Wu Dang Sword Method - trans by Scott M. Rodell

散劍法

練散劍。分三種方法。第一原地對擊法。活用手腕。與人擊刺。使心眼手三者合為一氣是也。第二行動對擊法。以手法步法與人對擊。第三活用身法。手法。步法。忽前忽後。聲東擊西。或上或下。奔騰飄忽。劍行如電。身行如龍是也。

Sàn jiàn fǎ

Liàn sàn jiàn. Fēn sānzhǒng fāngfǎ. Dì yī yuán dì duì jī fǎ. Huóyòng shǒuwàn. Yǔ rén jī cì. Shǐ xīnyǎn shǒu sān zhě hé wéi yīqì shì yě. Dì èr háng dòng duì jī fǎ. Yǐ shǒufǎ bù fǎ yǔ rén duì jī. Dì sān huóyòng shēn fǎ. Shǒufǎ. Bù fǎ. Hū qián hū hòu. Shēngdōngjīxī. Huò shàng huò xià. Bēnténg piāohū. Jiàn háng rú diàn. Shēn háng rú lóng shì yě.

Free Swordplay

The practice of free swordplay is divided into three methods.
The first method is standing in place striking at each other, adapting with a lively wrist. The intention is for the eyes, mind, and hand, these three to become one qì.
The second method is moving and striking. Use hand technique and footwork for swordplay. 
The third method is a lively, adaptive body.
Hand techniques, footwork, back and forth, make a noise in the east and attack in the west, sometimes high, sometimes low, moving fast and unpredictable, the sword moves like lightening. The body moves like a dragon.

Commentary and Notes: In this chapter on swordplay, the author follows a common plan of development seen in Chinese martial arts, namely moving from fixed step two-person exercises to moving step set routines. Naturally, students commence training in these exercises after techniques have been learned and thoroughly practiced through solo forms and drills. Once the student has integrated the hand techniques with their footwork through the moving-step two-person forms, they can then move on to actual free play.

A common error, particularly amongst newer sword students is to always give distance, retreating to neutralize attacks. The problem with this is that once out of distance, one cannot counter-cut. This allows the opponent to control the flow of the action. By making sure the beginning swordsman has a sound foundation in his or her hand techniques, meaning he or she can properly deflect and counter-cut before adding footwork to the response to an attack, the student prevents this error of excessive or unnecessary footwork. 

The author describes developing a lively wrist as part of the first step in learning free sword. The word for lively used here is huó (活). Huó means loose or lively, but in this context it does not simply mean the the ligaments are loose and adequately stretched out. It means that one is able to adapt quickly and easily to any given situation. The quick changes that provide jiànfǎ with its versatility, rely on this lively wrist.

“Make a sound in the east, hit in the west” is a classic Chinese strategy idiom for creating a diversion.

-Scott M. Rodell

Found Here

Fundamentals of the Wudang Sword Method - trans by Scott Rodell

心空歌
歌曰。手心空。使劍活。足心空。行步捷。頂心空。身眼一。

Xīn kōng Gē
Gē yuē. Shǒuxīn kōng. Shǐ jiàn huó. Zú xīn kōng. Xíng bù jié. Dǐng xīn kōng. Shēn yǎn yī.

Song of Empty Mind
The song says
With palm empty, the sword is lively.
With the center of the foot empty, the footwork is nimble.
With the topknot empty, the entire body is one.

Commentary and Notes: This short “song” describes the body once one is free from premeditated action. Simply put, when one is not predisposed to use a certain cut, one is free to cut in any manner. Likewise, when one is not planning on stepping here or there, one will freely move anywhere. When one is not thinking ahead without attachment to a certain action of set of rules, but “empty” in the moment, one is free from dogmatic actions, and can clearly see without the filters of habit and prejudice moving with true freedom.
The topknot refers to a daoist hairstyle where long hair is wound up into a knot that sits atop the apex of the head, held in place by a peg. “Keeping the topknot empty” means not hanging the head, inclining the body forward, nor titling the head back, so that it is pulling the body backward off balance.

Quoted from-
Fundamentals of the Wudang Sword Method - Selected Translations with Commentary from a Manual of Chinese Swordsmanship

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Tai Chi/ Taiji - The Exact Clear Method - Translation by Scott Rodell

太極指明法（太極拳使用法，楊澄甫）
Tàijí zhǐmíng fǎ (tàijí quán shǐyòng fǎ, Yáng Chéngfu)

The Exact, Clear method in Taiji
quoted from Yang Chengfu’s Taijiquan Applications, trans. Scott M. Rodell

用勁不對，不用力不對，綿而有剛對；
丟不對，頂不對，不丟不頂對；
沾不對，不沾不對，不即不離對；
浮不對，重不對，輕靈松沉對；
膽大不對，膽小不對，膽要壯而心要細對；
打人不對，不打人不對，將敵治心服對。

Yòngjìng bùduì, bùyòng lì bùduì, mián ér yǒu gāng duì;
diū bùduì, dǐng bùduì, bù diū bù dǐng duì;
zhān bùduì, bù zhān bùduì, bù jí bù lí duì;
fú bùduì, zhòng bùduì, qīng líng sōng chén duì;
dǎn dà bùduì, dǎn xiǎo bùduì, dǎn yào zhuàng ér xīn yào xì duì;
dǎ rén bùduì, bù dǎ rén bùduì, jiāng dí zhì xīnfú duì.

Using internal power is not correct, not using muscle strength is not correct, soft but with hardness is correct;
to lose (contact) is not correct, to resist the flow* is not correct, to not lose contact and not resist is correct;
to stick is not correct, to not stick is not correct, not too close not too far is correct;
floating is not correct, sinking is not correct, agile and spirited, loose and sunk is correct;
being bold is not correct, being timid is not correct, being courageous with the mind finely focused is correct,
hitting people is not correct, not hitting people is not correct, the rival controlled so that he’s heart submits is correct.

Some Notes and commentary-
The title of this brief treatise is difficult to render into nice sounding English. The literal idea is that these words clearly outline the correct way to practice taijiquan. Douglas Wile chose to translate the title as, “The Method of Achieving Perfect Clarity in T’ai-chi.”

In the second line, I translated the character dǐng as “resist the flow.” It could also be translated as butting, as in banging one’s head forward. The meaning of dǐng here is to move in opposition to the direction of force. The idea of this line being that one should listen to the duifang and neither resist his or her actions or pull away dodging them, but rather to join with the action’s momentum using it to one’s own advantage. The third line reinforces and adds detail to the previous line pointing out that simply sticking to the duifang is not correct. There is an optimal distance for any set of techniques. One has to be at the correct distance in order to effectively apply the techniques trained in taijiquan. The phrase, “bù jí bù lí,” is a common expression in vernacular Chinese simply meaning, “not too close or too far.”

Source:steelandcotton

Sword Method Required Knowledge translation by Scott Rodell