your arms. As you place your feet back down toward the ground, don’t drop them down but resist hip extension with your core; and resist rapid elbow flexion with your arms. Inhale through the nose before you exhale into the next repetition. Keep rings / straps parallel to one another, knuckles facing each other throughout the movement.
19
Ring/Strap Feet to Bar Represented in Golf, Oscar, Tango and Xray Programs. Precisely the same technique components as the Knee-to-Chest, but when you rock back into the 90 degree spine rotation (parallel to floor), extend your knees so your legs lock perpendicular to the floor, parallel in line with the straps. Exhale through the mouth. Keep constant upward rowing tension on straps, and avoid rapid extension of your elbows to prevent hyperextension and over rotating into a “skin the cat” feet over face. Retract knees to chest before placing feet to floor. Inhale through the nose before exhaling into the next repetition. Avoid jumping. Pull the knees slowly to chest. Control the rotation with your arms. Upward row and extend your legs. Retract knees to chest, and yield your feet slowly back to floor.
20
Ring/Strap Cradle Represented in Golf, Oscar, Tango and Xray Programs. Begin like the Knee-to-Chest basic movement. As you begin your upward row to execute the Feet-to-Bar variation, keep knees bent, separate your feet to the outside of the straps, and hook them firmly into the straps in external rotation. Do not proceed unless you feel confident in your feet hook grip. If you feel confident in your hook grip, then extend your hips toward the ground exhaling through the mouth. Keep your shoulder blades pressed down to avoid focusing the arch at shoulder and chest. Place your focus on hip extension. Slightly row with elbow flexion, as you release the hips into flexion, returning your spine parallel to the ground, knees to chest to unhook your feet and then back down to the ground. Inhale through the nose before you exhale into the next repetition.
21
Ring/Strap Skinner Represented in Golf, Oscar, Tango and Xray Programs. Like the Knee-to-Chest beginning variation, bring spine parallel to ground in rocked back tuck. With your strongest exhale, resist with your arms and core, as you rotate knees over head, tailbone toward the sky. Then, begins the strongest point of controlled descent. Do not go quickly. Lower feet by extending knees to ground. If you feel any discomfort in your shoulders, release when your feet are on the ground, and regress to the “Cradle” variation, or lower until you do not feel it. Slightly bend the knees and hop, but only far enough to begin your upright row to return your knees to chest, tailbone toward the sky. Then execute your same controlled descent to complete the repetition. Inhale through the nose before you exhale and repeat.
22
Box Section
Box Step-up Represented in Alpha, Foxtrot, Mike, Xray and Zulu Programs. Elbows in, forearms parallel to each other, and shoulders pressed down into “packed position” (no shrug). Lift knee to chest, and lift toes up. Land mid-foot and bring second foot up to meet it. Place entire foot on box, and do not land leading with ball of foot. Use the middle, land with the whole, absorb knee to chest to keep low. Avoid standing up. Keep head as even on one plane as possible, like under a low ceiling. Step back and off, but do not land ball of foot. Land with toes off the floor, midfoot, entire foot flat. Bring other foot down to meet it for one repetition. Attempt to exhale through the entire process. Inhale through the nose before your next repetition.
24
Box Hop-up Represented in Alpha, Foxtrot, Mike, Xray and Zulu Programs. In the Step-up, you learn to keep your head on one plane, absorbing knee to chest. In the Hop-up, apply that lesson. Begin mid-foot on the ground, and leave the ground with your entire foot, heels down. Bend knees squatting down and slightly bending forward like a ski-slope. Exhale through the mouth and hop up onto the box. When you land, use mid-foot focus, landing with entire foot flat, absorb knees to chest with a deeper exhale through the mouth. Keep elbows in to avoid using hands to help you swing into a hop. Imagine you are holding something cradled in your arms. Hop back off the box and land heels down, mid-foot, absorbing butt to heels bending at knees. Inhale through the nose before exhaling into your next jump.
25
Box Hop-up Ball Squat Represented in Alpha, Foxtrot, Mike, Xray and Zulu Programs. Identical to the Hop-up but with a lower target in your squat. When you begin and when you finish, squat back and touch tailbone to a medicine ball to increase the passive range of motion of your squat, and actively increase the depth with which you begin your hop. Don’t stand off the ball to hop up. Hop from sitting on the ball. Don’t passively sit into the ball, but keep your legs active. Avoid using your arms to help you jump. Concentrate on exhale, mid-foot drive to push the ground away. Exhale to absorb knees to chest. Feet must remain flat at all steps in the technique. Inhale through the nose before exhaling into the next repetition.
26
Box Hop-over Parallel Squat Represented in Alpha, Foxtrot, Mike, Xray and Zulu Programs. Your deepest squat begins with belly to chest. You can go lower in your squat than thighs-parallel-to-ground, but you must go parallel. If you cannot achieve parallel, or lose belly-to-thigh contact, regress to the ball hop-up technique. You can rest your forearms on the box to give your nervous system a fingerprint of your target, in between hops. This will also prevent you from arm swing momentum. When you hop, rotate 180 degrees to face the opposite direction in your jump, and apply all of the prior components: knee to chest absorption with exhale, whole foot contact the entire time, mid-foot-drive, elbows in no arm swing. Focus on jumping UP rather than over, and remember to pull your toes off the ground flexed toward your shin to avoid kicking the box. Pull your heels to your butt when you jump with your hamstrings. Inhale through the nose before exhaling into your next jump,
27
Parallette/Box Section
Parallette/Box Knee Press Represented in Bravo, Kilo, November, Papa, Sierra, Uniform, Whiskey and Xray Programs. Unlike the floor knee press, you must focus on driving from the palms in the Parallette Knee Press. Begin with good thoracic curl, hip extension and elbow pinch to ribs. Drive palm heels into the box or parallettes to extend the elbows. Externally rotate the elbows to turn your elbow “pits” away from you in locked position. Keep belly strong and tucked at top. Inhale through the nose before you exhale into the return phase to bottom. Withdraw under control (in the negative / eccentric phase of the movement) your elbows to your hips to return to the beginning position.
29
Parallette/Box Forward Ellipse Represented in Bravo, Kilo, November, Uniform and Xray Programs. Begin in a quad squat position with your weight shifted back toward your balls of feet. Keep spine parallel to the ground as you extend your knees and shift your solar plexus over the box or parallettes. Lower yourself as much as possible like a negative pushup. Drive elbows into ribs as you press elbow pits to extension, externally rotating elbows. Don’t let your elbows flair outward as much as possible, and focus on keeping your shoulders down in packed position (no shrug). If you cannot, then return to Knee Press. Press back to weight on balls of feet. Inhale through the nose before you exhale into the next repetition.
30
Parallette/Box Backward Ellipse Represented in Bravo, Kilo, November, Uniform and Xray Programs. If the forward ellipse is a negative or eccentric pushup, the backward ellipse is a positive or concentric. Begin in backward ball of foot weighted position. Exhale through the mouth and hover your spine low as you shift forward to the bottom of the pushup position. Elbows in, shoulders down, spine parallel. Exhale and press into the box or parallettes to extend elbows into the pushup. Keep spine parallel which means extending knees slightly to keep pace with the extending elbows. Circle back and bend knees as you return to the start position shifted weight back on balls of feet. Inhale through the nose before you exhale into the next repetition.
31
Parallette/Box Swing Plank Represented in Bravo, Kilo, November, Uniform and Xray Programs. Like the starting position of both ellipses, press back onto balls of feet, but shift knees to one side, remaining on balls of feet, but with heels dropping to one side at an angle to allow knees under you. Twist your torso and neck so that your face slightly tucks under the armpit in the direction of your knee twist. Press back into your knee bend even farther to begin. As you untwist forward, drive off the balls of feet until you end at a full lower position of a pushup, knees locked, heels kicked away, toes pulled toward shins, tailbone tucked, elbows pinched tight to ribs, thoracic rounded slightly, shoulders packed down. Exhale deepest in this paused plank position, before you press back and twist the opposite direction. Twist the knees under the opposite side, and pull glutes to heels as you tuck under the opposite arm-pit with a twist. Inhale through the nose before you exhale to return to the beginning to complete one repetition.
32
Parallette/Box Rocca Press Represented in Papa, Sierra and Whiskey Programs. The Rocca is a handstand pushup preparation: the higher that you begin with your tailbone over your head, the more challenging it becomes. Keep your press at a 45 degree angle to maintain optimal form protecting shoulders. Shift weight from the balls of your feet to onto your toes, with knees locked. Exhale, with elbows at 45 degrees to hips, not flaired parallel with shoulders. Slowly touch the top of the head, not the forehead (so don’t try to look up). Drive your palms into the box or parallettes in a screwing motion to internally rotate your elbows while you press your tailbone UP not backward. Don’t set your heels down. Remember focus on this movement like a handstand to avoid rocking back and forth using ankle flexion and extension. Keep your ankles fully extended the entire repetition. Inhale through the nose before repeating.
33
Parallette/Box Planche Press Represented in Papa, Sierra and Whiskey Programs. If you have not fully developed the cradle position with the rings, the “body curl” with the box and floor, the rack with the kettlebells and sandbags and order position with clubbells, it will be impossible to perform the planche tuck safely. If you do not feel comfortable, definitely return to the basic techniques to develop this core position of the hollow-body or power-chamber. The opposite of this technique, the Ring Knee-to-Chest, can be strengthened to assist this. Begin with weight shifted back onto your feet, and as you shift forward, pinch elbows, contract the core, tuck knees to chest. Exhale strongly, and avoid inertia. Don’t think jump but rather lean so that you don’t send too much force and overwhelm your position. Slow yourself to a stop with your knees tucked in paused in the air. Before you feel yourself begin to drop knees down, press backward to give yourself space to place your feet down. Inhale through the nose before you exhale into the next tuck.
34
Parallette/Box Shoulder Press Represented in Papa, Sierra and Whiskey Programs. The shoulder press may be the highest strength demand bodyweight exercise we perform. It demands that you’ve developed your core power chamber. Regress to planche tucks when you cannot perform these with sufficiently good form. And continue regressing to concentrate on the power chamber itself, rather than on high quantity of poor form. Low quantity high quality is optimal. As you shift forward into your planche tuck, extend your knees and lock your quads. The tighter you do, the lighter your body will remain. Exhale your strongest here and tuck your tailbone slightly to keep your glutes active. Pull toes toward the shins in ankle flexion to kick heels away. The opposite of this technique, the Ring Feet-to-Bar, can be strengthened to assist this. Withdraw knees to chest, and push back to beginning. Inhale through the nose before exhaling into the next repetition.
35
Kettlebell Section In any exercise where a specific weight of Kettlebell is not recommended, it is because that skill progresses by movement, not by increasing weight. Therefore, if you do not know at what weight to begin, start at the Delta level weight for Kettlebells: 8kgs for Men and 6kgs for Women. You may go lighter still, if this proves too challenging for you. Once you complete Alpha (Level 4) of that workout successful with good form in every repetition, then you can begin over at Delta (Level 1) of that workout, and increase the weight: from 8kgs (men) / 6kgs (women) to 16kgs (men) / 12kgs (women). Repeat this process with the same weight through ever level 1-4, before starting over again with yet another heavier weight. You are not training only one workout, or only one tool. So, do not expect this progress to be consistent. You will plateau sometimes. You will need to back down to a lighter weight sometimes. Use common sense, and lift no heavier a weight that you can keep good form without pain on that specific day.
Kettlebell Two Handed Deadlift Represented in Bravo, Romeo and Zulu Programs. More of a squat and deadlift combination, the term deadlift has become the nickname for this technique, so don’t get lost in variations from other sports. Focus on our safe technique recommendations, not the name. Begin squatting backward with thighs parallel to ground, and back flat. Lock elbows and internally rotate elbow “pits” away from you in the direction you face. Push kettlebell down into the mat, and keep that active extension with tricep tension throughout the lift. Drive mid-foot into the ground and extend hips. Tuck tailbone and extend hips fully forward with a deep exhale from the belly. Sit back, keep elbows locked, touch kettlebell to mat actively and under control with no wrist wobble. Inhale through the nose before you exhale into the next repetition.
37
Kettlebell Goblet Clean Represented in Bravo, Romeo and Zulu Programs. This unique TACFIT movement specifically focuses on the power chamber development for later kettlebell complexes. Perform the bottom position of the squat deadlift. But as you lift, explode pressing feet into the ground, and row the kettlebell to shoulder height with an exhale through the mouth. As the kettlebell passes elbow height, begin rotating elbows underneath and forward into a “guard position” with your forearms. For the moment that the kettlebell slightly breaks gravity into free fall, slide your grip from the top handle around the hips of the handle to the “horns” or sides of the handle. This allows you to catch the belly or “ball” of the bell onto your forearms with a squat absorption and exhale through the mouth. Release the kettlebell down to elbow extension under control to the beginning squat, and touch to the mat. Inhale through the nose before exhaling into the next repetition.
38
Kettlebell Goblet Squat Represented in Bravo, Romeo and Zulu Programs. The primary difference between the Goblet Clean and the Goblet Squat lies with the release of the kettlebell from regripping at the horns to releasing the kettlebell completely and catch it with your hands. Your forearms and elbows touch each other, palm heels together, wrists extended perpendicular to your forearms. Only rip the kettlebell fast enough so that it just barely clears your “goblet” of forearms and hands. Don’t go above head height. Pinch your elbows together as you release the kettlebell. If you cannot maintain forearms flat against one another, regress to the Goblet Clean, which will help you regain this range of motion. As you release the kettlebell, do not wait for the top of the handle to regrip when you’re first learning. Grip the horns, and then as gravity pulls it down and your elbows extend to locked position, slide around to the top of the handle. Keep back flat, thighs parallel, touch to mat, and inhale through the nose before you exhale into the next rep.
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Kettlebell Goblet Throw Represented in Bravo, Romeo and Zulu Programs. A Goblet Throw differs from a Goblet Squat in the speed of the explosive rip from the ground and throwing the kettlebell higher than head height from two different hand positions. (Two throws equal one repetition: the throw from hanging to goblet, and the throw from goblet back to horn catch.) Follow the kettlebell above your head as you explode out of your squat, upward row rapidly and release the kettlebell above your head. Catch the kettlebell as it descends into your goblet forearm position, absorbing downward into your squat. Dropping the kettlebell will cause damage to mats, floors and body parts. If you must bail out, make sure that you get out of the way, and expect property damage. Don’t perform around pets, children, or even unaware adults. Immediately use the absorption of the squat to stand again and PUSH press the bottom of the kettlebell into over head extension letting the kettlebell release from your hands. This time as it descends in front of your body, catch at the horns, and as your elbows extend into your squat, slide from horns to top of handle. Touch, pause, inhale through the nose before you exhale into the next repetition.
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Kettlebell Figure Eight Represented in Delta, Golf and Whiskey Programs. Our kettlebell figure eight motion executes like an outside side swing with a pass between the legs on the down swing. Move only in one direction: Pass from the front inside only; never try to pass from the back between. Draw an X in your mind (front-right to rear-left, and front-left to rear-right.) Follow the X. Grip from “hip” passing and regrabbing with the opposite hand on the OTHER hip of the handle (the hip is bend in the handle.) Never perform this exercise passing from one hand on top handle to the other or you’ll have to “throw” it from one grip to the next. Clear the knee by swaying slightly in the direction of the side you’re passing. Then extend your knees standing to perform an “outside” (away from body) side swing, as you move from rear around outside to front. Squat and absorb at hip bend, to pass to the next hand. Around both knees equals one repetition.
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Kettlebell Push Press Represented in Foxtrot, November, Xray and Yankee Programs. There are many kettlebell variations on techniques: good ways, bad ways, and the way we advise you to use it. With the Push Press, aim to use this technique variation to stay in constant motion without pause or rest, but avoiding too rapid acceleration. Try and keep an even pace (consider the protocols using this technique). Begin in rack position: forearm perpendicular to the ground, handle at a diagonal, no space between handle and wrist, NO wrist extension / hand in perfect alignment with forearm like throwing a strike. Kettlebell belly should rest in the “V” of the elbow bend, weight carried by legs; with no “arm wrestling” resisting external rotation of the shoulder. Absorb into squat and use the squat to send the kettlebell off the chest into the air. Avoid military pressing. Use your entire body. As you send the kettlebell overhead, pull your shoulder blade down into packed position; with no shrug, no shoulder contact with neck, two shoulders even with the line of the ground. Absorb with an exhale back into rack with a squat before beginning the next rep. Switch grips in between sets, half way between total repetitions, or in between stations.
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Kettlebell Two Handed Swing Represented in Kilo, Oscar, Papa and Victor Programs. Please use our recommended swing variation, for how it fits into the overall intentions of improved motor function of other techniques across equipment. Grab the kettlebell two handed. As you back swing, press the kettlebell backward with a slight hip-fold and knee bend, keeping back flat, and eyes forward (not looking down nor up). Load the mid-foot drive of your legs and snap your tailbone under and hips forward; don’t arch at lower back, but press your hips forward. Keep shoulders down, elbows locked the entire range of the exercise. As you absorb down into the next repetition, exhale through the mouth and store the elastic energy like a rubber band to explode into the subsequent repetition.
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Bodyweight Section
Leg Thread Represented in Bravo, Echo, Hotel and Tango Programs. The Leg Thread focuses on core and hip rotation, and can be performed traveling or in one space. Begin on your back in shoulder bridge and let your knees drift to one side. The leg on the side that drifts threads the foot under the bent knee of the rear leg, until you roll over onto your forearms. Keep hips high. To return, bring the opposite knee under the leg you just threaded, until you return to shoulder bridge. Keep both feet on the floor throughout the entire movement. Exhale through the mouth upon rotation.
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Bear Represented in Bravo, Echo, Hotel and Tango Programs. The Bear Crawl focuses on overhead stabilizing strength and leg strength, and can be performed traveling or in one space. Walk forward two hands and backward two hands to remain in one area. Begin bent over like performing a Rocca press. Reach forward with one hand and then bring the same side foot up to recover the space; repeat on opposite side. Keep body rounded and high. Imagine that you are working on your incline press or handstand pushup position. Stay light on your feet but keep your knees strong though knees unlocked. Exhale as you step.
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Kong Represented in Bravo, Echo, Hotel and Tango Programs. The Kong focuses on core contraction and pull-over back strength, though when done incorrectly it can feel more like the top of a pushup position. You can perform the move by traveling across the floor or remain in one space by advancing one and spinning 180 degrees. Start in a flat-foot squat and fall forward onto balls of feet. As you do, then exhale reach out with your hands and PULL the ground, so that your body surges forward. Imagine sweeping your hands along the floor beneath your knees, rather than leaning forward onto them like a pushup. Keep exhaling through the mouth until you recover your knees to your chest, in flat-foot squat.
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Ape Represented in Bravo, Echo, Hotel and Tango Programs. The Ape step focuses on hip rotation and lateral core “roll” stabilization (like a cartwheel). It can be performed traveling or in one space by advancing twice, then switching directions and advancing twice the opposite way. Begin in a Cossack Squat (knee down, heel down.) If you cannot perform this without discomfort to the knee, then regress to the Kong. It will come with time and patience, not force. Then, shift your weight to ball of foot as you fall forward with your hands like Kong. But instead of pulling forward, pull from near hand to far hand, moving your torso and legs next to your hands. When you kick your leg through, switch from the new Cossack Squat position to the original before proceeding, into another Ape, or switching directions to stay in one place.
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Quad Press Basic Represented in Charlie, Echo, Golf, India, Juliet, Papa, Quebec and Sierra Programs. The Quad Press Basic remains in one place, like a pushup with knees bent and hips externally rotated. Hips and shoulders remain in one line parallel to the ground. Feel the weight on your big toes with your heels tilting inward at 45 degrees. Elbows should be pointed backward at 45 degrees; hands rotated inward at 45 and fingers spread wide. Exhale through the mouth as you lower your back flat parallel down to the ground. Gently hover or softly touch the inside of your knees to the ground. Keep exhaling as you extend your elbows to locked position without lowering your hips. Inhale through the nose before you exhale into the next repetition.
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Gecko Represented in Charlie, Golf, Juliet and Quebec Programs. The Gecko can be performed stationary. From Quad Squat position, ensure that you have equal balance between all four limbs: 25/25/25/25% weight distribution. Practice lifting hand and opposite foot first on both sides. Then, to perform the full exercise, lift from the back of your elbow and the outside of the lifting knee, imagining that you want to bring the elbow and outside knee around in a circle to touch each other behind you. Don’t lift from hand (bending the elbow) and foot (bending the knee); instead, keep your elbow and knee angle constant through the exercise if possible. Switch sides to complete a repetition. The stronger your exhale, the stronger your core.
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Base Switch Continuous Represented in Charlie, Golf, Juliet and Quebec Programs. Begin in crab position, one arm behind back with hand in line with spine, fingers rotated outward, other arm elbow between legs in centerline. This is called “tripod position.” Thread the foot on the same side as the hand behind you, under your opposite knee, and place both hands on the mat into Quad Squat position. Exhale through the mouth. Sit opposite knee under and pull opposite elbow into centerline to face the opposite direction in “tripod” position. Exhale through the mouth. Continue in the same direction repeatedly to complete your repetition.
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Base Switch Alternating Represented in Charlie, Golf, Juliet and Quebec Programs. Begin in crab position, one arm behind back with hand in line with spine, fingers rotated outward, other arm elbow between legs in centerline. This is called “tripod position.” Thread the foot on the same side as the hand behind you, under your opposite knee, and place both hands on the mat into Quad Squat position. Exhale through the mouth. Sit opposite knee under and pull opposite elbow into centerline to face the opposite direction in “tripod” position. Exhale through the mouth. Switch directions and return to your starting tripod position to complete one repetition. Continuing alternating.
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Spinal Rock Basic Represented in Delta, Golf, Juliet, Quebec and Sierra Programs. Begin seated with equal balance between your tailbone and two sits-bones, feet flat, forearms tucked to knees, hands hugging shins, elbows pinched, chest up, head level, inhaling through the nose. Exhale and round mid-back thoracic until lower back lies flat to the mat. Only then pull knees to chest, and roll back onto shoulders. Apply no force or inertia to neck. Extend hips over head, while pulling heels around in a circle toward your glutes, like performing a shoulder bridge in the air. Exhale forcefully to do this hip extension. Relax knees to chest, roll the spine, one vertebra at a time, until rocking back up, hugging knees again, into the inhale.
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Spinal Rock Pike Represented in Delta, Golf, Juliet, Quebec and Sierra Programs. Performed like Basic Spinal Rock except when knees come to chest, extend knees and lock quads. You MAY not be able to touch the ground. Touching the ground isn’t the point. Locking the legs, kick the heels away and pull the toes toward your shins with an exhale through the mouth. If your balls of feet touch the ground, then work on lifting your tailbone toward the ceiling. If not, then release your knee lock, relaxing knees to chest, and roll your spine down one vertebra at a time. Extend your legs out, knees locked, heels kicking away, toes pulling back to shins. Exhale belly to thighs, and chest to knees. Don’t try and tuck your head to your shins. Wave your arms forward to your feet like recovering the blades of your oars on a row boat. Return to a seated position, inhale through the nose before you exhale for the next repetition.
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Spinal Rock Straddle Represented in Delta, Golf, Juliet, Quebec and Sierra Programs. Like the pike, except when you roll back knees to chest, lock your legs as far apart as your flexibility permits. If you cannot touch the ground yet, you should should regress to the Pike. Do not attempt the Straddle until you’ve mastered the Pike, because the Pike protects the lumbar spine by remaining hips locked; unlocked in the straddle can cause one side to rotate the lower back. Lock the knees, kick the heels, pull the toes, separate the legs, touch the ground with an exhale through the mouth. Relax knees to chest, externally rotate knees out and feet together like clapping. Roll spine one vertebra at a time back down to the ground. When you sit up in butterfly position extend your straddle as far as your flexibility allows. Exhale through the mouth, and reach your belly down and hands out. Don’t tuck your head down and curl your spine. Return to a seated position, inhale through the nose before you exhale for the next repetition.
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Spinal Rock Knee Drop Represented in Delta, Golf, Juliet, Quebec and Sierra Programs. Begin like the Basic Spinal Rock, but when you achieve the inverted hip extension, rapidly exhale and pull your knees to your chest while relaxing your knee extension. Don’t attempt to kick the ground, or your flexibility will stop you and potentially injure your lower back. Exhale and relax your knee extension while dropping knees to the opposite sides of your face (not toward your nose.) Roll the spine down, one vertebra at a time. As you roll up, place your feet in butterfly style, knees out, pull your ankles in, as you inhale through the nose and drop your knees outward.
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Mountain Climber Represented in Delta, Lima and Yankee Programs. Our mountain climber requires specific components. Please focus on these to ensure safety and progress in the entire program. Begin with front foot flat, knee between arms, elbows locked, hands flat. Rear leg should begin bent, and then under control, squeeze quad into knee lock. Exhale through the mouth as you rapidly bring knee to chest of the back leg, as you kick the front leg back to replace it. Keep hips as low as possible, but no higher than shoulder height. Lower = better. Right / Left = one repetition. If you cannot achieve this basic position, then you may place leg outside elbow, but thigh must remain in contact with arm. Do not arch at lower back, and you must have heel down on the front leg.
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Burpee Represented in Delta, Lima and Yankee Programs. Please do not get lost in our name with other variations of the Burpee. Use our technique recommendations to ensure safety and progress in our program. Begin standing and bend at waist to place hands on the ground. Maintain elbow lock the entire exercise. Exhale through the mouth and jump both legs backward. Tuck tailbone and strengthen hips to resist arching at lower back. If you do not perform this under strong tension resisting lower back arch, you may hurt your lower back. As you load your hips by the tension of resisting backward extension of spine, pop up your hips and land midfoot flat-foot in a squat. Stand and inhale through the nose before exhaling into the next repetition.
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Tadpole Sprawl Represented in Delta, Lima and Yankee Programs. There are many variations of the sprawl in fighting and wrestling. Please use our recommendations to ensure safety and progress in our program. With an exhale through the mouth, roll shoulders up, back, and lift chest up while pushing hips forward. Bend at knees until you feel your heels nearly begin to lift, and then squat down. Place your hands on the ground. Externally rotate your legs, heels pointing inward, and swim them backward and apart, like a tadpole kicking. Turn your head to the side, and keep your hands close to your chest as you absorb your impact. Press to elbow extension, and arch your back. Bring your knees to your elbows until you arrive in a flat foot squat. Stand, and inhale through the nose before you exhale into the next repetition.
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Quad Hop Sprawl Represented in Delta, Lima and Yankee Programs. Begin standing, but with this technique, squat down and fall forward from flatfoot to quad squat. As you get better at this absorption, you can exhale, lift your feet off the ground so that you engage with all four limbs equally in quad squat. Exhale and absorb as low as you can without slamming your knees or face into the ground. Immediately explosively pop back up into a flat foot squat. Stand, inhale through the nose before exhaling into your next repetition.
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Quad Press Forward Ellipse Represented in Echo, India, Papa and Sierra Programs. Begin in a quad squat position with your weight shifted back toward the balls of your feet. Keep spine parallel to the ground as you extend your knees and elbows into the top position. Shift your solar plexus forward beyond your hands and lower yourself as much as possible like a negative pushup. Rotate your elbows backward at a 45 degree angle and press elbow pits to extension, externally rotating elbows. Don’t let your elbows flair outward as much as possible, and focus on keeping your shoulders down in packed position (no shrug). If you cannot, then return to Knee Press. Press back to weight on balls of feet. Inhale through the nose before you exhale into the next repetition.
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Quad Press Hopping Represented in Echo, India, Papa and Sierra Programs. Practice the Quad Press until you can exhale and absorb releasing all four limbs from the ground at the same time buoyantly. Hips should not lift higher than shoulders, and hands should not press back to make the legs carry a majority of the mass. Equally distribute absorption and explosion between your two hands and feet.
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Quad Press Clapping Represented in Echo, India, Papa and Sierra Programs. By adding internal rotation of the hips and the shoulders, you can bend your knees and elbows to clap your hands and feet together. If you find that you’re not able to absorb smoothly, then regress back to the hopping quad press.
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One Leg Squat High Box Represented in Hotel, Kilo, Quebec, Whiskey Programs. A high box seats your bottom higher than your knees, so your bottom must be higher than the height of your knee, whether that be a ledge or ladder. Lift one leg and shift your weight forward on the planted foot until you feel midfoot leg drive. Tuck tailbone slightly, squeeze quad, exhale through the mouth and drive to standing fully extending hip. Keep lifted leg locked, squeezed tight, heel kicking away, toe pulled to shin. Slowly descend and once seated, inhale through the nose before you exhale into your next repetition. Switch legs in between sets, half way between total repetitions, or in between stations.
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One Leg Squat Medium Box Represented in Hotel, Kilo, Quebec, Whiskey Programs. A Medium Box places your hips in line with your knee, thigh parallel with the ground. Lift one leg and shift your weight forward on the planted foot until you feel midfoot leg drive. Tuck tailbone slightly, squeeze quad, exhale through the mouth and drive to standing fully extending hip. Keep lifted leg locked, squeezed tight, heel kicking away, toe pulled to shin. The tighter you make it, the lighter you will become. Slowly descend and once seated, inhale through the nose before you exhale into your next repetition. Switch legs in between sets, half way between total repetitions, or in between stations.
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One Leg Squat Low Box Represented in Hotel, Kilo, Quebec, Whiskey Programs. A Low Box places your hips lower than your knee. Lift one leg and contract your glutes and quad to achieve thigh parallel (like medium box). Then you can begin driving upward to standing. Tuck tailbone slightly, squeeze quad, exhale through the mouth and drive to standing fully extending hip. Keep lifted leg locked, squeezed tight, heel kicking away, toe pulled to shin. The tighter you make it, the lighter you will become. Slowly descend and once seated, inhale through the nose before you exhale into your next repetition. Switch legs in between sets, half way between total repetitions, or in between stations.
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One Leg Squat Spinal Rock Represented in Hotel, Kilo, Quebec, Whiskey Programs. Combining the low box one leg squat with a spinal rock requires mastery of the prerequisite components. If this technique does not flow well, then regress to the low box one leg squat and keep practicing your spinal rock through the other programs. Extend one leg and grab the toes with the hand of the arm same side as the extended foot. Exhale and sit down controlling your descent. Keep your knee locked, heel kicking away, toes pulled to shin. Allowing your legs to split, roll back into a one leg pike spinal rock. You will be able to touch because you should have the pike spinal rock mastered if you’re performing the one leg squat spinal rock. As you roll your spine forward, kick with your extended leg as you roll back to flat foot and keep kicking. Don’t try to kip up or stand up until you have your mid-foot leg drive. Switch legs in between sets, half way between total repetitions, or in between stations.
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Parallel Squat Represented in India, Juliet, Romeo and Uniform Programs. There are many squats. Please use our technique recommendations for optimal safety and progress in our program. Begin with elbows in and forearms parallel. Sit backward and down until thighs are parallel with the ground. Keep heels down and avoid external rotation on the feet (though don’t force them parallel.) Touch elbows to inner thighs, but don’t round the back to do so. Go as low as you can while keeping your shins perpendicular to the ground, and your back flat. Exhale through the mouth as you squat, exhale more deeply as you drive midfoot to standing, and then inhale through the nose before you exhale into the next rep.
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Ball Squat Represented in India, Juliet, Romeo and Uniform Programs. Begin with elbows in and forearms parallel. Sit backward and down to touch the medicine ball. Keep heels down and avoid external rotation on the feet (though don’t force them parallel.) The medicine ball should be used to carefully take you beyond thighs parallel to the ground. However, do not allow this to become a passive seated posture where you must jerk your weight forward onto the balls of your feet to begin standing. Only touch the medicine ball with your sits-bones, and then return to mid-foot leg drive to stand. Touch elbows to inner thighs, but don’t round the back to do so. Go as low as you can while keeping your shins perpendicular to the ground, and your back flat. Exhale through the mouth as you squat, exhale more deeply as you drive midfoot to standing, and then inhale through the nose before you exhale into the next rep.
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Ball of Foot Squat Represented in India, Juliet, Romeo and Uniform Programs. Begin with elbows in and forearms parallel. Sit backward and down until thighs are parallel with the ground. Keep heels down and avoid external rotation on the feet (though don’t force them parallel.) Touch elbows to inner thighs, but don’t round the back to do so. Go as low as you can while keeping your shins perpendicular to the ground, and your back flat. As you absorb down, try to stop at parallel squat, but gravity will take you slightly beyond as you absorb. That’s okay if you’ve built this properly from the medicine ball squat, first. Lift from the crown of your skull directly upward and fully extend your hips, while lifting your heels into one line between your knees and toes. Exhale deeply as you drive mid-foot to standing ball of feet. Then inhale through the nose as you place heels down before you exhale into the next repetition.
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Jump Squat Represented in India, Juliet, Romeo and Uniform Programs. Like the ball of foot squat, but ballistic, make your goal to lift from the crown of your skull with a deep exhalation, and a full extension of your hips. Exhale as you absorb into your squat and remember to place your belly firmly to your thighs, and imagine allowing your tailbone to swing between the goal posts of your shins. Preserve the elastic loading of the downward squat to plyometrically launch into the next repetition. Shift your jump to mid-foot leg drive, keeping your heels down, and only point your toes, once you have left the ground. Exhale through the mouth as you explode. Exhale as you squat down. Only inhale through the nose passively as you relax your exhale within the movement. This exhale will take practice.
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Front Lunge Represented in Delta, Sierra and Victor Programs. Elbows in, forearms parallel. Step forward, spine perpendicular to ground. Legs at two 90 degree bends. Feet shoulder’s width distance. Lower yourself like your back is sliding down the wall behind you. Don’t bend at the hips; sit down spine straight up. Don’t round your back; keep it flat. Exhale downward through the mouth. Inhale upward through the nose. Keep your hands open, your fingers loose and don’t clasp your hands together. You may touch the mat with your rear knee softly. Drive front leg mid-foot to press back up to standing. Step back to shoulder’s width apart. Right / Left equals one full repetition.
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Rear Lunge Represented in Delta, Sierra and Victor Programs. Elbows in, forearms parallel. Step backward, spine perpendicular to ground. Legs at two 90 degree bends. Feet shoulder’s width distance. Lower yourself like your back is sliding down the wall behind you. Don’t bend at the hips; sit down spine straight up. Don’t round your back; keep it flat. Exhale downward through the mouth. Inhale upward through the nose. Keep your hands open, your fingers loose and don’t clasp your hands together. When stepping backward maintain shoulder width stance, you may touch the mat with your rear knee softly. Exhale downward through the mouth. Inhale upward through the nose. Drive front leg mid-foot to press upward to free the rear leg to stand. Step forward to shoulder’s width apart. Right / Left equals one full repetition.
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Jump Switch Represented in Delta, Sierra and Victor Programs. Elbows in, forearms parallel. Spine perpendicular to ground. Legs at two 90 degree bends. Begin in lunge. Don’t bend at the hips; sit down spine straight up. Don’t round your back; keep it flat. You may touch the mat with your rear knee softly. Keep your hands open, your fingers loose and don’t clasp your hands together. Drive off of front leg flat foot, and rear leg ball of foot. Switch legs in the air and absorb into the lunge with an exhale through the mouth. Preserve the elastic energy of the lunge, to help propel you into the next lunge. Right / Left equals one full repetition.
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Airborne Lunge Represented in Delta, Sierra and Victor Programs. Elbows in, forearms parallel. Spine perpendicular to ground. Legs at two 90 degree bends. Begin in lunge. Don’t bend at the hips; sit down spine straight up. Don’t round your back; keep it flat. You may touch the mat with your rear knee softly. Keep your hands open, your fingers loose and don’t clasp your hands together. Drive off of front leg flat foot, and rear leg ball of foot. Bring rear knee into chest before hitting the ground with your feet. Absorb into the lunge with an exhale through the mouth. Preserve the elastic energy of the lunge, to help propel you into the next lunge. Right / Left equals one full repetition. Explode off the mat, driving straight upward toward the sky.
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Bar Section
Jump-up Pullup Represented in Alpha, Foxtrot, India, Mike, Romeo and Zulu Programs. Start on box high enough that you can jump to overgrip your pullup bar. Pull your shoulders down. Flair your lats. Tuck your tailbone. Contract your core. Tighten your quads. Exhale powerfully as if you’re going to be punched in the belly. Relax and drop to box. Inhale through the nose before your next repetition. You absolutely must establish this power chamber, to achieve this structure throughout the rest of our program. Without it, you cannot safely progress through the rest of the pulls.
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Commando Pullup Represented in Alpha, Foxtrot, India, Mike, Romeo and Zulu Programs. Establish one pullup grip overhanded and one chinup grip underhanded. Exhale to achieve the power chamber contraction of the core, pelvic tuck and back muscles. Pull both elbows to your ribs, and the bar to your neck. Pull your head to one side of the bar. Lower under control to elbow extension. Inhale through the nose before you exhale into the next pull. Remain on one side for an entire set and do not switch grips until next set, or when you drop off.
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Chinup Represented in Alpha, Foxtrot, India, Mike, Romeo and Zulu Programs. In double underhand grip, no closer than shoulder’s width, first establish your power chamber position. Exhale through the mouth as you pull your elbows to your ribs. Be careful when lowering to full extension of the elbows, because if you have not fully released your elbows this can become a painful area. If you cannot perform the full range without pain, do not do partials. Regress to the commando pullup.
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Pullup Represented in Alpha, Foxtrot, India, Mike, Romeo and Zulu Programs. In double overhand grip no wider than shoulder’s width, establish the power chamber position. Pull elbows to the ribs with a powerful exhale through the mouth. Take care to keep shoulder blades packed down with your shoulders off your neck (no shrug) when you lower to full elbow extension. Inhale through the nose before you exhale into the next repetition.
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Medicine Ball Section In any exercise where a specific weight of Medicine Ball is not recommended, it is because that skill progresses by movement, not by increasing weight. Therefore, if you do not know at what weight to begin, start at the Delta level weight for Medicine Balls: 8lbs for Men and 6lbs for Women. You may go lighter still, if this proves too challenging for you. Once you complete Alpha (Level 4) of that workout successful with good form in every repetition, then you can begin over at Delta (Level 1) of that workout, and increase the weight: from 8lbs (men) / 6lbs (women) to 10lbs (men) / 8lbs (women). Repeat this process with the same weight through ever level 1-4, before starting over again with yet another heavier weight. You are not training only one workout, or only one tool. So, do not expect this progress to be consistent. You will plateau sometimes. You will need to back down to a lighter weight sometimes. Use common sense, and lift no heavier a weight that you can keep good form without pain on that specific day.
Medicine Ball Neck Squat Represented in Echo, Lima, Mike, November and Whiskey Programs. There are other floor slam techniques. Please use our variation and progressions to ensure safety and effectiveness throughout all of the other techniques in the program, as they fit together in a very specific way. Begin standing with elbows in, medicine ball touching neck, and hips extended knees locked. Exhale through the mouth and perform a pull-over with the medball while squatting downward, elbows to inner thighs. When at the bottom of a squat, extend the elbows downward to lock, and crush the medball into the ground. Bend elbows back to front squat, and stand. Place medball overhead into neck contact. Inhale through the nose without arching the back, before exhaling into the next repetition. Weight of the medball should be moderate, not too light, not too heavy; approximately 6-14lbs.
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Medicine Ball Shotput Represented in Echo, Lima, Mike, November and Whiskey Programs. Stand in a split leg stance. Tuck the medicine ball to one side of the ribs, and drive the elbow into extension while driving it into the ground. Exhale through the mouth and snap the hips over to drive it into the ground. Don’t merely throw with the shoulder. Lead with the hip rotation and slightly bend on the front knee to marry gravity to the acceleration of the shot-put throw. Pick up the medicine ball and continue to repeat on the same side, only switching in between sets. Weight of the medball should be moderate, not too light, not too heavy; approximately 6-14lbs.
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Medicine Ball Floor Slam Represented in Echo, Lima, Mike, November and Whiskey Programs. Begin in the overhead neck contact position, but this time, slide the feet back from flat to ball of foot. Rapidly exhale into the pullover and drop into your deepest squat. Sit upright to avoid any missed rebound of the medicine ball. Catch it on the bounce if possible, and drive off of midfoot to full extension: legs back, hips forward, overhead pullover preparation. Inhale through the nose on this set-up before you exhale into the technique. Weight of the medball should be moderate, not too light, not too heavy; approximately 6-14lbs.
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Medicine Ball Jump Throw Represented in Echo, Lima, Mike, November and Whiskey Programs. Begin in the squat position, but instead of standing, immediately jump as high as you can and thrust your hips forward and your knees backward. Exhale through the mouth as you contract your core in the air. Bringing knees to chest, land on mid-foot full-depth squat. Avoid elbow flair. Pull the elbows down to inner thigh contact when you drop into the squat. Inhale through the nose before you exhale into the next jump. Weight of the medball should be moderate, not too light, not too heavy; approximately 6-14lbs.
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Sandbag Section In any exercise where a specific weight of Sandbag is not recommended, it is because that skill progresses by movement, not by increasing weight. Therefore, if you do not know at what weight to begin, start at the Delta level weight for Sandbags: 8lbs for Men and 6lbs for Women. You may go lighter still, if this proves too challenging for you. Once you complete Alpha (Level 4) of that workout successful with good form in every repetition, then you can begin over at Delta (Level 1) of that workout, and increase the weight: from 8lbs (men) / 6lbs (women) to 10lbs (men) / 8lbs (women). Repeat this process with the same weight through ever level 1-4, before starting over again with yet another heavier weight. You are not training only one workout, or only one tool. So, do not expect this progress to be consistent. You will plateau sometimes. You will need to back down to a lighter weight sometimes. Use common sense, and lift no heavier a weight that you can keep good form without pain on that specific day.
Sandbag Deadlift Represented in Kilo, Tango and Yankee Programs. More of a squat and deadlift combination, the term deadlift has become the nickname for this technique, so don’t get lost in deadlift variations from other sports. Focus on our safe technique recommendations, not the use of the name by others. Begin sitting backward with thighs parallel to ground, and back flat. Lock elbows and internally rotate elbow “pits” away from you in the direction you face. Touch the sandbag to the mat, and keep that active extension with tricep tension throughout the lift. Drive mid-foot into the ground and extend hips. Tuck tailbone and extend hips fully forward with a deep exhale from the belly. Sit back, keep elbows locked, touch sandbag to mat actively and under control with no wrist wobble. Inhale through the nose before you exhale into the next lift.
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Sandbag Clean Represented in Kilo, Tango and Yankee Programs. Performed like an explosive version of our squat deadlift, accelerate the sandbag vertically until you can drive the handles under the sandbag causing it to rotate like a cylinder. Exhale as you catch it cradled in your arms with a slight squat to absorb the weight. Unwind the sandbag into the full extension of your elbows as you squat down to the mat in preparation of the next repetition. Under control, ensure that the sandbag does not rip your elbows into hyperextension. Inhale through the nose, before you exhale into the next rep.
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Sandbag Clean Squat Represented in Kilo, Tango and Yankee Programs. Performed like an explosive version of our squat deadlift, accelerate the sandbag vertically until you can drive the handles under the sandbag causing it to rotate like a cylinder. Exhale as you catch it cradled in your arms with a deep squat to absorb the weight. Drive mid-foot balance from the legs, upward, and to full hip snap. Unwind the sandbag as you stand out of your squat, into the full extension of your elbows as you squat down to the mat in preparation of the next repetition. Inhale through the nose, before you exhale into the next rep.
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Sandbag Thruster Represented in Kilo, Tango and Yankee Programs. Performed like an explosive version of our squat deadlift, accelerate the sandbag vertically until you can drive the handles under the sandbag causing it to rotate like a cylinder. Exhale as you catch it cradled in your arms with a deep squat to absorb the weight. Come out of your squat into a full sandbag press overhead, shoulders packed down with an exhale through the mouth. Catch back in clean position with a slight squat to absorb into the hips. Unwind the sandbag into the full extension of your elbows as you squat down to the mat in preparation of the next repetition. Inhale through the nose, before you exhale into the next rep.
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