Overall

• Posture: A breath or two as in ki breathin, and maintain that state of mind
• Line of sight: Keep face up: look forward, keep field of view wide
  
• Maai: After the throw, a moment in seishi ("shinn", the sound of silence), then take maai quickly

From Yoshida-sensei's seminar on August 16 2009:

• Posture: take a few steps in place, then up on tiptoes and down again
• Principle of non-dissension: this does not mean being passive and only reacting to what is done to you. "Ki is extending", emitting energy like the sun.
• Maai: 1) uke needs to take one step for attack to reach you 2) with uke's nose at the center of your focus, you can see uke down to his/her feet
• A distance at which your mind remains calm
  

Yokomenuchi

• Shiho nage
• Makikomi
• 8 no ji
• Koteoroshi
• Zenpo nage

Alternatives

• Kokyu nage irimi
• Kokyu nage juji
• Kokyu nage atemi
• Kokyu nage kirikaeshi
  

Overall

• Back about 2 mats diagonally on sagaru
• Hikitsuke front foot back
  
• Hands all the way to the bottom on catch: so that ukemi's arm follows its natural arc of movement from the shoulder without any interference

From Yoshida-sensei's seminar on August 16 2009:

• Uke strikes with "unbendable arm". Enter in hanmi and change quickly to other hanmi on striking. Get in close, then raise hand up just behind ear to strike.
• The principle of non-dissension: nage's attitude is welcome! please attack anytime! Ki is extending, so that you can deal with whatever happens. The attacker is at a disadvantage, because when you attack you always have a "suki" (opening) that nage can exploit.
  
• Move back when uke's ki moves
• Hand up so that uke's attack is deflected down
• As change hanmi
  
• Catch uke's hand at base of thumb and at wrist
  

Yokomenuchi shiho nage irimi

• Ukemi finger tips to their shoulder on throw, to ensure not twisting elbow or shoulder

For taigi 13

• Irimi entry: exchange places with ukemi (turn in place)
  
• Hands all the way down (this is seishi, "down", providing point of rhythm)
• Turn and throw is one line of movement
  
• Throw with BOTH hands (this "down" is next point of rhythm)

From May 2008 practice

• Very slightly on the diagonal going back (measuring the angle by the square mat, from the upper right corner to the around the middle of the back), this depends on the attack being performed correctly: coming in straight, then to the side at the last moment only to avoid an atemi from the front
• Go forward as close as possible to ukemi
• Turn far enough that your partner falls naturally

Yokomenuchi kokyu nage makikomi

• Enter straight forward

From May 2008 practice

• On the catch, maintain seishi (constant motion although you appear to be stopped) so as not to interfere with the arc of ukemi's strike
• Rather than wrapping your partner's arm around their neck, send it straight up

Yokomenuchi kokyu nage 8 no ji

• On bringing one arm back before tobikomi ("jump in [behind ukemi]") , arms are in relaxed yuminari ("bow-shaped") curve, rear hand is not higher than shoulder
• It helps to think of tobikomi as going straight forward, and ukemi will come into place naturally
  
• "Discard" ukemi's hand on the way down, as if tossing something lightly to the floor
  
• When doing udefuri waza bring hand down to thigh, don't bounce up. Consciousness of "down".

From May 2008 practice

• Seishi on the catch, as in makikomi
• Go as far forward as possible behind partner (we practice walking forward with cross-hand grab until you and your partner turn at the maximum extension of the arms); look forward, don't look at partner

Yokomenuchi koteoroshi enundo

As a series of up and down movements with the hands:

• left (guard) hand up (when ukemi strikes with right hand)
  
• right hand takes aite arm straight down
• left hand brings kote up
• right hand covers fingers and straight down on throw

For taigi 13:

• irimi entry
• don't go too far beyond ukemi (as if turning in place)
  
• look in direction of throw

From May 2008 practice

• Move far enough back so that you stay ahead of ukemi for the throw
• Face the way you are throwing

Yokomenuchi kokyu nage zenpo nage

• Hand on neck follows all the way down

From May 2008 practice

• The initial ikkyo deflects ukemi's intention to strike
• Then down to throw

Yokomenuchi kokyu nage irimi

• When ukemi ki moves is count "one", extend ki in ikkyo entry. Don't hesitate or prepare.
  
• One step forward on ikkyo entry, low and very narrow triangle. Toes point forward, rear foot hikizuke.
  
• Aim for mid-chest and elbow, so will contact at arm near shoulder and just below wrist.
• Drop hands without "pushing". Upper body remains straight.
  

• Entering on the "N" of "NOW" (今の「い」): Practice in pairs facing each other. One person raises their hand, and the other person tries to raise their hand at the same time. If you look at the hand, you will be too slow. If you wait for the physical movement you will be too slow. With your partner's nose in the center, have their whole body in your field of vision. "Calm your mind to one point", and when you sense a change, feel a change, "when the ki moves" that is the time. Your hand should rise simultaneously with your partner's.
  
• One point moves first. Then the hands. This applies to all the yokomenuchi waza.

• Don't jump! One point forward, ki up first, arms swing up. Weight underside.
• Flat to side, hand at wrist, hand at shoulder when standing next to ukemi.
  

Yokomenuchi kokyu nage juji

Breakdown

• Enter with ikkyo hand as "guide hand": this hand "links" to ukemi's attacking hand."Guide hand" leads motion of ukemi hand, first causing a hesitation
• Other hand up as "deflecting hand"
  
• Guide hand leads down across nage's chest
• Both hands out wide (cut ukemi at neck and under arm). In actual waza this is shortened and guide hand goes to back of ukemi neck, deflecting hand goes straight down
• Down, turn and drop in kokyu nage

Points

• Don't step forward! Perform in place.
  
• Enter on same timing as kokyu nage irimi "N" of "NOW"
• Enter straight in hanmi, get narrow
  
• Kokyu nage is straight down, straight up, straight down

• Use "sorasu" hand properly, don't block and receive the strike.
• Hand at neck for kokyu nage, keep ukemi close, needed for throw
  
• Kokyu nage hand goes straight down then up for up-down motion.
  

Yokomenuchi kokyu nage atemi

• Rear foot forward
  
• Enter on a straight line, exchange places with ukemi as in all irimi, so facing partner
  
• Enter very low
• Fist is palm up at obi before atemi

• Enter straight forward
• Rear foot sufficiently forward
• Intention to punch all the way through
  

Yokomenuchi kokyu nage kirikaeshi

• Big koshin waza back
• Let ukemi arm follow its arc all the way around
• Big zenshin waza forward
  
• Get close to ukemi
• Direction is ukemi's "forward" - let their fingertips lead the way

• Go back on the diagonal
  
• On catch of ukemi arm: teishi. Don't stop, but allow ukemi space and time to turn around.
• Zenshin waza straight ahead, emphasize up-down motion rather than forward.
  

Katatedori

• Onshi no gyoi
  
• Kirikaeshi
• Zenpo nage
• Shiho nage
• Ikkyo

Alternatives

• Boru nage
• Kokyu nage irimi (a)
• Kokyu nage irimi (b)
• Kosadori kokyu nage
• Kosadori kyoku nage makikaeshi
• Kosadori kokyu nage makikaeshi nage
• Kosadori kokyu nage kirikaeshi
  

Overall

• Lift hand with ki extending through the fingertips
• Fingertips point back toward yourself
  
• On tenkan, lift knees high!
  
• On tenkan, as if letting ukemi move your hand
• On tenkan, hand straight down to thigh, straight up after turn - move your body around that path
  
• Where you're looking (目線) leads
  

Katatedori tenkan kokyu nage "onshi no gyoi"

• Drop down "to bottom of universe", can visualize deep, deep hole
  
• Both hands go up, "infinitely up"
  
• Down vertically, "a different ki coming down"
  
• Very precise in sayu form: natural angle of hips, toes pointing, heel up lightly

Kaisho points

• Bend fingers, not wrist, toward yourself
  
• Step from front food, arm stays straight, not sideways, on tenkan; as if on top of ukemi arm (count 1)
  
• Foot goes back on tips of toes (count 2)
• Pull remaining foot in (count 3)
  
• Shoulder behind ukemi shoulder
• Angle of shoulders: a triangle is formed by the outside arms of nage and ukemi, extension from the tip of the middle finger of your grasped arm as the apex (planes of nage and ukemi bodies are angled slightly inward toward each other)
• Keep arm out in front of body, don't let it get pulled behind
  
• Walk forward, not backward
• Don't drop the present from the emperor ("onshi no gyoi"): keep finger tips up as drop hands
• Both hands up
  
• One foot steps behind ukemi
• Down into sayu waza

From May 2008 practice

• Move with the intention of turning 360 degrees - your partner probably won't go that far, but if you lower your intention the movement will be too small

From February 2009 practice

• Arm out long and relaxed
• Ki flow merges and through your fingertips
• After tenkan, if you lifted your free hand it would form a narrow triangle with uke's fingers at the tip
• Bring arm down over uke's face to throw
  

Katatedori kirikaeshi

• Narrow hanmi to start, tenkan to hanmi, hand up in front of face, palm to face
  
• Move from fingertips on tenkan back to original direction - then your hand will naturally come directly under ukemi's hand with fingers pointing down to the floor. In this way ukemi's weight is poised on your hand for the throw. You are perpendicular to ukemi.
  
• Throw straight down, and let your hand rebound up with palm up in partner's direction (et voila!)

From May 2008 practice

• Full tenkan to line up with your partner
  
• Big arm motions, kusshin (bend knees)
  
• Final throw down all the way

Katatedori zenpo nage

• Front foot hikitsuke back
  

Katatedori shiho nage

• Complete tenkan
• Bring hands straight up (not out and up), turn all the way round before throw
  
• Maintain く ("ku no ji") shape on shiho nage
• Shoulders down and open
  

Katatedori ikkyo tenkan

• Tenkan starts ukemi moving forward, don't stop the motion, continue around
• Take hand in ikkyo at very bottom
• Raise hands completely before tobikomu behind ukemi, don't stop the motion in between

From February 2009 practice

• Keep hand out when go down, don't pull uke in toward you
• Tobikomi (going behind uke) is very close to uke, not out to the side

From July 2009 practice

• Keep the "hand shake" angle of your wrist when circling partners arm around
  

Katatedori kokyu nage irimi (a)

• One step in hanmi, one more step
  
• Hand palm up over center of ukemi face
• Keep narrow
  

Katatedori kokyu nage irimi (b)

• One step forward, hand up over ukemi face as in kokyu nage irimi (a)
• Take ukemi wrist with free hand
• Continue as in kosadori kokyu nage
  

Katate kosadori kokyu nage

For taigi 11:

• Throw before hand is grabbed - lead ukemi
  

Katate kosadori kokyu nage makikaeshi

• From hand grasped by ukemi
• Bend fingertips in along ukemi wrist back toward yourself
• Bring down to your leg "like a caterpillar"
• Up and down again over ukemi's face
  

Katate kosadori kokyu nage makikaeshi nage

• Palm up
• Like shaking down a thermometer
• Up and down over ukemi's face
  

Katate kosadori kokyu nage kirikaeshi

• Go back as in ushirotekubidori
• Down, and give ukemi time
• Up and throw
  

Ushirotekubidori

• Zenpo nage
• Koteoroshi
• Uragaeshi
• Sankyo
• Ikkyo

Alternatives

• Shiho nage
• Kokyu nage

Overall

• Back in large arc
  
• Keep arm relaxed and extended in front, not opening out to the side
• Roll foot down from the very tips of the toes, not flat footed or from the ball of the foot
• Keep field of vision open, centered on partner's nose, not looking at the hand or to the side

Ushirotekubidori zenpo nage

• Inside foot out farther on throw
• Quickly return to upright position
  

Ushirotekubidori uragaeshi

• "Uragaeshi" refers to ukemi leaning so far back he or she falls
• The down hand is weight underside: an "anchor" for the throw
  
• The direction of the fingertips are key, they lead your partner back, then point down for the throw.
• Kaisho: Tamura-sensei style is step behind ukemi and feet together. Honbu style is step out sideways, feet as in sayu waza.
  

Ushirotekubidori ikkyo

• As hand comes down in front, thumb slides over partner's wrist
  

Ushirotekubidori shiho nage

• Turn into ukemi as they come around so that you are facing them
• Turn your inside hand around ukemi's wrist, palm over palm. Slip your thumb around their wrist, don't push. This starts ukemi moving, so follow through:
• Step forward into shiho nage
  

Ushirotekubidori sankyo

• Don't stop the motion of ukemi's fingertips as bring down for the pin
• Stroke lightly from shoulder to wrist

Shomenuchi

1. Kokyu nage
2. Kirikaeshi
3. Koteoroshi
4. Zenpo nage
5. Ikkyo tenkan

Alternatives

1. Ikkyo irimi
2. Nikyo
3. Sankyo
4. Yonkyo
5. Shiho nage

Overall

• Ikkyo entry to deflect the strike
• Then "help" ukemi's strike follow its trajectory down
  

Shomenuchi kokyu nage

• Count 1: one point moves, then hands up; count 2: down as turn; count 3: throw
• Hands go up, but one point stays in place
  
• Whole forearm to lightly cupped hand strokes down from ukemi's shoulder;
  
• Vertical motion from up to down; practice from standing still, soft hands (相手の表面意識はどうでも構わないで、潜在意識を氣導く）
  
• Down at one point (whole body, not just arm moving)
  
• Get leg out of the way: turn 180 (footwork as in udefuri choyaku waza)
• Emphasis on ki up infinitely, down infinitely, slight bend in knees on throw, fingertips aimed between ukemi's eyes, and maintain for a moment.

And this way:

• When your partner's ki moves, when you sense their intention to attack, count "ichi" in ki extension and then raise one hand as in the ikkyo exercise
• Step forward slightly from the front foot in hanmi, both hands forming a narrow triangle - as in triangular guard with bokken. Move into the same hanmi behind your partner
• Straight down, straight up, straight down.
• Hand at same position in front of thigh as udemawashi waza, palm slightly to outside

From June 2009 practice:

• Help your partner cut all the way down - "give them satisfaction"
  

Shomenuchi kirikaeshi

• Change hanmi in place as hand goes up in ikkyo waza - rear foot forward/or just swap right for left to make room for ukemi
  
• Hand down at partner's shoulder (don't reach behind trying to take hand)
  
• Kusshin (bend knees as in oneness rhythm), down deep with ukemi
  
• Down-up motion
  
• Let ukemi go far enough to want to come back in the other direction
• Keep feet in place, don't step out on throw
  
• Throw straight down
  
• Count: one (hand up in ikkyo, down, up), two (hand down in throw)

From June 2009 practice:

• Bring the hand down to the floor - give your partner the satisfaction of hitting as far as they want
• Then up high
• Throw straight down by curling down the little finger line
  

Shomenuchi koteoroshi

• Ikkyo entry deflects strike, then "help" ukemi follow strike down
  
• Complete tenkan (1, 2, 3 steps) - tenkan in place to stay close to partner
  
• So side-by-side with partner, looking in the same direction
  

Shomenuchi zenpo nage

• Exactly the same as munatsuki zenpo nage
• Look in direction ukemi will go on the throw
  

Shomenuchi ikkyo tenkan

• Feet as in udefuri choyaku waza
  
• Tobikomi: stay a bit in front of ukemi (don't go right behind as in kokyu nage)
• Let ukemi hand come into yours for ikkyo, don't grab
• Rear foot back deeply so you get close to ground keeping upper body upright, not bending over from the hips
• Hold arm lightly, "create a slide" for ukemi down to the ground
  
• Arm inside your knee as pin

From June 2009 practice

• Help your partner cut all the way down: give them satisfaction
  

Shomenuchi ikkyo irimi

• "Going up" motion
  
• Put hands up in ikkyo, count "ichi" then hands up, upper hand close to forehead (let your hand touch your forehead)
• Don't step forward, don't reach out
• "Ki de orosu" - drop arm with ki (goes up, then down), or as bow with arms going down
  
• Change hanmi (with opposite foot still forward- this is a better instruction than "cut your hips") to angle ukemi's shoulder lower than their hand
• Zenshin waza forward to lift ukemi up and forward

From June 2009 practice:

• Hands down as soon as touch partner arm
  

Munatsuki

1. Zenpo nage (gyaku hanmi (right))
2. Kaiten nage (gyaku hanmi (left))
   
3. Koteoroshi (ai hanmi (left))
   
4. Koteoroshi gyaku tenkan (ai hanmi (right))
   
5. Ikkyo (ai hanmi (left))

Alternatives
We've been told that sudori should no longer be included in the waza performed for dan testing.

Munatsuki kokyu nage (zenpo nage) "naminori"

• Hold partner's arm lightly
• Bring partner's hand down to the mat ("help them do a front roll"), not too far forward, not back towards them
• Use koshin waza to move back in time with ukemi's strike
• Down at wrist, up at upper arm, down with both hands on throw
  

Munatsuki koteoroshi gyaku tenkan

• Brush fist down as in munatsuki ikkyo, but don't hold - control with outside of your wrist
• "Gyaku tenkan" to the other side
  
• On taking wrist, face the same direction as partner, as in shomenuchi koteoroshi
  

Tantodori

1. Shomenuchi kokyu nage
2. Shomenuchi koteoroshi
3. Yokomenuchi shiho nage irimi
4. Munatsuki koteoroshi
5. Munatsuki ikkyo

Alternatives

1. Sakatemochi yokomenuchi gokyo

Overall

• Maai is bigger - by the length of the tanto
  

Shomenuchi kokyu nage (tantodori)

• Count 1: one point moves, then hands up; count 2: down as turn; count 3: throw
• Keep partner's head in close on the turn
• In narrow hanmi after throw
  
• Hold in 3 kyo with ki as go around, keep own wrist flat

Points from 27 April 2008 seminar:

• Hand at neck uses the line from thumb to little finger around the base of the hand (not thumb and forefinger)
• Take hand with tanto to the outside of your right leg after the throw (where the right leg ends up on the throw, don't step it forward)
• Hold lightly - if you grip tightly you are telling ukemi 'hold tight'
• Take the tanto as you are going around, not after ukemi has a chance to settle down

From May 2008 practice:

• Don't go too far forward
• Bring hand at partner's neck up into your shoulder

Points from 5 October 2008 seminar (in addition to April):

• Move when partner's ki moves
  
• Ikkyo waza straight up at the center deflects the strike
• Straight down, up, down. Completely relax and use natural rhythm of falling. Both hands move at the same time.
  
• After taking the tanto, hold partner's hand to your left leg, take out the slack of the sankyo hold.

Points from 20 December advanced class:

• Stroke opponent's arm straight down from the shoulder using the hand from the base of the little finger
• Straight down.
  

Shomenuchi koteoroshi (tantodori)

• Udefuri choyaku waza far enough forward to line up shoulders with ukemi
• Down with hand as ukemi goes down (help them bring their hand down)
  
• Be sure blade is turned to floor as do koteoroshi (see munatsuki koteoroshi)

From 27 April 2008 seminar:

• Go down with both hands lightly

From May 2008 practice:

• Keep hands in ikkyo triangle
• Can do a back skip on the throw for larger motion
  
• Kensei ("on guard") to rear: narrow posture as in udefuri choyaku undo

From 5 October 2008 seminar

• Front foot steps lightly in place to start the tenkan, not a big step forward.
  
• Ikkyo movement to the center, make sure your hand doesn't end up under the blade "catching" it.
• Let your partner's hand go down (it's not you grabbing and pushing down). Go down and up lightly together. If your grab, you stop your partner's motion.
• Slide free hand up over partner's hand and down straight for the throw. Don't twist!

From 20 December advanced class

• Turn blade toward opponent to throw
• Slide hand up over opponent's hand to take tanto without cutting own fingers
  

Yokomenuchi shiho nage (tantodori)

• oIrimi straight forward, change places
• On the catch, thumb on base of tanto
• When step forward, tanto between you and partner
• On the turn, little finger of hand (near partner) goes over back of blade
• Hand away from partner throws and hand near partner takes tanto
  
• (This means blade is up when you take the tanto, so hold perpendicular to arm, not parallel)

Also

• Seishi on catch, but rest of waza as one motion

From 27 April 2008 seminar

• Enter straight forward, guard head with ikkyo hand, "give an atemi feeling" as you go, drop the tanto straight down in front
• Throw with the left hand
• Hold lightly - if you grasp tightly you're telling ukemi to hold tight
  
• Right hand takes tanto mine (back of blade) side; turn the hilt with your thumb as you bring your hand down to turn the blade the right way

From May 2008 practice

• Outside hand throws, inside hand little finger over back of blade to take it

From 5 October 2008 seminar (in addition to April)

• Turn blade to floor completely before putting right hand on mine to take the tanto
  

Munatsuki koteoroshi (tantodori)

• Enter slightly as if to do atemi to ukemi's side under striking arm
  
• Don't interfere with ukemi's ki/motion
• Hand down from ukemi's shoulder to hand
• Hold as far forward on ukemi's hand as possible without holding the blade (want to control the tip of the weapon).
• Take care of angle of your hand to prevent being cut across the stomach.
  
• Free hand comes down over back of blade, with blade between thumb and flat of hand
• This hand drops just a bit faster than the hand holding ukemi's wrist, to take the tanto as he/she falls
• If you don't take the tanto at that point, keep the blade down as turn ukemi for a standing pin, bend ukemi's wrist further to loosen his/her grip

From May 2008 practice

• Rhythm: give partner time to go all the way forward and return back up on their own

From 5 October 2008 seminar

• Front foot steps lightly in place to start the tenkan, not a big step forward.
  
• Slide free hand up over partner's hand and down straight for the throw. Don't twist!

From 8 November 2008 practice

• Left foot fumikae, back step/skip to get distance on ukemi

From 20 December 2008 advanced class

• Hand to prevent being cut across the stomach on tenkan (thumb is down, palm outward)
• Go down from elbow and one point (as in katatedori tenkan kokyu nage) to prevent being cut across the legs
  

Munatsuki ikkyo (tantodori)

• Back slightly on the diagonal
• Keep rhythm of down, down
• Step forward with lead foot, hikitsuke
• Rear hip cuts forward (as if into ukemi armpit) so ukemi's shoulder is lower than his/her hand
• Zenshin waza foward
• Fold hand toward ukemi's head to release tanto

From 27 April 2008 seminar:

• Your hand (shuto) rather to the inside of ukemi's wrist so they can't cut into you, draw ukemi forward
  
• Bring ukemi's hand out from the shoulder ("nobasu" in direction they are extending ki) when swinging hand over in ikkyo. If you push into the shoulder, everything stops.

From 5 October 2008 seminar (in additon to April)

• Ikkyo pin: use the hand from the base of the thumb to the base of the little finger to pin the arm.
  

Bokkendori (aka tachidori)

1. Shomenuchi kokyu nage
   
2. Shomenuchi koteoroshi
3. Shomenuchi zenpo nage
4. Yokomenuchi shiho nage
5. Munatsuki koteoroshi
   

Alternatives

• Doubarai kokyu nage
  
• Yokomenuchi kokyu nage irimi
  
• Munatsuki sudori (not for dan test)

Overall

• Enter far enough not cut from the side, and enter with intention to do atemi (so not leaning back or hunched over trying to "avoid" the weapon)
  

Sakatemochi gokyo (tantodori)

• Ikkyo straight up the center line, but in very narrow triangle with your body sideways. Aim up the center, and your hands will naturally contact and slide to left hand at ukemi's lower arm and right hand near the chest.
• Right hand takes ukemi wrist.
• Go straight forward behind ukemi as in ikkyo tenkan
• Gokyo pin
  

Shomenuchi kokyu nage (bokkendori)

• Nage can throw from both right and left

• Count 1: one point moves, then hands up; count 2: down as turn; count 3: throw
• When dropping ukemi's arms down, rather than one arm or the other, your hand drops in front of ukemi's face to lead down and up
• Sandwich blade between upper arm and side as turn for pin
• Keep 3 kyo as turn (especially on left entry, 3 kyo is key to turning ukemi over)
  

Shomenuchi koteoroshi (bokkendori)

• Turn blade away from you, toward partner and down as throw
• "Get narrow": throw ukemi along line of bokken, on a diagonal line in front of your body rather than straight back where they came from
  

Shomenuchi zenpo nage (bokkendori)

• Right foot steps forward slightly (or leave in place), right hand up (enter the OPPOSITE side from kokyu nage)
• Pivot to face direction partner is looking (do not bring left foot around in tenkan), right hand comes down on ken between partner's hands, in rhythm with the down stroke
• Step with left foot to skip forward right foot high, right hand slides up to partner's front hand as bring the tip of the ken up
• And down to throw
  

Doubarai kokyu nage (bokkendori)

• Ukemi can cut both to right and left
• Ukemi raises bokken as in shomenuchi, then down at angle to side between ribs and hip. Off the line as in yokomenuchi. One count for the strike, not two.
  
• Throw as in shomenuchi kokyu nage
  

Yokomenuchi shiho nage (bokkendori)

• Enter straight forward (as if to grab around partner's waist): the safest place is right next to your attacker!
• One hand on each of partner's hands, all the way down, with mind and body unified
• Two steps forward, "cut your partner's legs, not your own"
• Raise hands, then turn, ken down behind partner's head so they are leaning over backwards
  
• Left hand changes grip over ukemi's hand to hold ken between ukemi's hands
• Right hand throws
• Put ken away upright behind your left arm
  

Munatsuki koteoroshi (bokkendori)

• Enter: more than bare hand munatsuki, as if irimi, to prevent being cut from the front when you are standing next to ukemi
• On up, your free hand takes the base of the sword in between ukemi's hands
• And turns the blade of the sword down to the ground as you drop the other hand in kote oroshi
• Katame: around ukemi's head as in bare hand, then to standing katame with ukemi in 3 kyo.

From 2009/05/25

• Left hand takes kote over partner's hand
• Down, then up but not too far up: about waist height
• Right hand from below between partner's hands turns blade into partner
• Partner's wrist as axis when turning over
  

Kengi 1& 2

• Kengi 1
• Kengi 2

On tsuki, go foward one ken.

Jogi 1& 2

• Jogi 1
• Jogi 2

Overall

Hold the jo lightly! The jo wants to move freely, so let it - and go along. Use your body to express what is going on: the body reflects the state of your mind.

Kengi 1

• 9-10, 11-12: turn far enough that body is facing direction of cut ("your belly button is facing where you are going to cut") and the blade is straight down
  

Kengi 2

Begins in kamae.

1. (1-4 can be practiced with a partner(A and B). 1) Right foot crosses to left in front of left foot, slightly ahead on diagonal, to get sufficiently off the line of B's shomen uchi. Turn blade flat to left, left hand remains in place as right hand guides tip of sword to cut B's wrists from right to left, upward angle. (B steps back, sword up overhead). The extended line from the tip of the sword slices straight, not in a curve (えぐるな）. Visualization of "slicing" with a sharp blade is essential. You can practice with the left hand only.
   
2. 2) Left foot forward, cut hips sideways. Turn blade flat to right and cut B's neck under the jawline across the carotid artery. Don't step too far forward or you will not be in place to cut to the neck. In narrow hanmi with your body inside the triangle. (B cuts hips to face A (doesn't move feet), turns blade to right, blocks. Point of sword aimed between A's eyes. Triangular guard. Control with ki (氣で抑える）. Count 1 & 2 are only one count (一呼吸).
3. 3) Right foot forward (foot around in arc with sword crossing sword, control at point of contact throughout as in jogi 1 3 to 4 (yokomenuchi to reverse yokomenuchi)), off the straight line, yokomenuchi.　(B steps back, turns blade left, blocks).
   
4. 4) Left foot forward (foot around in arc with sword crossing as above), off the straight line, reverse yokomenuchi. Leave the tip of the sword in place, raise the base overhead and cut. (B steps back, turns blade right, blocks). Be sure that 3 and 4 are clearly yokomenuchi, and you are off the line as you go in! In 3) and 4) your opponent is retreating, so don't pull back, don't "get out of the way." The tip of the ken doesn't really move - ki is extending through it forward.
5. 5) Turn to face opponent behind, sword overhead, shomen uchi.
   
6. 6) Tsuki
7. 7) Turn to face opponent behind, sword overhead, shomen uchi.
   
8. 8) Tsuki
9. (9 - 10 can be practiced with a partner). 9) "Turn around in place". From left hanmi, left foot forward and change positions with B with sword crossing sword, control at point of contact, swords almost vertical at closest point. You and your opponent change places as you both cut. Jump and cut as you are in the air.
   
10. 10) "Tsuki as move forward". From right hanmi, right foot forward and tsuki forward as change positions with B with sword crossing sword. The same as 9), but from a greater distance. In 9 and 10, both A and B have ki extending; look at your opponent's whole body/movement, do not focus only on the hands/sword or the face. Go straight ahead, do not pull back or avoid your opponent.
    
11. 11) Tsuki
12. 12) Sword up overhead, right foot forward, cut down on diagonal from right to left (袈裟掛け　kesagake). Hikitsuke feet. Cut with left hand, not right!
    
13. Turn 360, sword overhead in jodan. After the spin, one count of seishi in jodan. Then bring ken down from the tip, ki extending from the tip of the ken to inbetween your partner's eyes.

Sword back to sheath, bow.

Jogi 1

1 - 4, 9 - 13, 14 - 17 can be practiced with a partner with a bokken.

• 1) and 2) Tsuki to partner's right wrist, go back on diagonal to get off the line of partner's shomenuchi in response, up overhead on guard. On the thrust, the elbow of the right arm stays bent, so the upper right arm stays close to the body. Rotate the jo until the palm of the right hand is turned up to the ceiling. Keep in a very narrow hanmi (left toes, shoulder, chin pointing forward, body is sideways). When moving back, keep the jo down at the level of your hips. On bringing jo overhead, keep a triangular guard with the tip of the jo pointing between your opponent's eyes.
  
• 3) Step forward, yokomenuchi (to the temple), making sure to go forward in an arc, not on a straight line. 4) Maintain control at point of contact with bokken as move forward for reverse yokomenuchi. Move forward enough to be able to keep your opponent's weapon in control. Go forward one and one-half ken (the length of a tatami mat) with 3) and 4).
  
• 5) Face the other way, aim tsuki at opponent's knee.
  
• 6) Change grip and tsuki to right wrist, return and up overhead.
  
• 7) Yokomenuchi to 8) reverse yokomenuchi. Go forward one and one-half ken.
  
• 9) From behind, partner cuts with shomenuchi. Right foot goes to the left and a bit forward, your body off the line as bring jo down from overhead to bring the bokken down. Take care that your left hand stays down at your hip, not pulling up and taking the power out of the swing.
  
• 10) Move forward from right foot and tsuki up into opponent's face.
• 11) Reverse yokomenuchi. Take care not to abbreviate these reverse yokomenuchi when moving at speed!
  
• 12) Change grip and tsuki to right wrist, return and up overhead. You are now at your starting position.
  
• 13) With jo overhead, change grip and shomenuchi (or yokomenuchi); koshin waza backwards (strike, then move back - or at most strike with one knee up ready to move back: this avoids trying to strike while leaning forward, arms outstretched. "Kensei" with jo to rear.
  
• 14) Step forward and sweep up with jo to knock bokken up, bring jo far around to right side (your left hand about at your right shoulder).
  
• 15) Step forward and tsuki to chest.
• 16) Change grip, step forward (from left foot again) and tsuki to right wrist, return up overhead. You are now at your starting position.
  
• 17) With jo overhead, change grip and shomenuchi, move back and down to floor, only enough room for your fingers between the jo and the floor. "Kensei" with jo to rear, aim at opponent's toes.
• 18) Step forward and sweep up at opponent's shin.
• 19) Step forward and tsuki aiming at fallen opponent.
• 20) Change grip and tsuki to right wrist, bring jo to kensei to rear.
• 21) Sweep up from below as change hanmi. Left hand draws a sharp curve up from the right hip and then down to the left hip as the tip of the jo swings up. Bring the right foot back into hanmi as the left hand goes down to the left hip.
  
• 22) Change grip and tsuki (in place) to opponent's chest.
  
• Change grip and do 1) again.
  

Jogi 2

In addition to jogi 1

• 3) After the yokomen strike, create an opening for your opponent by putting your jo away behind your arm. Rotate the jo vertically.
  
• 4) As your opponent strikes with shomenuchi, right foot moves to left forward diagonal to get your body off the line of the strike. Right hand swings the jo up and down over the ken to bring it down. Left hand waits at your left hip to catch the base of the jo.
  
• 17) From right to left to sweep up your opponent's weapon. Left hand doesn't change position much.
  

Taninzugake (multiple attackers)

• Open a path (bring front foot to rear) when ki reaches you, i.e. when ukemi is committed
  
• Keep elbows down and close to the body, hands move straight down to throw
  
• Get close ("welcome" ukemi)