Prepare to learn "quarter body" movement

A "necessary" but not "sufficient" condition for learning quarter body movement is to be able to "fold" the body at the spine. 

In the beginning try to move both halves of the body, then you can try form movements such as "single whip", "parting hands" etc. where only one half is moved. As you do these , do not tip your head but you can piecemeal look down at your shoulder joints to discern any extraneous external movement. You can watch the shoulder joints in a mirror, video, via a friend's critique, etc.

Make sure to relax the back both upper and lower to facilitate the practice. Relaxing includes "SONG KUA" OR AS IT IS CALLED "STRETCHING DOWN THE TAILBONE" and we have discussed this in earlier posts. THIS WAY THE FOLDING CAN EXTEND THE LENGTH OF THE SPINE. STRETCHING THE TAILBONE DOWN RELAXES THE ENTIRE BACK.

Teaching "not to move" is more difficult than teaching "how to move"..."How does one teach/learn upper body movements? MINIMIZE EXTRANEOUS EXTERNAL MOVEMENTS first, such as a lift of the shoulder, excess motion at the shoulder joint, stretching the arm out, pulling the elbow in, and swinging the arm without purpose or hand flourishes. Only when external movements are minimized can the internal movements be free to fluorish. That is one of the purposes of square form, freezing the arm from external movements during certain form movements"

These are examples of many "folding" movements of which its ability of doing is essential for any future quarter body movements. Don't fold at the shoulder but fold along the spine to the tailbone. One can develop a knack for moving from the core. Find a neural pathway in the body core abdomen/back which can make the internal move you intend. Get through this first "stage" then work toward a second "stage" where arms are integrated with those internal movements.

Ang Lee "Pushing Hands" contrast Tao of Martial Applications

In Classical Tai Chi we have both "cooperative" and "competitive" Pushing Hands. Use of different terminology same concepts is present in an Ang Lee film. "Pushing Hands" as the most important metaphorical concept is only explained at the end of the film. In short, the technique of "pushing hands" literally functions to allow cooperation or competition, discord or harmony Example: One can set out to unbalance, be antagonistic, competitive, actively try to push around one's partner/opponent "discord". Or one can set out to harmonize, cooperate when neither partner is actively trying to unbalance the other.Harmony is in short supply in the Chinese restaurant. It is even less harmony than exists in his son's home. Ang Lee makes expressive use of "hands" in many of the scenes but note there are no close-up shots of hands when Zhu is working in the Chinese Restaurant. Let's contrast this with the close-ups and copious use of explanation for "hands" present in Master Hwa's Tao of Martial Applications.

Tao of Martial Applications: https://www.youtube.com/watch?v=Ir4vQ8qzpKU

Immovable Old Zhu https://www.youtube.com/watch?v=HDzNML7NgM8

Actually "pushing hands" with someone feels like a 6th sense ("ting jin" or "sensing/listening") and a new found method of communication between humans. How can humans not use improved communications? This film by Ang Lee explores how xenophobic hostility is transformed into harmony because of open minded cultural communication...sounds like a metaphor for crowded/open spaces. NYC comes to mind which is where this was filmed by Ang Lee.

The wonders of what "space" or the lack of "space" can do...

One of the very few venues where you would get my vote on using Tai Chi as performance art.  If you can pay a reasonable price, try to get the video

The seventh art, Ang Lee: http://www.theseventhart.org/…/vide…/issue-17-pushing-hands/

Recall from Yesterday

I recall as if yesterday when reaching to grip Master Hwa's hand as he told me the news of his teacher's passing.  In his typical unselfish fashion he was visiting me as I invited him to teach one of my beginner classes.  He  traveled to Buffalo from Rochester to do this and in light of that I still feel there is no way I can relate how deeply he feels the need to pass on the art he learned from Master Young to future generations...except to continue to follow his example and do the same myself.

 Shortly after this, Master Hwa announced his decision to appoint the  first certified teacher of Classical Wu Style Tai Chi. It is near 10 years this year as a teacher that I announced to Master Hwa and asked his permission to appoint my longtime  student Sifu Tom Kostusiak as my own first certified teacher. 

April 18, 2015 is 10 years to the day and in memoriam of Grandmaster Young I hope you will understand as I give statements about what we do and will be doing. I recall statements from Eva Marie Koepsell and Master Hwa in memoriam of Grandmaster Young Wabu.

It will be exactly 10 years to the day...April 18, 2005 to April 18, 2015.

Read what was said in memoriam at Grandmaster Young's funeral in 2005.

http://www.classicaltaichi. com/forum/pdf/forum13.pdf 

On April 18, 2015 Master Stephen Hwa will be working with my own promising students once again in Buffalo.  This time he travels such a greater distance from Florida to do this. 

On April 18, 2005 Grand Master Young Wabu passed away at age of 101 in Rochester, NY.

Eva Marie Koepsell tells me that Master Stephen Hwa "says that it was the tai chi that influenced (his teacher Young Wabu) and Young Wabu's skill in healing...,,he was taught the healing skills after he learned tai chi.....so it might have been a synergy of knowledge and practice."

I stated to Master Hwa that "Young Wabu and he alone, seems to have saved what he learned from  (Wu jian quan/Wu chien chuan) intact to pass on. Rather than watering it down to make it palatable to a mass audience, I think he not only kept it, but kept it like a "gold standard".  I then asked him his opinion and what he thought of my statement.

To which he responded: "Jim: Yes my teacher is the one who saves the Wu tai chi , and the Yang tai chi also. No one in the Yang family has this art left."

Thank you everyone and in this  year of the goat, beginning of the lunar year and the promise of spring...may you have sunshine all around you.

Jim R.

Tai Chi is hard but not as hard as you think

TAI CHI MAY SEEM HARD BUT DON'T BE FOOLED. CHANGING PRIOR TENDENCIES  IS REALLY THE CULPRIT AND FOR MANY IS WHAT SEEMS NEXT TO IMPOSSIBLE.

How is it that you stand like that, for that is “double weighted”? A student once made this accusation as I was teaching him the round form. I was standing with the feet looking parallel as you see Master Hwa doing here. I was in the throes of demonstrating the “cloud hands” sequence using the square form as an example.Video of cloud hands instruction and stepping . Actually, one of my feet was slightly back of the other via a step back, he thought it looked parallel and thus double weighted.  Unfortunately the student never completed his study, preferring to defer to what his former teacher taught which was a 24 Form, large frame Wu Style. He was enamored of that to the point of stating that I “...was not teaching Tai Chi...” and promptly left.

Well, it is next to impossible to be double weighted in Classical Tai Chi, unless one pushes with the back leg instead of pulling with the front. As we know,"... the pushing , which is synonymous both with everday walking and large frame Tai Chi, engages both feet stuck to the ground until the move is completed . In the case of pulling the back foot has no such responsibility, it is free to be lifted and moved…even in the case of parallel feet..."

I cite this example of what is or is not double weighted as an example of how difficult it is for many people to learn Classical Tai Chi, needless to say it helps if one wants to do the work. If one does not want to do the work, it is impossible. I shall attempt to explain why and you may be surprised.

On his web page, Master Hwa makes reference to his teacher Grandmaster Young Wabu “…he tested his martial art skills with Wu and found that he was completely dominated by Wu At that point, Young gave up all he had learned before and became Wu’s student. Young remembers the difficulty in trying to FORGET the deeply ingrained external martial arts he had learned and switch to the very different internal …” You see, this applies to those like that student I mention, that learn other Tai Chi, even large frame Wu Style for that is also “external”…they do not want to admit this.

Almost in keeping with “…it cannot be changed…” as quoted by Young Wabu as he attributed it to his teacher Wu Chien Chuan. There is also the concept that learning a style of Tai Chi , learning the postures of Tai Chi, learning another martial art, having learned to do everday walking, etc. is relatively EASY compared to the act of trying to change these things…changing these things is HARD. Unfortunately, my experience with MANY students bears this out for they personify what one might call “pigheaded resistance” in mind and body. Pigheaded in relying on prior notions of both thinking and tendencies.

Here is WHY: This is understandable, why shouldn’t it be , for it is natural for body and mind want to cling to information provided by the senses. eg. Once having learned to everyday walk, of course the body and mind resist change. I had an elderly man in my class who resisted learning the "basic walk" so much, he would slap his thighs say "this is stupid,I know how to walk" and continually resume everyday walking Another student would put both hands out to the sides like a tightrope walker, preferring to do everday walking instead of holding onto the wall, doing basic walking etc.

Therefore, It is absolutely necessary that a student’s beginning lessons of the principles be correct without compromise. A student asked once why it had to be “so difficult”. In light of what we know about our sensory “pigheaded” resistance to change, is it so much that the Tai Chi is difficult …or is it is more a case of your body and mind making things difficult ? If you can come to admit the latter, you have taken a good “pulling” step toward learning.

Raise angle of foot and raise the level of discussion

Notice anything about the angle of the foot as it is raised and the foot leaves the ground?

 In keeping with hopes for a "discussion" , I notice Master Hwa takes the time to do more than "poke" or "like" what is said on the Facebook page...he "comments". So, this is a test and a request with no end date to see who is actually reading what is written. Don't make this like the Yahoo group where there may be .01% reading and commenting. If you read this and ANY future posts, leave at least a small sentence about what you read. In turn, I will make every attempt to make my posts succinct. Thanks

Unvarnished truth in Classical Wu Style Tai Chi

                                                Good example of incorrect body structure/alignment

I get emails from students which for the most part I also cc to Master Hwa. This "answer" was also cc'd to Master Hwa:

Of late there has been quite a few that tell me of "previous experience" in Yang, Wu, Chen,  or other Wu styles,  or what is "seen on Youtube". I  also heard concerns of this ilk from many students who come to my studio. 

The unvarnished truth of this is: For a beginning student in this (regardless of previous experience in Yang, Wu, Chen, etc.)  there has to be concern over body structure or alignment so there is no point talking of what someone in another style or teacher does. There is no point in talking of what the intent or application is as well. 

In a proverbial sense one does not put the cart before the horse nor turn their head as if to dance with another teacher while learning Classical Wu Style Tai Chi.

See pp. i in the Introduction to Uncovering the Treasure by Stephen Hwa, PhD available on Amazon,  Create Space  for further information on body structure and alignment.

My concern is: If one admits being a beginning student then by default how can you not at least acknowledge that part of your attention will have to go to your correct/incorrect body structure or alignment? 

Inevitably, there will be incorrect body structure or alignment in learning this...

In light of this how do you propose to correct these Tai Chi postures coupled with thoughts of whether Young Wabu deviated from Wu Chien Chuan's teachings, or what was or was not emphasized with something else, or what intent/application is, or what is on youtube?

Concerns and questions of this ilk:

 "I watched youtube, I did Yang, Wu, Chen, this Wu teacher, that 

teacher is double weighted on Youtube, Young Wabu deviated from Wu Chien Chuan, 

What is the application of this because Yang does that, etc., etc".

Answer: I was not aware that youtube was the repository of what is correct in Tai Chi.

Answer: I was not aware that  other Wu Styles, Chen and Yang styles, etc.,  were a gold standard for this.

A start and "first lesson"

Subject: Lesson one question

The workshop info on the sight is from 2011.  I thought I’d send these questions to you in case the parea email address isn’t checked frequently, out dated or is not used.

Thank you

I have purchased the set of DVDs.  I showed my friend (Yang practitioner) and he says it’s the most complete DVD course he’s seen.   He pointed out the internal movement is not something that’s normally taught on video. He suggested doing the round lesson and then put the square form dvd  to do the same section or vice versa.

  

I am at the cross hands in the lessons but I have a question about tai chi walk and Lesson on opening moves. 

1.)    When doing tai chi walk when put my foot down with my heel raised I’m pretty flexible and can almost get my foot to 90 degrees.  When I tilt my pelvis I can’t put my foot down cleanly the heel can’t drop cleanly because the heel sort of gets in the way.  I have to decrease my angle to easily push my pelvis down and pull forward.  Is this a common occurrence?  It feels odd controlling the angle putting my foot down.  Can I decrease the angle?  I don’t think I compromise the stretch when I plant my foot.  This problem is more intensified when I wear shoes.

2.)    When doing the opening form on the first turn from south to west you end up on the toe of your right foot.  Before performing grasp the birds tail do you reestablish the right foot by lifting the toe of the right foot so I can plant the heal on the ground, pull forward  and then turn to the left 45 degrees.  I cannot tell from the video because it looks like a subtle move.  I have the issue in question 1 when doing this move and I think tucking the tailbone makes it worse since in can point my toe at an even greater angle.

Sorry to ask such questions so early in the DVD.  An extra question on form history

I was told Yang Luchan does his Yang form upright.  Brush knee was the example I was shown.  Yang Chengfu does brush knee leaning forward more like Wu.   How does the second generation change the posture from upright to a straight lean?

I have included Master Stephen Hwa's address at info@classicaltaichi.com and so a copy of this will go to him. This per his instructions on the web page.   I did the video editing and my own student did the videography, all of the teaching at the workshop is by Master Hwa.  I'm sure you understand as a student of his and out of respect,  I can only defer to him when it comes to questions about his DVD series.  I would rather that credit go to him for information and answers to questions.

That being said, it sounds like you are making good progress so I can certainly offer my encouragement, repeat what I have been told and not my opinion in light of what I have learned from Master Hwa:

I have reiterated your questions for convenience:

 1.) "How does the second generation change the posture from upright to a straight lean?"

2.) " Before performing grasp the birds tail do you reestablish the right foot by lifting the toe of the right foot so I can plant the heal on the ground, pull forward  and then turn to the left 45 degrees.?"

3.)  I have to decrease my angle to easily push my pelvis down and pull forward.  Is this a common occurrence?  It feels odd controlling the angle putting my foot down.  Can I decrease the angle? 

What I have learned myself: 

1.) Regarding any questions about why "second generation "changed" from upright to lean: I can only repeat what I am told to my limited understanding and ask you a question:   How could it be changed when it was already in a state where it was far ahead in its progress?  My teacher tells me Wu Chien Chuan told Young Wabu "it cannot be changed".  I see he  did not say it was changed or it was not changed... he said: "it cannot be changed". Over time,  I eventually began to undrstand this when I realized not only  the learning is multi generational but the eventual consequences...the "benefits" as well..."time" invested is the ultimate and deciding factor to all understanding. 

2.) When I had questions like this I would remember that my teacher would say "you perceive you are moving a certain way , but in fact you are not moving that way" and he would urge me to remember " sometimes the appearance of reality is actually an illusion" . For instance,  I would think he was moving  the quarter body movement a certain way and tried to do the same, later I found my observation was not correct, I was scrunching my chest.   I also find that I was advancing by learning all the form in a short period of time but from time to time I would take a turn for the worse.  He explained to me that was because I did not have a firm foundation under my form practice.  Once I "perceived" I was "familiar" with some movements, like quarter body I found I started getting careless.  This is another reason why I don't put much stock in answers to questions. I figure if I have questions and expect "answers" and not "experience" what good will it do? So, I find out things for myself and as Eddie Wu told me:  "the form is your treasure box, not mine"... Master Hwa says  the treasure is in a process of "Uncovering".

3.) I discovered through trial and error and as "plugging away"  that I continued to think I "got it" and yet  I did not.  I find the DVD series wonderful in that one can go to it hundreds of times with the same question, wherein there is no teacher that would listen to that same question hundreds of times in person.  He tells me this is why he incorporated several different views in his videos, so I could see his moves at different angles to decrease chances of a wrong impression.  I also find that viewing the "question" over several days with fresh eyes each day was of great help. 

I hope a reflection of my own experience  helps and I realize I do not supply you with answers. I  can only encourage you to continue with your study. I defer to my own teacher for his comments on your email and this is forwarded to him.

Jim R.

Classical Wu Style corrections

Classical Wu Style Tai Chi: corrections to "Fist under elbow, Repulse Monkey (19 and 20)..." and "Closing Tai Chi (108)"

Video link:  Classical Wu Style corrections...  (opens in a new window)


A 2011 Workshop by Stephen Hwa, student of Grandmaster Young Wabu, student of Great Grandmaster Wu Chien Chuan. The subject is on the Classical Wu Style Tai Chi  corrections to the forms of individual students.A good resource for this can be found in the DVD series available at: http://www.classicaltaichi.com .

Student: (regarding postures 19 and 20)  "From there to the square form on that, how far does the hand go up?"
"Is that correct on the square form?"  "Yes"  "But on the round form?"  "I'm sensing that this is...as I am coming back that my arms just follow this"   "Right"  "I don't how far to...(raise the right hand)   The hand has to be raised to face height "face position".

Master Hwa:  "I did not see you do the round form too many times because last few times you just started out"

Student:  (regarding posture 108) "On the last lesson I had trouble with turning around and this movement of the arms and hands"

Master Hwa:  "That part was correct, good" "The ending point, there is an extension here, then you go over and feet are parallel"

Student: "Is there a turn of the foot here where it goes straight?"  "Yes, you turn the foot parallel which is the starting position"

Master Hwa:  "So this move gives a you a practice of what THIS move is"  "I don't think there is any other place that one sees this move"  "You are doing it with feet parallel?"....  "This you do not really exert a lot of power because you are using the tip of the fingers, so any body position you can do this".  "This is not like push, where you better have the right structure, or the fist where you better have the right structure"  "Well the push would be of longer duration?"..."Yes, and you would need force, so I do this and his body is not going to move, you just do this"  "You are not going to need a lot of power, you just have to get the right direction and do it toward soft tissue.  If you do it with power you will break your fingers"  "So that is one place that you practice that"..."So that kind of move is coupled with a positional move of the foot and a stretch, it gives you more potential for any kind of angle?"..."Right".  "So the other hand and side  does not move very much". "So, you have to practice the other side and then in this case it would be the left hand and foot"

Posture 19 – Fist Under Elbow 
As the weight transfers to the left leg, the head turns to look at 
the right hand, the hooked hand opens, palm down and moves to 
low-position 
• 
Right side turns left 90 degree on right heel, aligning both 
thumbs on the center-line of the body, one at face-position and 
the other at low-position 
• 
Left side turns left 90 degrees on left heel 
• 
Right side turns left 90 degrees, right foot moves to the right 
and behind the left foot (Bow Stance), while right hand rises to 
become parallel with the left hand 
• 
Palms rotate to face each other as hands form hollow fists. Left 
fist sits above the right fist 
• 
Weight transfers to right leg as right fist moves under left 
elbow (Left empty step) 
• 
Left fist opens with palm facing up 
• 
Left toes push to the ground 
• 
Weight transfers to left leg causing the upper body to turn 
naturally right. 
• 
Upper body rotates left to face forward 

Posture 20 - Repulse Monkey Left and Right  
Left palm rotates clockwise to face right 
• 
Weight transfers to right leg as right fist opens and moves 
parallel to the left palm, palm facing left 
• 
Right elbow lowers bringing right palm to mid-position 
• 
Right palm rotates to face down as right forearm brings right 
palm to lower left hip 
• 
Left hip lifts left foot 
• 
Left foot moves backward, left palm rotates to the front and 
body movement moves right palm over right knee 

Posture 108 – Closing T’ai Chi 
Both palms rotate to face down, as the arms extend to the sides 
at shoulder level, the right foot turns counterclockwise 45 
degrees on the ball 
• 
The weight is transferred to the right leg 
• 
Arms close to shoulder width as the left foot is drawn right and 
parallel to the left foot at shoulder width 
• 
The body straightens as both arms pull back to a 90 degree bend, 
palms facing front 
• 
The palms & forearms are drawn forward & down to the mid-
position, as if pulled by the wrists 
• 
Pause slightly 
• 
The arms are lowered to the sides with the palms facing down, 
fingers pointing front 
• 
Wrists relax and fingers point down 

Classical Wu Style Tai Chi "Walk"

                                               Classical Wu Style Tai Chi "Walk"

Video of "Walking"

Notice that Master Stephen Hwa's front foot is tilted up high as he "sits back".  Holding onto a post or wall, etc. is a good way to insure that as well as the following technical points,  in addition to practicing the walking exercise shown in this Youtube video:  

WALKING 

1.) That you are NOT looking at the ground, this is mentioned in the accompanying video link
2.) That you are NOT so concerned about balance that you neglect these technical aspects
3.) That you do NOT lean back when "sitting back" , this is mentioned in the accompanying video.
4.) That you do NOT point the toes of your feet out at an angle when moving forward or back.
5.) That you do NOT push but pull with the leg going forward and backward
6.) That you do NOT push with leg but contract the abdomen in vigorously as you pull with either leg
7.) That you do NOT use a "waving" motion of the body as you contract and move, it is one piece

I'm writing this from Acton, California but here is Master Hwa teaching my students at a Kenmore, NY H.S. circa 2005. Notice that Master Hwa's foot has its TOE POINTING DOWN with no bend or "crimp" in toes as he lifts the leg USING THE CORE NOT JUST THE LEG MUSCLES.  Notice the 2 ladies watching it and getting it correct, and one of the men seems befuddled. 

 

This acts to relax the foot and contributes greatly to the ability of the core to lift the leg.  If the toe points "bends, crimps" up, then chances are you are tightening the muscles of the foot and thus crimping the ability of the core to lift. That induces the body into using "external" not "internal movement.  Think of the concept this way:  Make as tight a fist as you "white knuckle"  can and try to move your arm, the same "crimping" of energy and thus impedes core movement occurs when you tighten the foot.  The same holds true for kicking as walking, the more you relax the toe, the more the heel can extend. 

Transcript of video from 6:00:

Master Hwa:  I am very surprised at the response to the Youtube videos I have of "walking".  Most people seem to respond to them.  So the walking does strike a chord when people see it. Also, a lot of sites link to the walking. They really can see the value of it.  It really is such a foundation for the Tai Chi. It provides so many benefits.

Notice the following in the "forward fa jin" photo which really is the "forward" posture in "walking":

That you do NOT have a curve in your back when forward
That you are NOT vertical but tilting forward when forward
That you do NOT have the front knee extending past the toe
That you do NOT have a lax, bent back leg but you DO have a straight back leg with
That you do NOT have the back heel up in the air but you DO have it firmly on the ground

Wuji (無極) Positions & Zhan Zhuang (站桩) Applications for Classical Wu Style Taijiquan

The Wuji Form and application of Zhan Zhuang will now be presented. 

Authored by J.B. Milne and Stephen Hwa, Ph.D.

Authored and edited with audio and video presentation by J.E. Roach

Breathing will be done naturally. 

Here is the audio of this written explanation:

Wuji explanation 

Here is the written explanation of Wuji

Zhan Zhuang for Taijiquan Practice. The Wuji Positions allows the practitioner to relax the mind, while, adjusting, aligning, and balancing the body to produce correct postures. Zhan Zhuang Training, on the other hand, strengthens the tendons and ligaments, aids in balancing, teaches the muscles to relax, and identifies weaknesses not noticed while practicing the Form. This is important in helping to identify the proper placement of the heel and weighting of the empty foot. 

The Square Form of Classical Taijiquan, brush knee movement (on both right and left sides) is being used to illustrate how Wuji and  Zhan Zhuang can be applied at those stopping points for each position. Applying these training methods in addition to form practice will help the student in developing strength and proper form. Wuji is defined as nothingness, the beginning before intention and movement. Wuji is discussed in many Taijiquan Books written by both practitioners and masters alike. These writers mainly address Wuji in the Preparation Posture and/or the Closing Posture of the Taiji Form. As such, most readers are left to believe Wuji is only accomplished at the beginning and ending of the Taiji Form. However, this is not so. Wuji is practiced during every posture, that is, every posture begins with Wuji, moves into Taiji, and returns to Wuji.

Zhan Zhuang (standing like a stake, standing like a tree) Training is a way to relax both the nervous and muscular systems simultaneously. This is accomplished by combining exertion and relaxation simultaneously. Breathing is done by inhaling and exhaling gently through the nose while keeping the mouth closed and relaxed. The chest, stomach, and hips are in a relaxed state. Zhan Zhuang helps with the identification of the energy flow in the different positions and trains to keep the localized nerve activity dormant (Forum 6); as well as, strengthening the yin side of the posture for strong rooting and building power (Forum 7). There is no set time limit in Zhan Zhuang Training; however, the seasoned practitioner has been known to hold the positions in excess of twenty minutes. Some have claimed to be able to hold the positions for hours. It is important to remember, that as the tension builds in different parts of the body, to tell yourself to relax. (RELAX, RELAX, RELAX) Start with short time frames and increase the holding time slowly.

Here is the movie:

Wuji movie  "Right side"

Wuji movie "Left side " 

Here is the audio mp3 of the instructions:

Wuji audio instructions "Right side"

Wuji audio instruction   "Left side"

Here are the written instructions for "right side" Wuji:

(Instructions for "left side" Wuji are to be found in "Wuji instruction left side" above)

1) Beginning of Brush Knee Push Step

The right foot is flat on the ground supporting the body weight completely with the right knee bent slightly.

The left leg is straight without any pressure on the knee or left heel, left toes are extended as high as they will go, giving a slight stretch to the back of the leg.

The tailbone is tucked in and the head is stretched up by the neck muscles.

The shoulders are relaxed and the elbows are pointing down.

The palms are facing each other at shoulder width, with the right fingers pointing to the front and the left fingers pointing up.

Notice that a straight line could be drawn between the crown of the head, passing through the ear and knee to the right foot.

2) Transition one

In transition one, the only change to the beginning position is the left arm is held across the body with the palm facing down.

3) Transition two

In transition two, the only change to transition one is the left toes are touching the ground. All the weight is still maintained on the right foot.

4) End of Brush Knee Push Step

In the end posture of Brush Knee Push Step, both feet are flat on the ground with the left leg supporting the body.

The right leg is straight with a stretch between the Achilles Heel and the back of the neck.

The right palm has rotated to face front, thumb in line with the nose, and the left palm has moved across the left thigh.

Notice that a straight line could be drawn between the crown of the head, passing through the ear and knee to the left foot, as well as, between the right ear, right shoulder, and right knee to the right foot.

Classical Wu Style Tai Chi application of Hand Strums the Lute 手揮琵琶

Application of Hand Strums the Lute 手揮琵琶

"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."

Excerpt from: THE TREATISE ON T'AI CHI CH'UAN
Attributed to Wang Tsung-yueh
Researched by Lee Scheele

This application is demonstrated by Master Stephen Hwa here: Hand Strums the Lute

This describes the dynamic internal energy for the variation on Hand Strums the Lute 手揮琵琶
This variation of "hand strums the lute" occurs in the Classical Wu Style Tai Chi form a number of times (3) that precede and intersperse the repetitious movement in Parting the Wild Horse’s Mane 野馬分鬃.
The internal discipline of the movement itself comes from the core with the arms being largely immobile.  The lifting of the opponent comes from what might be called a lifting movement of the core at the waist.  An analogy might be described as opening the lid of a trunk with all the energy at the hinge. The body "opens" from a low to a high position wherein the student is inclining slightly back. One sees this type of vertical core movement "opening" in the "preparation" movement, the first movement of the form albeit without inclining.

Master Hwa:  "In the Jou Tsung Hwa's gathering I picked a guy to come at me.  He came at me, I sat back and threw him. Everybody (laughter) and I picked a big guy, so he came at me. So you see, let me do it slowly like in the form. It is really this move that is before "parting". This is a movement to handle people who come over the top at you and you do this.

Student: (laughter) that was hard for me to either lower myself or fall over.

Master Hwa;  You notice when a bigger person comes at me, I do not raise my hands.  My hands are still down here, I just lean the body back. With my arms down here they are very strong, if I raise them then I cannot lift him.

Student: All I felt was the integrity of your form, I did not feel any pressure.

Master Hwa:  Right. When I did it at the Jou Tsung Hwa festival, a guy that I threw, said "you do it very smoothly".  You do not feel any kind of forced movement. Very natural, I think.  This is why we never lift our hand over our head in the form or otherwise. If someone comes over the top I do this.  This looks like the hand is over the head but it is not.