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TACFIT Tactical Fitness Systems

The TACFIT26 Exercise Manual


Scott Sonnon, Chief Operations Officer
Copyright 2013 by RMAX International
All rights reserved.
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case of brief quotations embodied in critical articles and reviews.
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Atlanta, GA 31150
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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.
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ATTENTION:
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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
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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

Ape

48

Clubbell Two Handed Swipe

Quad Press Basic

49

Clubbell Gama Cast

Gecko

50

Clubbell Shoulder Park Squat

Base Switch Continuous

51

Clubbell Clockwork Squat

Base Switch Alternating

52

Clubbell Two Handed Head Cast

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.

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.

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.

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.

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; dont 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.

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 dont 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, dont 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.
Dont stand off the ball to hop up. Hop from sitting on the ball. Dont 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. Dont 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 dont 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. Dont 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.
Dont think jump but rather lean so that you dont 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 youve 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 dont 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. Dont 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
youre 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.

39

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. Dont 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.

40

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 youll have to
throw it from one grip to the next.
Clear the knee by swaying slightly in the direction of the side youre 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.

41

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.

42

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; dont 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.

43

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.

45

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.

46

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.

47

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.

48

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.

49

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. Dont 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.

50

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.

51

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.

52

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.

53

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 isnt 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. Dont 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.

54

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 youve 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.
Dont tuck your head down and curl your spine.
Return to a seated position, inhale through the nose before you exhale for the
next repetition.

55

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. Dont 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.

56

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.

57

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.

58

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.

59

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.

60

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. Dont 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.

61

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.

62

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 youre not
able to absorb smoothly, then regress back to the hopping quad press.

63

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.

64

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.

65

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.

66

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 youre
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. Dont 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.

67

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 dont force them parallel.)
Touch elbows to inner thighs, but dont 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.

68

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
dont 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 dont 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.

69

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 dont force them parallel.)
Touch elbows to inner thighs, but dont 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. Thats okay if youve 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.

70

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.

71

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 shoulders width distance. Lower yourself like your
back is sliding down the wall behind you. Dont bend at the hips; sit down spine
straight up. Dont round your back; keep it flat.
Exhale downward through the mouth. Inhale upward through the nose.
Keep your hands open, your fingers loose and dont 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 shoulders width apart. Right / Left
equals one full repetition.

72

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 shoulders width distance. Lower yourself like
your back is sliding down the wall behind you. Dont bend at the hips; sit down
spine straight up. Dont round your back; keep it flat.
Exhale downward through the mouth. Inhale upward through the nose.
Keep your hands open, your fingers loose and dont 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 shoulders width apart. Right / Left equals one full repetition.

73

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. Dont bend at the hips; sit down spine straight up.
Dont round your back; keep it flat. You may touch the mat with your rear knee
softly.
Keep your hands open, your fingers loose and dont 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.

74

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. Dont bend at the hips; sit down spine straight up.
Dont round your back; keep it flat. You may touch the mat with your rear knee
softly.
Keep your hands open, your fingers loose and dont 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.

75

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 youre 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.

77

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.

78

Chinup
Represented in Alpha, Foxtrot, India, Mike, Romeo and Zulu Programs.
In double underhand grip, no closer than shoulders 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.

79

Pullup
Represented in Alpha, Foxtrot, India, Mike, Romeo and Zulu Programs.
In double overhand grip no wider than shoulders 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.
Dont 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 dont 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.

87

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.

88

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.

90