I agree. Rolling the elbows doesn't seem to help me grip the gun more forcefully and it is fatiguing to my arms and shoulders. It also makes me feel like I'm bound up when moving the gun from target to target. It doesn't work at all for me when shooting on the move.
Last edited by Amp; 01-12-2020 at 01:02 PM.
I advocate for a similar methodology. I don’t speak for Robert.
Losing pressure and contact with the lower edges of one’s hand and the lowest portion of the pistol’s grip, incidental to rolling the elbows over, is generally a non-issue for me and those folks that I’ve taught. The gap opens up eventually, irrespective of the expressed grip strength of the hands, once the chest and back muscles are sufficiently engaged; it’s not even a contest. Maximum skin contact with the pistol is a method, not an outcome; and when measuring the efficacy of a shooting grip, outcomes are more properly measured in such terms as relative split times and/or the relative angular deviations or lack thereof in the wrist while firing.
Wringing pressure applied to the upper reaches of the pistol generally pairs best with a support-hand thumb advanced further forwards, without necessarily having to bend that wrist downwards to the limits of its range of motion. This also deconflicts most slide-stop/release levers , provides for superior trigger management, and creeps the overall shooting grip closer to the boreline thus yielding more efficient recoil management.
Given the requirement for both arms to be equally extended; whether that be at full extension, a compressed ready position at full-wring for engaging proximal threats, or anywhere in-between the two; it is desirable to work barricades with the choice in leading leg/knee being matched to what side you’re working (e.g. right leg advanced if working a right-side corner) and the shooter deepening their working of it by “lungeing” (e.g. feet remain generally put, lead knee bends more as the shooter drives off of their trailing foot raising the heel as they work deeper into it). The hips remain square with the unknown.
Jules
Runcible Works