Gyokko Ryu New

Gyokko Ryu Kosshi-jutsu Bujinkan (Geki Ryu) Dojo
Gyokko Ryu
Jewelled Tiger School
Kosshi Jutsu

Gyokko Ry Kosshi-jutsu
Mokuroku
Taihenjutsu
o Zenpo Kaiten
o Soku Ho Kaiten
o Koho Kaiten
o Zenpo Tenkai
o Koho Tenkai
o Sokuho Tenkai
o Yoko Nagare
o Tate Nagare
o Zenpo Ukemi
o Zenpo Sayu Jge Choyaku
Ken
o Kikaku Ken
o Shuki Ken
o () Fudo Ken (Nio Ken)
o () Kiten Ken (Shuto)
o Shishin Ken
o Shitan Ken
o () Shako Ken (Shihan Ken)
Gyokko Ryu Kosshijutsu
o Shito Ken
o Shiyaku Ken
o Shikan Ken
o Koppo Ken
o Happa Ken
o Tai Ken
Keri
o Sokuyaku Ken
o Sokki Ken
Bujinkan Lincoln Dojo
o Sokugyaku Ken
Kamae
o Hira No Kamae
o Ichimonji No Kamae
o Jumonji No Kamae
o Hicho No Kamae
o Tenchi Inyo No Kamae
o Kohen Komochi Tora
o Ryuko Fusetsu No Kamae
o Futen Goshin No Kamae
o Han No Hanitsu No Kamae
Gassho Rei
o Ten Ryaku Uchu Gassho
o Futen Goshin Gassho
o Han No Hanitsu Gassho
Taihenjutsu Kihon Gata
o Hira No Kamae
o Ichimonji No Kamae
o Jmonji No Kamae
Moto Gata
o Migi Ichimonji No Kamae
o Hidari Ichimonji No Kamae
o Migi Hich No Kamae
o Hidari Hich No Kamae
o Migi Jmonji No Kamae
Torite Kihon Gata
o Soni Ichi
o Soni Ni
o Sono San
o Sono Yon
o Sono Go
o Sono Roku
o Sono Shichi
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Bujinkan (Geki Ryu) Dojo
o Sono Hachi
o Sono Kyu
o Sono Ju
J Ryaku No Maki
o Kok
o Renyo
o Danshu
o Danshi
o Saka Nagare
o Ke
o Hane Bi
o Ket
o Yubi Kudaki
o Ketsu Myaku
o Sakketsu
o Tei Ken
Ch Ryaku No Maki
o Ujaku
o Seit
o
Dashin
o Krai
o Hosen
o K
o Shien
o Hraku
Ge Ryaku No Maki
o U Shun
o Shun Soku
o Ichi Geki
o Kai Soku
o K Ryaku
o Iai F
o Chingan
o Fm
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GYOKKO RYU
Jeweled Tiger School
(Kosshi Jutsu)
Kamae
San Dan Kamae
1. Ichimonji No Kamae
2. Hicho No Kamae
3. Jumonji No Kamae
Sanshin No Kata
1. Chi No Kata
2. Sui No Kata
3. Ka No Kata
4. Fu No Kata
5. Ku No Kata
Taihen Kihon
1.
2.
3,
Taihenjutsu Muto Dori No Kata

1. Hira No Kamae
3. Jumonji No Kamae
Ki Gata
1. Migi Ichimonji No Kamae
2. Hidari Ichimonji No Kamae
3. Migi Hicho No Kamae
4. Hidari Hicho No Kamae
5. Jumonji No Kamae
Torite Kihon Gata

1. Migi Omote Gyaku
2. Hidari Omote Gyaku
3. Migi Omote Gyaku Henka
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4. Hidari Omote Gyaku Henka

5. Migi Ura Gyaku
6. Hidari Ura Gyaku
7. Migi Jigoku Dori
8. Hidari Jigoku Dori
9. Migi Musha Dori
10. Hidari Musha Dori
Jo Ryaku No Maki
1. Koku
2. Renyo
3. Dan Shu
4. Dan Shi
5. Saka Nagare
6. Keo
7. Hane Bi
8. Keto
9. Yubi Kudaki
10. Ketsu Miyaku
11. Sakketsu
12. Tei Ken
Chu Ryaku No Maki

1. U Jaku
2. Seito
3. Da Shin
4. Hosen
5. Ko Rai
6. Ko
7. Shien
8. Ho Ryaku
Ge Ryaku No Maki
1. Shun U
2. Shun Soku
3. Ichi Geki
4. Kai Soku
5. Ko Ryaku
6. Iai Fuji
7. Shin Gan
8. Fu U
Sanshin No Kata - Bojutsu

1. Chi No Kata
2. Sui No Kata
3. Ka No Kata
4. Fu No Kata
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5. Ku No Kata
Sanshin No Kata - Kenjutsu
1. Chi No Kata
2. Sui No Kata
3. Ka No Kata
4. Fu No Kata
5. Ku No Kata
Kuden/Hiden
1. Ten Ryaku Uchu Gassho
2. Chi Ryaku Futen Goshin Gassho
3. Jin Ryaku Chi Sui Ka Fu Henka Ryaku Hanno Hon Itsu Gassho
Appendix
Kotsu
Kihon Happo Quotes
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The Gyokko Ryu Kosshijutsu is a famous taijutsu tradition. Its original name was
Gyokko Ryu Ninpo. The source of this is from Hakuun Ryu Ninpo.
In ancient Japan, Gyokko Ryu was the oldest as a Kosshijutsu, and is the main of
Ninpo Taijutsu. In older times it was Shitojutsu (fingertip techniques), later
Kosshijutsu (finger joint techniques). Koto Ryu Koppojutsu is from the Gyokko Ryu
Kosshijutsu line. Associated Ryu are: Gyokushin Ryu Koppojutsu and Gikan Ryu
Koppojutsu, strongly connected with the Koga Ryu and Iga Ryu styles.
Everything known on Gyokko Ryu Kosshijutsu is from Takamatsu Senseis Kuden.

The line traces back to the Chinese General exile Ikai and earlier through its founder,
the Chinese lady Martial Artist, Cho Gyokko. Ikai taught Gamon Doshi, whose
apprentice was Garyu Doshi, who in turn taught HachiryuNyudo, the teacher of
Tozawa Hakuunsai.... Later the Ryu was under the Grandmaster ship of Momochi
Sandayu who passed juristriction onto the Toda Clan. In Meiji Era, Toda Shinryuken
passed it onto Takamatsu Sensei.
Hachiryu Nyudo invented a secret weapon to deflect sword cuts. It was named
Kyoketsushoge. An iron ring was attached by a decided length of rope to the weapons
handle. Kyoketsushoge meant running the mountain or a high jump. Gradually
the rope gave way to the chain. Another change was the use of a weight instead of an
iron ring. Later differing sizes of Kama were used so now we say Kusarigama to the
weapon (as it is seen very much later).
Later, the 5th Togakure Daisuke of Togakure Ninpo took and developed the idea of
the weighted chain even further. Instead of one end, he weighted both ends and
developed techniques that allowed free movement. With such one could quickly
disappear, this is a Kuden. From a certain Menkyo of the Gyokko Ryu Ninpo, two
balls of a size to be hidden in the hand were used as a distractor in disappearance
situations. High philosophic strategy was, in the presence of an enemy to be in
harmony with him, never challenging but welcome with a smile, never showing a fierce
grimace. If battle is unavoidable dont let him near you, or if he is determined to close
then use the extreme Wazas to take him down. Gyoku Ryu training involves use of
Tenryaku Uchu Gassho (Heaven and Universe Prayer). Heaven is change and this is
natural. The dragon shakes hands with the tiger. In true fights the strategies of Heaven,
Earth and Man are used. There also exists a Gassho Kujikiri with aspects of Kongo
(goldmetal), Suirin (water-ring), and Kafugassho (fire and winds). These are Sanpo
Gassho, or the three treasures. Koto Ryu Koppojutsu is the same. Technically there is a
Sandan Kamae (3 step stances), and Hyohen (puma changes). As basics in Taijutsu
there are Ichimonji, Hicho and Jumonji. The Kata is Koppo Saryaku Hiden with scrolls
titled Joryaku (high levels), Churyaku (intermediate levels), and Geryaku (lower
levels). Other items are Kuraidori (sizing up the situation), Shinshin Shingan (Gods
heart - Gods eyes), tenmon Chimon (heaven earth tactics)... Hiden and Kuden exist.
One called Kuden Hissho Ho says Always wins from Kyohen No Jutsu.
Gyokko Ryu has principle rules for the Dojo:

1. The character Nin means to guard the nation even with ones life.
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2. Forget self, be patient, fear not dying.

3. In danger say or show nothing.
4. As strong enemy comes, keep indomitable spirit.
5. Serve and protect the master as you must your parents.
6. Vices dissipate your proficiency.
7. Being drunk affects your judgement.
8. Destroy the enemys power but leave his life.
9. To others teach not without the masters permission.
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Other Notes
The school specializes in techniques that involve Kosshijutsu (attack against muscles),
and shitojutsu (use of thumbs and fingers). Typical for the Gyokko Ryu is the powerful
blocks and balance taking. In Gyokko Ryu, it is preferred to block by hitting with the
knuckles to the muscle areas.
It is important that you should focus your eyes on a point at infinity behind your
opponent's head. You should be aware of everything around you, other attackers,
obstacles, terrain etc., not just the enemy in front of you.
There is a saying in the Gyokko Ryu "Bushigokoro wo motte totoshi no nasu", the
warrior's heart is precious and essential.
While Koshijutsu (finger bone art) also contains the meaning of being able to bring the
opponent down with one finger, it indicates the koshi (essence) of the warrior way.
Gyokko Ryu Koshijutsu became the basis of various schools of martial arts.
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GYOKKO RYU
San Dan Kamae
Ichimonji No Kamae (Hidari)

The left leg is forward with the toes pointing slightly inwards (actually, point the heel
outwards), the right foot points outward and carries 60% of the weight. The left hand
is open and pointing at your opponent with a slight bend in the arm, the right hand is
closed with the thumb up and resting on the inside of the left elbow.
MIGI ICHIMONJI NO KAMAE (Right First Posture)
"The legs are open, the hips lowered, the right hand and arm
straightened, and the left fist held loosely with the thumb sticking
up is rested on the right elbow. The face is placed in the gap
between the hands. The tip of the right hand faces the opponent's
heart. Stare at the opponent's eyes with the intention of piercing
his heart."
Quote from Manaka Unsui
HIDARI ICHIMONJI NO KAMAE (Left First Posture)
"Same as Migi Ichimonji No Kamae, but with the left side forward."
Hicho No Kamae (Hidari) (Right Flying Bird Posture)

The left leg is raised with the foot on the right leg at knee height, with the left knee
protecting the groin. The left hand is open and pointing at your opponent with a slight
bend in the arm, the right hand is closed with the thumb up and resting on the inside of
the left elbow.
MIGI HICHO NO KAMAE (Right Flying Bird Posture)
"The left foot points 90 degrees to the side, the right foot's arch
is rested lightly against the left knee, and the right and left hands
face the same as in Ichimonji No Kamae. Stare at the opponent's eyes
with the feeling of storing up energy in the entire body, like a bird
wrapped up by a snake."
HIDARI HICHO NO KAMAE (Left Flying Bird Posture)
"Same as Migi HICHO No Kamae, but with the left foot forward."
Jumonji No Kamae (Hidari)
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Both feet are about shoulder width apart with the knees bent. The left arm is crossed in
front of the right, both hands are closed with the thumb up.
MIGI JUMONJI NO KAMAE (Right Position of Ten Posture)

;
"With the right hand in front, the arms are crossed in front of the
chest in an X-shape, without touching each other and both hands
gripped lightly, and the chin should peek out through the top of the
cross. The left leg is pulled back a little from a natural standing
position and the hips are lowered. Fill yourself with intent, and
stare at the opponent's eyes with the feeling of driving back any
attack."
HIDARI JUMONJI NO KAMAE (Left Position of Ten Posture)
"Same as Migi Jūmonji No Kamae, but with the left side forward."
Kime No Kamae (Hidari)

Grab your opponents left lapel the right hand and his right sleeve (at the elbow) with
the left hand.
Hanin No Kamae (Hidari)
Left leg is forward with the toes pointing slightly inwards, right foot points outward
and carries 60% of the weight. The left hand is pointing at opponent with the middle
and ring finger held by the thumb, with the pointer and little finger pointing forwards.
The right hand is slightly above and to the side of the right ear with the middle and ring
finger held by the thumb and the pointer and little finger pointing upwards with the
palm towards your opponent.
Shoshin No Kamae (Hidari)
The left leg is forward with the toes pointing forwards, the right foot points outward
and carries 60% of the weight. The left hand is open and pointing at your opponent
with a slight bend in the arm, the right hand is closed with the thumb up and resting on
the right hip.
Kamae Practice
Uke is in Daijodan and cut to the lead leg. Tori is in Ichimonji no kamae, and raises to
Hicho no Kamae. Uke then cuts down with Jodan Kiri. Tori steps forward with the left
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leg, an turns to the right to face the sword in Jumonji no Kamae.Uke then does a
horizontal cut. Tori steps back with the left leg dropping the arms to the side of the body.
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Sanshin No Kata
Form of the three hearts
1. Chi No Kata
(Earth form) TRNT P. 69
Tori steps back to Soshin no kamae. Dropping his weight slightly on the right leg, Tori
steps forward with the right foot, and brings the right hand up in Sanshitan ken, passing
past the knee to strike up, finishing at shoulder level.
Note
The hand must not alter course, and moves like a pendulum. The feet must change
direction.
2. Sui No Kata
(Water form) TRNT P. 71
Tori steps back to Soshin no kamae, and steps back to the right 45 degrees with a left
Jodan Uke. Stepping forward with the right foot, Tori strikes with Omote Shuto to Uko.
Note
The Shuto in this strike is a "Killing Strike". Practice first moving without the feet.
3. Ka No Kata
(Fire form) TRNT P. 72
Jodan Uke. Stepping forward with the right foot, the right hand rises up from the Obi to
come from underneath the left hand. Tori then strikes with Ura Shuto to Uko.
Note
Destroy Ukes posture then you can move him anywhere you wish.
4. FU NO KATA
(Wind form) TRNT P. 73
Gedan Uke. Stepping forward with the right foot, Tori strikes with a Gedan Shito Ken to
Koe.
Note
Trick Uke with the extension of the strike soon after the extension of the strike to max
level. Bend the right knee extra. Try to strike with the whole momenteum of the body not
just the Shito Ken. If Uke kicks, the Gedan uke is to move Uke out of the way gently. A
Tanto can be drawn from a boot, without Uke seeing. Move as if cutting like the wind.
This rises from underneath the same way the plants grow from the soil. The Fu no kata
symbolises moving things out of the way.
5. KU NO KATA (Void/Sky Form)
TRNT P. 74
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Tori steps back a little with the right foot, and does a left Gedan Uke. At the same time
Tori lifts the right hand (open) above the head. Tori then does a right Sokuyaku Keri.
Note
The Gedan Uke can block either a kick or a punch, use Chosui Dori. In ku, the raised
hand is for balance, also for Kyojutsu. When doing the kick in Kumite it is used like a
glove to catch a baseball.
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Taihen Kihon
Basic body movement
1. Tori is in Hira no Kamae. Uke cuts at Tori. Tori steps back to a Ichimonji (leaning
back) and then does a Ashi Nagare.
2. Tori is in Hira no Kamae. Uke cuts at Tori. Tori steps back to Ichimonji no
Kamae, then does either a Jun or Gyaku Nagare to the rear.
3. Tori is in Hira no Kamae. Uke cuts at Tori. Tori steps forwards with the left foot,
then turns to face the sword. Tori then does a Koho Kaiten.
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Taihenjutsu Muto Dori No Kata

Body movement defense against swords
1. Hira No Kamae
(Flat stance)
Uke is in Daijodan with a Katana. Tori faces him in Hira no Kamae. Uke cuts with Jodan
Kiri. Tori steps back from Hira, to Ichimonji no kamae to avoid the cut. Tori turns a little
from the hips up to the right, and rolls to the right on the right shoulder (this is Gyaku
Nagare).
Note
If a long Tachi is used, a greater distance is needed. The step back to Ichimonji is greater.
Be careful to see the distance between you and the sword. This sort of training is a most
important part of Taihenjutsu.
(Letter One stance)
Uke is in Daijodan with a Katana. Tori faces him in Ichimonji no kamae. Uke cuts with
Jodan Kiri. Tori rolls forwards to the right 45 degrees (this is Ashi Nagare), on the right
shoulder. Uke turns to face Tori, with the Katana in Daijodan. Tori is on one knee, and as
Uke strikes with Jodan Kiri, Tori moves in and strikes with Shito Ken to Suigetsu.
Note
Create by means of direction of the roll a distance from where it is easy to leap in is one
method of Taihenjutsu
3. JUMONJI NO KAMAE
(Cross stance)
Uke is In Daijodan with a Katana. Tori faces Uke in Jumonji no kamae. Tori steps back
with the left foot to avoid the cut, and promptly steps back in striking with a left Omote
Shuto to Uko, with the right hand in Ura Shuto to the wrist Kote (does not have to be a
strike just place it on the wrist).
Note
Be able to fly at the opponent, leaping moving, and topping the adversary.
Henka
Jump out then jump back in, the Shuto to the neck is to the rear and side
Ki Gata
Basic foundation patterns
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1. Migi Ichimonji No Kamae

(Right figure one posture) (Kihon happo 1) TRNT P. 76
Uke, and Tori are both in Ichimonji no kamae. Uke does a Jodan Tsuki to Men. Tori steps
back 45 degrees to the right, with a left Jodan Uke. Tori then steps forwards with the
right foot, and strikes with a right Omote Kiten to Uko.
2. Hidari Ichimonji No Kamae

(Left figure one posture)
Same as above, but on the opposite side.
3. Migi Hicho No Kamae

(Right single crane posture) (Kihon happo 2) TRNT P. 77
Tori is in Hicho no kamae, and Uke is in Ichimonji no kamae. Uke strikes with a Chuden
Tsuki to Suigetsu. Tori drops his weight by bending his knee of the supporting leg. Tori
then does a Gedan Uke. As Tori lifts his body weight, he kicks to Butsumetsu with the
sole of the left foot. Tori then drops the left foot to the ground, and steps forward with
the right foot, and strikes with a right Ura Kiten to Uko.
Note
Apply the movements of both Ku no Kata and Ka no Kata.
Distancing. Move further away for large people. Guarding. After the Gedan Uke the same
side elbow guards against his rear hand attacks.
Hicho is a flying bird. So when you do Hicho, imagine that it has something to do with
flying or leaping. All birds do not fly. So it could in other ways be something else to do
with a bird.
4. Hidari Hicho No Kamae

(Left single crane posture)
5. Jumonji No Kamae
(Cross posture) (Kihon happo 3) TRNT P. 79
Tori is in Jumonji no kamae, and Uke is in Ichimonji no kamae. Uke strikes with a right
Jodan Tsuki. Tori steps back to the right 45 degrees, and blocks with a left Jodan Uke
(Tori keeps the arm straight). Tori then, turning from the hips up clockwise, strikes with a
left Shito Ken to Kimon (keep the arm straight). Uke then steps forward with the left
foot, and a left Jodan Tsuki. Tori steps back 45 degrees to the left, lifting the left hand up
to the level of Ukes eyes, and strikes with a right Jodan Uke (keep the arm straight). Tori
then turns from the hips up anti clockwise, and strikes with a right Shito Ken to Kimon.
Tori then steps back with the right foot, to Jumonji no kamae.
Note
Movement - Move with your knees, low, and slowly to keep good form. When doing solo
Kata, stay in the same place. Distance is important, shift when you move. Hit with the
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body not the hand (Shito ken). Apply Fu no Kata. The step back and turn is called Hon no
Kamae
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Torite Kihon Gata

Basic grab creation methods
1. Migi Omote Gyaku

(Right outside twist) (Kihon Happo 4) TRNT P. 82
Uke steps forward and takes hold of Toris lapel with the right hand. With his left hand,
Tori take hold of Ukes hand placing the tip of the thumb into the back of the hand, bends
the knees, and steps back with the right foot so that he is side on to Uke. Tori then pulls
Uke hand away from the lapel (Toris arm is straight). Tori steps forward with the right
foot, the right hand joins the left hand. This step forward is to take Ukes balance
backwards and is accomplished by lifting Ukes arm up as Tori steps forward. Not just the
wrist is locked at this stage all of Ukes body should be locked and controlled. Tori then
steps out to the left with the left foot, and applies a Omote Gyaku to Ukes wrist, and
throws him.
Henka
Instead of stepping out to the side, Tori steps back with the left foot, pulling Uke to the
ground. Also continue with Uzimaki
Henka
Bend the knees, and lift the hand above the head, step out to the side to throw.
Note
Grabbing his hand is related to tradition. When stepping back step so that you are side on
to Uke. When holding the hand in Omote Gyaku, place Yubi (thumb) into the Omote
Gyaku Kyusho (middle of the back of the hand).
2. Hidari Omote Gyaku

(Left outside twist)
3. Migi Omote Gyaku Henka

(Right outside twist variation) (Kihon happo 5) TRNT P. 86
Uke steps forward and takes hold of Toris lapel with the right hand. Tori takes hold of
Ukes hand with the left hand. Uke then steps forward with the left foot, and strikes at
Toris Men with a left Jodan Tsuki. Tori steps back to the left dropping the body weight to
pull him off balance, and blocks with a right Jodan Uke. Tori pulls Ukes hand from the
lapel. The right hand joins the left hand, and Tori applies an Omote Gyaku to throw Uke.
Henka
Turn the body with Uzimaki to throw Uke. Keep the arms stretched out.
4. Hidari Omote Gyaku Henka

(Left outside twist variation)
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5. Migi Ura Gyaku

(Right inside twist) (Kihon happo 6) TRNT P. 87
Uke grabs the lapel with the right hand. Toris right hand comes across and takes hold of
Uke hand. Tori steps back with the left foot, and pulls Uke hand from the lapel, and lifts
high as in Omote Gyaku as Tori steps forward towards Uke with the left foot, keeping
Ukes hand high. Ukes wrist should be bent to its maximum, thereby causing Uke to be
pushed backwards by Toris forward movement. Not just the wrist is locked, but Ukes
entire body it is actually ideal if Ukes spine is arched backwards. Toris left hand joins
his right, and he applies an Ura Gyaku to throw Uke by stepping back with the right leg.
Henka
As in the kata, but do not throw. Turn the hands over and convert to an Omote Gyaku,
and switch step.
Henka
As the last Henka, but do not switch step. Step back then back again pulling Uke.
Note
Raise the right hand as you would in Omote Gyaku. If you throw it is Ura Gyaku Dori. If
you bend the elbow with Hon Gyaku it is Gozen Dori (Before God Grab)
6. Hidari Ura Gyaku

(Left inside twist)
7. Migi Jigoku Dori

(Right hell capture)
Uke steps forward, and grabs Toris right sleeve with his left hand. Tori steps back to the
right (it looks as if he is in Ichimonji no kamae). Tori places his right palm against Ukes
elbow, as he steps back, and rolls the arm over Muso Dori). Ukes hand is trapped in the
bend of Ukes arm. Tori shifts his weight on to the left leg, pushing Ukes arm up, and
back pushing his balance backwards. Tori places his right foot on the outside of Ukes left
knee, and pushes with a push / kick also using the arm lock to take Uke down. Finish
with O-Gyaku.
Note
When you are in Muso Dori it is important that you are side on at an angle to Uke. Point
with your knee. If you face him in Muso Dori place the heel behind his knee.
8. Hidari Jigoku Dori
(Left hell capture)
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9. Migi Musha Dori

(Right capture the warrior) (Kihon happo 7) TRNT. 93
Uke steps forward and takes hold of Toris sleeve with the right hand. Tori steps back
with the left foot, and lifts the left forearm up vertical on the inside of Ukes arm. Tori
then steps back in with the left foot, and back, and across to the left with the right foot.
Toris left arm goes over the top to the outside of Ukes arm, and under. Tori lifts his left
arm up, and takes hold of his left hand with the right hand. Tori applies a Musha Dori
lock, and drops Uke.
Note
For the arm lock, Toris arm must be just above Ukes elbow. Do not interlink the fingers,
as this is dangerous to Tori. Cup the hands
Henka
When you step back in, step 45 forwards, then turn with the Musha Dori applied. This
will take his balance away.
Henka
Step out to the side, then turn stepping out further by bringing the other leg to the rear.
Then drop to one knee (opposite side of Uke)
10. Hidari Musha Dori

(Left capture the warrior)
For the techniques - If he is strong use the body more, drop the weight. He does not need
to let go of the jacket for you to be able to complete the technique.
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GYOKKO RYU
Jo Ryaku No Maki
Koku
Uke and Tori stand in hidari ichimonji no kamae. Uke steps forward with right jodan
punch. Tori steps back to the right (inside), and does a left block. Tori then shifts his
weight forward and does a right omote shuto to Uke's right hoshi or jakkin (from
below). Uke kicks with his right foot. Tori steps yoko aruki with his right foot to the
outside of the kick and does a left keri kaeshi to Uke's kicking calf. As Tori lands, he
strikes Uke's ura butsumetsu with a left boshi ken (from above).
Note
Ukes movement and weight shift scribes an X
Henka
Uke attacks as before. Tori does block and shuto as before. As Uke kicks, Tori shifts to
the outside of the kick (left leg leading, and pull the right leg up to it) and strikes to
Uke's right sai (outside) with his left knee. Tori then extends his left leg to kick away
Uke's supporting leg (at the knee).
Henka
Both Uke and Tori start in ichimonji no kamae. Uke attacks with migi jodan tsuki
shikan ken to ganmen (face). Tori blocks jodan uke to the inside of Uke's arm with ken
kudaki and follows with omote shuto with the right hand to Uke's right hoshi (elbow).
Uke attacks with migi sokugyaku to Tori's gorin (stomach). Tori steps to the left and
applies keri kaeshi to the side of Uke's knee or thigh and follows with a left boshi ken
to butsumetsu or the kidneys.
Renyo
Tori and Uke stand in hidari ichimonji no kamae. Uke steps forward with a right jodan
punch. Tori steps out to his left (outside) and does a right block. Uke does a right kick.
Tori avoids to the outside of the kick and applies a right keri kaeshi. Uke grabs Tori's
mune with his right hand. Tori covers Uke's grabbing hand with his left hand, and steps
to the left (to the outside) and strikes with a right ura shuto to Uke's uko (with weight
change). Tori's right hand then returns to take hold of Uke's grabbing hand in ura
gyaku, helping to apply the lock with his left hand under Uke's elbow (weight changing
to Tori's right to bring Uke's balance forward). Tori then changes to omote gyaku,
kicking Uke in the chest. Tori's kicking leg lands behind Uke to take him down with
omote gyaku / o soto.
Henka
When Tori takes Uke down with omote gyaku, Tori steps behind Uke's legs with his
right foot, strikes with his hip, and applies the omote gyaku to send Uke over Tori's
hip.
Henka
22
Tori and Uke are both in ichimonji no kamae. Uke attacks with hidari jodan tsuki to
ganmen (face). Tori steps out at 45 degrees to the right and blocks with ken kudaki to
the outside of Uke's hoshi (elbow). Uke follows up with a right sokugyaku ken, Tori
defends with a right fumi komi keri kaeshi. Uke grabs Tori's lapel with the right hand.
Tori takes hold of Uke's right wrist and steps in on the right with ura shuto to uko
(neck). While still holding Uke's wrist, step in with the right leg, apply hon gyaku,
follow up with a right sokugyaku to sternum or shinchu (heart).
Dan Shu
Tori and Uke stand in shizen no kamae. Uke grabs Tori's right sleeve with his left hand
and does a right jodan punch. Tori responds by stepping to the right, blocking with a
left fudo ken to hoshi and rolling his grabbed hand in an ura gyaku movement (Tori's
palm on Uke's elbow - similar to muso dori). Tori then shifts his weight forward onto
his left leg and does a left ura shuto to Uke's uko, Tori finishes by doing a right kick to
Uke's soto kaku and takes him down. Secure.
Henka
Tori and Uke stand in shizen no kamae. Uke grabs Tori's right sleeve with his left hand
and does a right jodan punch. Tori responds by stepping to the right, blocking with a
left fudo ken to hoshi and rolling his grabbed hand in an ura gyaku movement (Tori's
palm on Uke's elbow - similar to muso dori). Tori then shifts his weight forward onto
his left leg and does a left ura shuto to Uke's uko, then applies ura gyaku to Uke's
grabbing hand. Tori finishes by doing a right kick to Uke's soto kaku and takes him
down. Secure.
Henka
After blocking and rolling Uke's arm over, Tori does a left shako ken to Uke's ganmen
then reaches over with his left hand to grab some flesh on the back of Uke's grabbing
upper arm. Tori then steps back left (down to his left knee), taking Uke down directly
with O gyaku.
Henka
Uke grabs Tori's right wrist with his left hand and steps in with the right foot to strike
with shikan ken to Tori's face. Tori steps 45 degrees out with the right leg, rotates his
wrist downwards to press Uke's hand on his body and blocks with fudo ken to the
inside of Uke's arm then ura shuto to the neck with the left hand and a kick to the
inside of Uke's knee with the right heel.
Dan Shi
Uke grabs Tori's right lapel with his left hand. Tori holds Uke's grabbing hand with his
right hand. Uke attacks with right jodan fudo ken. Tori moves back right with his right
leg and blocks with left jodan uke followed by left boshi ken to Uke's butsumetsu (or
kimon) then kicks Uke's left leg with his right to take down. Finish by lifting Uke's left
arm and stamp on the side of his ribs with a left sokugyaku.
Henka
Uke grabs Tori's mune with the left hand and does a right jodan punch. Tori covers
Uke's grabbing hand with his right hand and steps out to his right, blocking with the
left hand to Uke's hoshi. Tori then shifts his weight onto his front (left) leg and
23
simultaneously applies a left boshiken to Uke's butsumetsu and twists Uke's grabbing
hand in an omote gyaku movement. Tori does a right kick to Uke's left butsumetsu and
applies omote gyaku to take him down.
Saka Nagare
Tori stands in left ichimonji no kamae, Uke strikes with a right punch. Tori steps to the
outside (left) and does a right block to the back of Uke's hand. Uke then does a right
kick. Tori responds with a right keri kaeshi (being careful not to push Uke too far).
Tori then grabs Uke's right hand with his left in preparation for omote gyaku. Uke does
a left punch to Tori's suigetsu. Tori responds with a right fudo ken to Uke's left nagare
followed by a right ura shuto to yugasumi to straighten Uke's arm. tori then takes him
directly down with omote gyaku.
Henka
Tori stands in left ichimonji no kamae. As Uke comes in to punch, Tori shifts slightly to
the outside and does a right punch to Uke's armpit (this technique is using some kind
of weapon, ie. a pen, small stick etc. The punch to Uke's armpit actually makes contact
with the full length of Uke's arm, cutting or scraping the whole arm). Tori then grabs
Uke's (now useless) right hand with his left in preparation for omote gyaku and pulls
downward and to Uke's right to open Uke's body up. As Uke attempts a left punch to
Tori's face, Tori ducks under it and then strikes upwards with weapon to the underside
of Uke's arm (hoshi or jakkin). Tori then takes Uke down with omote gyaku.
Henka
Uke grabs Ryote to Tori's mune and attempts a knee kick to Tori's suzu. Tori covers by
bringing his right knee up (left 45 degrees). As his foot lands forwards, Tori takes
Uke's right hand in preparation for omote gyaku. Tori does a right ura shuto to Uke's
right yugasumi then hooks his fingers over the right-hand part of Uke's collar bone and
takes him down.
Henka
Uke and Tori in ichimonji no kamae. Uke strikes right shikan ken to the stomach. Tori
steps 90 degrees to the outside and takes hold of the hand with the right hand. Uke
applies sokugyaku keri with the right foot to Tori's stomach, Tori applies keri kaeshi
and changes grip from the right to the left hand. Uke strikes fudo ken to the solar
plexus or the heart. Tori blocks with gedan uke, steps in with right ura shuto to the
neck. Finish with omote gyaku to the right hand.
Keo
Uke grabs ryote to Tori's mune. Tori responds with a right kick to Uke's suzu (leaning
the body back slightly to straighten Uke's arms). Tori then rocks forward, either
striking the backs of both of Uke's hands with shikan ken, or striking both of Uke's
nagare with shikan ken (The strike to the backs of the hands works better with some
kind of weapon, ie. a pen or short stick. Striking nagare is more effective when you are
unarmed.). Tori finishes with a right kick to Uke's suigetsu.
The strike to the hands should strike downwards with a kind of cutting motion. The
strike to nagare strikes horizontally inwards.
24
Henka
Uke grabs Tori's lapels with both hands (ryote dori). Tori applies ryote shikan ken to
the back of the hands in a sweeping motion and at the same time a sanshin motion kick
to the groin. Uke strikes with a right jodan tsuki to the face. Tori blocks with fudo ken
to the inside of Uke's elbow, step in with the right leg and ura shuto to the temple
followed by a kick to the stomach.
Hane Bi
Uke grabs Tori's collar from behind with his right hand and pulls. Tori reaches over his
shoulder with his right hand to touch Uke's grabbing hand (do not grab, just use your
hand as a sensor). Uke does a right kick. Tori steps over to the left with the right leg to
avoid the kick to the inside and turns to face Uke, doing a left gedan block. As Tori is
turning in to face Uke, Tori takes Uke's grabbing hand and brings it over his head in
ura gyaku, bringing it down and forward to bring Uke's balance forward (helping to
apply Tori's left arm on Uke's elbow). Tori simultaneously changes to omote gyaku
and kicks Uke in the chest or face to take him down.
Henka
Uke grabs Tori from behind with the right hand on the collar. Tori's right hand presses
on Uke's right hand and turns to face the attacker. Uke kicks with the right leg. Tori
blocks with gedan uke, as he leans to the right grab the little finger and the ring finger,
raise the hand up and shift to omote gyaku. At the same time, apply a right sokugyaku
geri to Uke's face, stomach, or breast.
Keto
Tori stands in left ichimonji no kamae. Uke does a right kick. Tori steps to the outside
and kicks to the back of Uke's calf. Uke stops Tori from kicking him by pulling his foot
away, and lands forward, punching to Tori's face. Tori steps to the inside and does a
left block. Tori then shifts his weight forward onto his front (left) leg and does a right
shako ken to Uke's face (aim your thumb at Uke's asagasumi, and your fingers will
naturally go into his eyes). Tori finishes with a right kick to Uke's butsumetsu.
Henka
Uke strikes with a right jodan tsuki. Tori follows the punch (uke nagashi). Uke kicks
with a right sokugyaku keri. Tori applies a right keri kaeshi. Uke sees the kick coming
and pulls back the leg and strikes instead with gedan fudo ken with the right hand to
Tori's stomach. Tori moves 45 degrees to the right and blocks with left gedan uke,
follow with a goshitan ken to the face and a kick to the heart.
Yubi Kudaki
Uke grabs Tori's collar from behind with the right hand. Tori holds Uke's right hand
with his right hand, steps out 45 degrees to the right and turns left to face Uke. Tori
then punches with a left fudo ken to Uke's kimon or butsumetsu. Tori brings Uke's
right hand over his (Tori's) head to Tori's front, applying a hon gyaku / ura gyaku with
his right hand, making the lock tighter by putting downward pressure on Uke's forearm
with his left arm. Tori takes Uke directly down.
25
Note: Instead of grabbing the back of Toris collar, Uke actually claws his fingers
down the back of Toris neck (beginning at the base of the skull) until his fingers
reach the shelf vertabrae, Uke then continues to claw downward while hooked onto
the shelf which takes Tori to the floor. The counter to this is for Tori to push his neck
back slightly towards Uke and ignore the pain. Pushing the neck back flattens the
vertabrae and reduces the amount of shelf for Ukes fingers to get a purchase on.
Henka
Uke grabs as before. Tori bends his body forwards so that he can take hold of Uke's
little finger instead of just the hand (use the thumb nail on Uke's little finger). Tori
takes down as before.
Henka
Uke grabs as before. Tori holds Uke's right hand with his right, turns in towards Uke
and steps on Uke's right foot with his left, then does a left punch to Uke's face. Tori
changes his left arm position in preparation for ganseki, and takes Uke down directly
using the arm and the foot.
Henka
Uke grabs with the right hand from behind on the collar. Tori's right hand goes over
Uke's right hand, press and step out 45 degrees with the right leg. Execute a left fudo
ken to Uke's head, grab Uke's fingers with the right hand. Go under Uke's arm and
apply hon gyaku on his fingers.
Ketsu Miyaku
Uke is behind Tori, and applies a Sankaku Jime to Tori (right hand to front of the neck).
Tori turns his chin to the right into the pit of the elbow, and drops his body weight (do
these together). Place the thumb (of the right hand), into the Kyusho point above the
inside of Ukes right elbow. Toris left hand takes Uke right hand, and pulls the right arm
out from the body (keep it straight. Tori turns to the right bending Ukes arm, until the are
side by side facing the same direction. Tori then applies a lock to the arm (Musha Dori),
and does a left kick to the Ukes right calf muscle.
Henka
Uke applies a strangle from behind with the right forearm (sankaku jime). Tori turns
his chin towards Uke's right elbow and holds Uke's right hand with his left and Uke's
right elbow with his right hand. Tori applies pressure to Uke's right wrist and seitaku
kyusho points to lever the arm away from his neck. Tori straightens Uke's right arm
and then throws him to the ground with seionage.
Henka
Uke applies a right sankaku jime (sankaku jime is a very dangerous choke. You must
get into the habit of lowering the chin to one side as soon as you feel the opponent
starting to apply the technique - this will lessen the effectiveness of the choke) Tori
lowers his weight and holds Uke's right hand with his left, and applies pressure to
Uke's right hoshi with his right thumb. Tori twists his head out of the lock and takes
Uke down with the hold he has on Uke's arm.
Henka
26
Uke applies a right sankaku jime as before, Tori drops his weight and kicks with his left
heel to Uke's right uchi yaku as he turns in to Uke. Tori's leg lands beside Uke's right
leg. From here, Tori takes Uke down with pressure to the side of his knee.
Henka
Uke applies a right sankaku jime as before. Tori drops his weight. Tori takes Uke's
right thumb with his left hand and Uke's hoshi with his right hand. Tori releases Uke's
grip, pushes his right leg backwards between Uke's legs, and throws Uke with ippon
zeoi.
Henka
Uke applies a strangle from behind with the left forearm (sankaku jime). Tori turns the
chin towards the hand and grabs wrist with the left hand. Strike with boshi ken to
Uke's armpit and push up on the elbow. Boshi ken to the wrist nerves, finish with
seionage.
Sakketsu
Uke attacks from behind with a full nelson. Tori simultaneously strikes backwards with
his head to Uke's face, and backwards with his hip to break Uke's grip (do this with the
feeling of doing a koho tobi, for great effect). Tori lifts Uke's right hand with his right
hand, as he steps out to the right striking Uke's face with the back of his left fist. Tori
then puts his left arm under Uke's right arm to throw him with ganseki (not allowing
Uke to roll). Secure.
Henka
Uke attacks with Tai jime (bear hug) from behind. Tori drops his body weight. leans
forward and grabs at hand / fingers and pushes them outwards. Step out left with the
right foot behind the left (yoko aruki). Keep hold of the hands so Uke's arms are
crossed and walk to drop the attacker.
Tei Ken
Uke attacks Tori from behind with tai jime. Tori simultaneously strikes backwards with
his head to Uke's face, and strikes backwards with his hips. Tori then steps to the side
and stamps on one of Uke's feet. By bending Uke's fingers back, Tori brings Uke's
arms up, while sinking out of Uke's grip. Tori applies a crossed, straight-arm lock with
Uke's arms on Tori's shoulder, and throws Uke either by taking Uke's back leg with his
foot, or by walking forward.
Henka
Uke grabs Tori in a bear hug (Tai jime) also covering the arms. Tori drops the body, a
short step to the left, grabs Uke's hands and pulls them outwards. Step back to the left
with the right leg, fudo ken to the face. Continue the movement and finish with genseki
otoshi.
27
GYOKKO RYU
Chu Ryaku No Maki
U Jaku
Tori stands in hidari ichimonji no kamae. Uke attacks with a right strike. Tori steps to
his left (to the outside of the attack), does a right block to the back of Uke's hand, and
takes hold of Uke's wrist. Uke does a right kick. Tori shifts to the outside of the kick
and counters with a right keri kaeshi. (By this point Tori is standing virtually behind
Uke, holding Uke's right hand with his right hand.) Tori steps in with his left foot to
strike with a left boshi ken to Uke's kidneys (or strike under the back of Uke's ribs with
an uppercut type shikan ken). Tori then steps yoko aruki with his right foot to stand on
Uke's right foot and raises Uke's right arm. Tori then steps through with his left foot
(Tori has his back to Uke, guarding him with his left elbow) applying omote gyaku as
he goes. Tori continues to twist Uke's hand down to his legs and then lifts up, throwing
him. Secure.
Henka
Uke does a right strike as before. Tori blocks but doesn't take Uke's hand (a Karateka
will, for example, pull back his fist after punching). Uke kicks and Tori does a keri
kaeshi as before. As Tori pushes Uke's body around, the natural reaction for many
people would be to try and lash out with the right hand. As Uke strikes, Tori takes hold
of his arm / wrist and steps through as before (Tori strikes Uke's butsumetsu with his
left elbow as he goes). With Uke's arm on Tori's right shoulder, locked at the elbow,
Tori puts pressure on the elbow joint, changes to holding with his left hand and strikes
Uke's right butsumetsu with his right elbow. Tori then changes back to his right hand
(grabbing Uke's thumb) and takes Uke down with omote gyaku as before. Secure.
Henka
Uke attacks with right jodan tsuki. From hidari ichimonji, Tori moves to the right to
block ura jodan uke with either hand and then catches Uke's right wrist (with the
thumb on the back of Uke's hand). Uke then attacks with a right keri to koe and Tori
defends with a right keri kaeshi. Tori then raises Uke's right arm and strikes Uke's
butsumetsu with a right boshiken using sanshin motion. Tori moves under Uke's arm
(yoko aruki, right over left) and applies omote gyaku, katate nage.
Seito
Tori stands in left ichimonji no kamae. Uke attacks with a right strike. Tori shifts to the
inside of the punch and does a left block to the inside of Uke's right wrist. Uke does a
right kick. Tori steps to the left to the outside of the kick and does a right block to
Uke's yaku. Uke does a right strike to Tori's suigetsu. Tori steps to the inside again and
executes a left block to Uke's nagare (After blocking, Tori opens his hand so that he
has his hand, palm down, holding Uke's right wrist between his thumb and forefinger).
Tori does a right shako ken to Uke's face then takes hold of Uke's right shoulder with
his right hand. Tori does a right kick to Uke's suigetsu, and takes Uke down forwards
with ogyaku (Tori drops down onto his right knee to do this). Secure.
Note
Instead of pulling Uke so he falls forward with O Gyaku, Tori can drop Uke on the
spot with the same lock. Lift Uke up with the kick and then pull straight down with O
Gyaku.
28
Henka
As before, but after Tori kicks Uke's suigetsu, Tori half applies the ogyaku, bringing
Uke's body forward, but not taking him down. Tori does a right knee kick to Uke's
face as he is bent forward, and steps behind Uke's right leg, taking him down with
seionage. (In reality, Tori would step to the side of Uke's leg, and take him directly
down with pressure to the side of Uke's knee. This is very dangerous.)
Henka
Uke attacks with a right jodan tsuki. From hidari ichimonji, Tori blocks left jodan uke.
Uke attacks with right keri. Tori steps out to the left and blocks with a right gedan uke
followed by a fake right strike to ganmen. Tori then grabs Uke's right wrist in ura
gyaku with his left hand and Uke's right shoulder with his right hand. Tori does a right
sokuyaku keri to Uke's suigetsu and applies o gyaku as he steps back with the right leg
onto his right knee.
Da Shin
Tori stands in left ichimonji no kamae. Uke steps in with his right leg, thrusting with a
tanto. Tori avoids to the outside by shifting his right foot around, and taking Uke's
knife hand with his left (fingers up). Tori strikes down onto Uke's gogoku with a right
shuto to make Uke drop the knife. Uke kicks at Tori's suigetsu with his left foot. Tori
avoids to the left , and does a right keri kaeshi (still holding Uke's knife hand). As
Tori's right foot lands, he strikes Uke's knife hand with his right hand, breaking Uke's
wrist with take ori / omote gyaku. Tori continues the movement anti-clockwise to take
Uke down (omote gyaku).
Henka
Uke attacks as before. Tori avoids and takes hold of Uke's knife hand as before.
Instead of making Uke drop the knife, Tori hits upwards with his right hand to Uke's
knife hand, making Uke hit / cut his own face with the knife (this strike resembles the
swinging strike in Chi No Kata of Sanshin No Kata). Tori steps with his right leg
behind Uke's legs and takes Uke down with seio.
Henka
Uke attacks as before. Tori avoids as before, but takes hold of Uke's wrist with Tori's
fingers downwards. Tori takes Uke's knife hand with his right hand, and steps forwards
(Tori keeps his elbows against his own body for power), cutting Uke's butsumetsu area
with Uke's knife, and lands with his right foot on Uke's right foot. Tori steps out to the
left slightly, and twists Uke's knife hand into position to stab Uke in the right kidney.
Using a weight change to his right, Tori stabs Uke's kidney, and as Uke begins to drop,
Tori uses his right knee against Uke's right knee to make Uke drop directly onto the
knife.
When you take Uke's knife hand with your right hand, hold around the thumb so that
he can't release his grip on the knife. Also, by gripping in this way, no fingerprints are
put onto the knife. "It was suicide your Honour!".
Henka
Uke with wakizashi, Tori in hidari ichimonji. Uke thrusts with sword. Tori moves back
leg round to the outside of the thrust, grabs the sword hand with his left hand, right
29
shuto to hand to make Uke drop the sword. Uke does left kick. Tori counter kicks
with right leg and finishes with omote gyaku.
Hosen
Uke has a Tanto, and raises it to Jodan no Kamae, and steps while cutting with Jodan kiri.
Tori is in Ichimonji no kamae, and ducks/moves to the left under the Tanto. As Tori raises
his body straight, he kicks up with the right foot, kicking the Tanto out of Ukes hand,
and lifting his right arm up. With Ukes both arms up, and the body open, Tori does a
right open hand push (Gyokaku ken) to Ukes chest knocking him down. Tori then jumps
up, and onto Ukes chest.
Note
Observe the flow of the Tanto. The duck and rise motion is Moguri Gata (Submerging
pattern).
Henka
Uke with wakizashi, Tori in hidari ichimonji. Uke cuts down with sword. Tori moves
under the cut and to the outside, he then kicks up to Uke's sword arm with right leg
and then strikes matsukaze with right shako ken to knock Uke down. Tori then leaps
to land on Uke's head with both heels.
Henka
As Uke cuts with the Tanto, Tori, ducks, and moves to theleft under the Tanto, then kicks
up with the right hand,lifting Ukes hand high. As the foot comes down, Tori pushes
Ukes chest with a right Gyokaku ken (open palm strike). As Uke falls on to his back Tori
jumps up onto Ukes chest.
Ko Rai
Uke does a right jodan kiri with a tanto. Tori steps left from hidari ichimonji no kamae
and catches Uke's right wrist with his right hand. Tori then does a left ura shuto to
Uke's kasumi, keep hold of Uke's wrist, and goes under Uke's arm (omote to wrist) to
throw Uke with katate nage. Tori finishes with a sokuyaku ken geri to Uke's men.
Henka
Uke attacks jodan kiri with tanto. From hidari ichimonji, Tori steps to the left and
catches Uke's right wrist with his right hand. Tori then does a left ura shuto to Uke's
kasumi. Holding Uke's wrist, Tori goes under Uke's arm, applying omote to the wrist,
to throw katate nage. Finish with sokuyaku ken geri to men.
Henka (Jutte)
Start as normal. When Tori takes Ukes hand with the Jutte (Yokoha is facing out, shaft
against wrist). The Jutte is moved under the wrist, so that it becomes trapped in the
Yokoha. Tori grabs the shaft with the left hand with the wrist against Ukes wrist, Tori
turns to the left and does a Omote Gyaku with the Jutte
Ko (A.K.A. Hanetsurube)
Tori stands in left ichimonji no kamae. Uke does a right jodan punch. Tori steps right
(to the inside of the punch) and does a left block and then holds Ukes hand. Uke kicks
30
with his right foot. Tori avoids to the left, blocking on the outside with his right hand.
Tori then lowers Uke's right hand to the floor while lifting Uke's right leg (Tori uses his
left and right hands respectively for this) to throw Uke.
Henka
Uke with wakizashi, Tori in hidari ichimonji. Uke cuts down with the sword. Tori
moves to the inside of the cut and grabs Uke's sword hand with his left. Uke does right
kick. Tori moves to the outside of the kick and blocks gedan uke with his right arm,
scoops kick upwards with the right arm to throw Uke down on his back.
Ko (Gyaku)
Tori stands in left ichimonji no kamae. Uke does a right jodan punch. Tori steps to the
outside of the punch and catches Uke's right wrist with his right hand. Uke then kicks
with his right foot. Tori sinks down and to his right and catches Uke's right leg on his
left shoulder. From here, Tori can either apply leg ganseki or a left keri to Uke's
supporting leg.
Henka
Uke with wakizashi, Tori in hidari ichimonji. Uke cuts down with the sword. Tori
moves to the outside of the cut and grabs Uke's sword hand with his right hand. Uke
does right kick. Tori moves to the inside of the kick and blocks gedan uke with his left
arm, scoops kick upwards with the left arm and turns to his right to throw Uke with
taijutsu, or, after scooping kick, does a right kick under Uke's right arm. Once Uke is
on the ground, Tori can attack Uke's right elbow or arm and right leg simultaneously.
Finish with a jump back and kick opponent with both feet.
Shien
Uke stands behind Tori and attacks with right tsuki (tanto) koho. Tori moves to the
inside of the thrust with his right hand on the outside of Uke's arm, then grabs Uke's
wrist with his thumb on the inside of the wrist. Tori steps with the right foot in front of
Uke and waits. Uke attacks with a right keri. Tori responds with a keri kaeshi to the
right and goes under Uke's arm to throw katate nage.
Ho Ryaku
Uke stands behind Tori with wakizashi, Tori is in shizen. Uke thrusts with sword to
Tori's back. Tori moves to the inside of the thrust and raises his right arm so the sword
goes between right arm and right side of Tori's body. Tori then applies take ori to Uke's
sword hand with both hands. Keeping hold of Uke's sword hand with his left, Tori
turns towards Uke and strikes shako ken to the face. Tori then grabs Uke's right
shoulder and spins round anti-clockwise and down onto the left knee to throw Uke.
Finish by stamping on the side of Uke's ribs with the right heel.
Henka
Uke attacks jodan kiri koho with tanto. Tori moves to the inside of the cut and catches
Uke's arm in a hug with his right arm. Tori then applies take ori to Uke's knife hand,
31
holds Uke's hand with the left and turns to the right to strike Uke's kasumi with a right
ura shuto. Tori finally applies ogyaku as he steps back with the right leg onto the right
knee. The right knee can stay up and the left knee can drop so that Uke's men hits
Tori's right knee as he falls.
32
GYOKKO RYU
Ge Ryaku No Maki
Ge Ryaku no maki is Shinken Mutodori Gata (unarmed defense against a live sword) in
the past present and future. The time before drawing a sword, and after drawing, or when
the sword has been sheathed. What may become the nature of the swords existance - one
entraps that.
Its a technique of entrapping that with one's feelings or insight of nature. But it is not so
much a technique as well it is an insight of nature.
This insight of nature is like when the sky is clear, or for instance if there are clouds, or if
it is raining in everything nature is alive.
People also experience birth, old age, and death. But something lives through that. As for
instance, there is the truth of the existance of immortal spirit. There in lies the essential
subtlety of Kosshijutsu, of Shinken Gata or of Muto Dori, in this way, bringing these
techniques to life through nature as it is.
For instance in the scrolls terms such as Shun-u, Shun Soku, Ichi Geki, Kaisoku, Iai Fuji,
Chingan and Fu-u are written.
Even just looking at these letters one by one, one senses within them what maybe called
the bold way of life within nature. This my teacher often said "For the follower of the
warrior path, natural courage is most important".
I think the jewel of Gyokko Ryu (Jewel Tiger school) may be understood as a small jewel
sphere, or it may be understood as the Earth, or it may be understood as the sun.
33
GYOKKO RYU
Ge Ryaku No Maki
Mutodori Gedan
Shun Uke
Uke has ken in obi. He draws, Tori steps in with the left foot and his left hand jams and
pushes back Uke's right hand (that holds the sword). Tori then steps forward with his
right foot and does ganmen dori, he then pulls Uke's ken out of Uke's grip with the
right hand while stepping back with the right leg and finishes with tsuki to Uke's
suigetsu.
When you tsuki, the left hand is holding the ken by pressing on the side, blade up.
Henka
Tori steps with his right foot behind the left so that he is in to Uke's armpit, then does
ganmen.
Henka
Same foot with step back. Uke has ken in his obi, he draws, Tori steps back with the
left foot and jams Uke's right hand with his left. Uke steps back and pulls ken, Tori
keeps his left hand to Uke's right hand and steps forward with his right leg to apply
ganmen dori. Tori steps back with his right foot (maki) to apply musodori to Uke's
arm, then pulls ken away with his right hand and finishes with tsuki.
Henka
Uke with katana in scabbard, Tori in hidari hanin. Uke starts to draw his sword. Tori
shifts forward to stop the draw by pushing the pommel back into the scabbard with his
left hand. Tori then steps in with a right fudo ken to Uke's face, he then moves back
with the right leg and draws Uke's sword and thrusts it into Uke's gorin (with left hand
on sword spine). Tori then positions the sword under Uke's left arm and throws
genseki using the sword.
Henka
left hand. Tori then steps in with his right foot behind his left so he is in close to Uke's
armpit and applies ganmen dori.
Henka
left hand. Uke steps back and pulls the sword. Tori keeps his left hand on Uke's right
hand and steps in with the right foot to apply ganmen dori. Tori then steps back with
the right (maki) to apply muso dori to Uke's arm. Finish by pulling away the sword
followed by a thrust.
Shun Soku
34
Uke is wearing a sword in his obi, both Tori and Uke stand in shizen no kamae. As Uke
attempts to draw his sword, Tori steps in with his left and jams the butt of Uke's sword
with his left hand. Uke strikes Tori's jamming hand with a right ura ken, but Tori avoids
by stepping out to the right and taking the bottom end of Uke's saya with the right
hand and Ukes left wrist with the left hand.Tori lifts the saya so that it is locked
against Uke's left elbow or tricep. Tori takes Uke down and secures him with his saya,
finishing with a toe kick to Uke's butsumetsu.
Note
Lever the scabbard through Ukes legs (open end of saya goes between Ukes legs).
Henka
left hand, then steps in with a right shuto to Uke's upper sword arm. Tori then moves
and takes the back end of Uke's scabbard over the back of Uke's left arm to apply
tsuki iri with the scabbard. Finishing with a right sokuyaku.
Ichi Geki
Tori stands in left ichimonji no kamae. Uke stands in seigan no kamae with katana. As
Uke pulls back his right foot and raises his sword into dai jodan no kamae, Tori does
yoko aruki in towards Uke, controlling Uke's right elbow with his left palm, and does a
right boshi ken to Uke's omote kimon (Tori has his left leg forward. Be sure that you
don't finish up directly in front of Uke, but slightly to his right). Tori finishes with a
right kick to Uke's suigetsu or kage.
Henka
Tori does yoko aruki in towards Uke as before, controlling and doing the boshi ken as
before. This time, Tori does a simultaneous right kick to Uke's knee and pushes Uke
backwards with the boshi ken to his omote kimon.
Henka
Tori does yoko aruki in towards Uke as before, controlling and doing the boshi ken as
before. Tori shuffles forward a little more with the left foot, closing his distance with
Uke and staring Uke in the eyes. Tori gives Uke the chance to cut left to right, but
keeps Uke under control. As Uke tries to cut, Tori shifts onto his left foot, raises his
right foot and takes Uke down with o soto gake.
Henka
Uke attacks with a jodan kiri. Tori responds with mogurigata and uses his left arm to
jam Uke's right arm. Tori then does a right boshiken to Uke's butsumetsu followed by a
right sokuyaku ken keri, osotogari, or keri to koe or suzu.
Kai Soku
Tori stands in Hidari ichimonji no kamae. Uke cuts downwards from dai jodan no
kamae. Tori steps out to the left, and does a right kick to the fingers of Uke's right
hand, landing on Uke's right foot. Tori covers Uke's right hand with his left so that Uke
35
can't draw his shoto. Tori does a right ura shuto to Uke's kasumi, and applies o gyaku
to Uke's right arm. Tori finishes by stepping behind Uke's legs to take Uke down with
o soto gake.
Henka
Uke is in daijodan with katana, Tori is in hidari hanin. Uke cuts down with sword. Tori
moves to the outside of the cut and kicks Uke's arms with his right leg. Tori then
strikes right ura shuto to Uke's uko and takes down with harai goshi. Finish by taking
Uke's sword, cutting his neck as you do so.
Henka
Uke attacks with jodan kiri (two swords in his obi). Tori steps to the left to avoid the
cut and applies a right sokugyaku ken keri to Uke's hands. Tori then steps in with his
left leg and uses his left hand to jam Uke's right elbow. Uke then tries to draw his other
sword, so Tori responds by striking Uke's kasumi with a right ura shuto. Tori grabs as
in o gyaku and applies sotogari to Uke's right side. (As your left hand traps and the
right strikes kasumi, you apply o gyaku, left hand goes in motion as if to apply muso
dori and the right hand grabs his right shoulder).
Ko Reaku
Tori stands in hidari ichimonji no kamae. Uke cuts downwards from dai jodan no
kamae. Tori steps to the right (inside), covering Uke's right wrist with his left hand (or
right hand). Tori then shifts in with his left, reaches over with his right arm and takes
hold of Uke's right tricep. Tori then steps in with his right foot to the outside of Uke's
right foot, applying o gyaku to Uke's right arm, while Tori pushes his right foot
forward (tate nagare) to bring Uke down forwards, to do this Toris hips turn
clockwise and Tori comes out of the tate nagare by rolling over his right shoulder. Tori
finishes up on top of Uke, securing him.
Henka
moves inside the cut to jam / strike Uke's arms. Tori then holds Uke's arm and applies
te makura. Finish by taking the sword and cut.
Iai Fuji
Uke is in shizen with katana in scabbard, Tori is in shizen. Uke draws and cuts in one
motion. Tori moves back into hidari jumonji to avoid. Uke then moves back and raises
his sword into daijodan. Tori quickly takes two steps in, raising his left hand to stop a
possible downward, cut and strikes Uke's butsumetsu with a right boshiken. Finish
with a right sokuyaku and move back.
Henka
Uke attacks with yoko kiri (left to right), Tori avoids koho. Uke attacks jodan kiri.
Tori responds with moguri gata, jamming with his left arm, and applies a right boshi
ken to Uke's butsumetsu followed by a right keri to Uke's koe or suigetsu.
Shin Gan
36
Uke is in migi seigan with katana, Tori is in hidari hanin. Uke lunges forward with a
thrust. Tori moves to the outside of the thrust and grabs Uke's hands. Tori then moves
underneath Uke's arms (keeping hold of the hands) and continues moving to Uke's left
side, Tori then pulls Uke's hands back to his left hip to throw Uke. Tori ends up
holding Uke's sword in a reverse grip.
Henka
Uke stands in seigan no kamae with katana. Tori stands in shizen no kamae. Uke
attacks with tsuki (right leg forward). Tori avoids to the left (his outside), striking
Uke's gokuro with a left shuto. Tori takes Uke's hand with both hands , moves around
anti-clockwise, and takes Uke down with omote gyaku.
Henka
Uke comes in with a tsuki as before. Tori avoids as before. Tori controls Uke's right
hand with his right hand, and Uke's left hand with his left hand. Tori pulls on Uke's left
and pushes on Uke's right, pushing the blade to Uke's throat as Tori steps in and
slightly right with his right foot. Tori breaks Uke's balance by pushing on the throat
then steps around with his right foot, taking Uke down with o soto gake (while still
controlling the blade on Uke's throat). Tori finishes Uke off by cutting his throat.
Henka
Uke comes in with a tsuki as before. This time, Tori avoids inwards to the right (his
inside), controlling Uke's hands with his left. Tori simultaneously strikes Uke's face
with his right elbow, and kicks the inside of Uke's right knee with his right foot. Tori
then takes hold of Uke's right shoulder with his right hand and as he lands backwards
from the kick, applies o gyaku to Uke's right arm, taking Uke down and securing him
on the ground.
Henka
Uke attacks tsuki. Tori moves left and drops to his left knee. Tori's left hand blocks
(traps) Uke's right hand and presses to his right. Tori then does a left fudo ken to Uke's
right hand to make Uke drop the sword. Then, Tori grabs omote gyaku, stands, and
applies the lock.
Fu Uke
moves to the outside of the cut and grabs Uke's hands or tsuba with his right hand (in a
claw if to tsuba). Tori then strikes with a left ura shuto to Uke's face (jinchu). Finish by
levering Uke's sword out of his grip by rotating it to the side (butsumetsu) and cut to
Uke's left side or downwards.
Henka
Tori stands in shizen no kamae. Uke stands in dai jodan no kamae. Uke comes in to cut
downward. Tori avoids outside to the left, covering Uke's right hand with his right
hand. Tori then hooks his index and middle fingers over the back of the tsuba. Tori
strikes with a left ura shuto to Uke's jinchu while simultaneously pulling Uke's sword
out of his hands with his right hand. Tori takes hold of the hilt with his left hand and
cuts Uke down.
Henka
37
Uke attacks as before. Tori avoids as before, taking hold of the sword as before. Shuto
and pull as before. If the pull does not pry the sword from Uke's grip, Tori pushes the
blade to Uke's throat as in the Henka of Chin Gan. Tori then takes Uke down with o
soto.
Henka
Uke attacks as before. Tori avoids as before. Holding Uke's right hand with his right
hand, Tori steps in with the left , striking Uke's right elbow with his left shoulder. As
Tori leans him forward, Tori sweeps Uke's right leg backwards with his left foot,
dropping Uke directly down to the ground.
38
Sanshin No Kata
Bojutsu
If you understand the way the Bo travels you will understand the way a sword or fist will
travel.
1. CHI NO KATA (Earth)
Hold the Bo in shizen Tai in the right hand. Step back with the right foot. The Bo is at the
same angle as the right leg, with the top of the Bo forward. right step forward lowering
the top of the Bo, and Chudan Tsuki with the Bo.
NOTE
The Bo should not stop but go right through Uke. It is more effective if you don't try to
fix on one particular target. Think of striking into space.
HENKA
As above. With the right step forward, bring the rear of the Bo up to strike under the chin
with Haneage.
HENKA
As Uke does a Tsuki, Tori drops back on the left knee, and then turns the body to face
Uke. The right foot, flips the bottom of the Bo up into Ukes groin.
NOTE
This is dangerous
AGAINST SEIO NAGE
Step back with the right foot. With his back against your chest. Step forwards with the
right foot, so that it is across the front of Ukes right leg. Pass the Bo across his neck, and
take hold of it with the left hand, and choke him. Step back with the left leg to take him
down.
NOTE
This can also be done with Uzimaki
HENKA
Uke does Seionage. Tori steps back with the right foot, and passes the bottom of the Bo
through Ukes legs. Tori then takes hold of this end of the Bo with the left hand. As Tori
walks forward, he releases the right hand.
NOTE
The Bo comes as high as the groin, and the end of the Bo strikes his shin as Tori walks
past. You can also step back with the left leg.
WALKING WITH THE BO
39
Just as you approach Uke, look back, and bring the Bo to Katate Chuden no kamae by
the Obi. Turn to face Uke, and strike to Suigetsu while you both are still walking.
HENKA
After the Tsuki drop to the left knee, and take hold of the Bo with the left hand as strike
across his shins as you would with Do Uchi (brace the Bo across your own shins).
HENKA
As above. After the strike to the shins step back still on the knee, and drop the Bo with
the right foot on top to strike down with the whole shaft on both Toki.
HENKA
When walking with the Bo, bring the right hand to the side of the Obi, with the Bo
horizontal. Turn to look back as you do this, then turn to face Uke striking to Gorin as
you turn back to face him.
NOTE
Leave the hand by the Obi for the whole waza.
HENKA
After the above Tsuki, drop to the left knee, and Ashi barai across the front of both of
Ukes shins, then step up, and a right Yoko Keri to the side of Ukes knee.
RYOTE UKE
You walk towards two Uke who are about 2 metres apart. You notice they will attack. As
the first one passes, bring the Bo horizontal, and strike the second Uke with Chi no Kata
Tsuki to Gorin. Then striking sideways to the first Ukes hand with the rear of the Bo, as
he goes to draw his Katana.
HENKA
Uke does a tsuki. Tori releases his hand, and turns it, and grabs the Bo again, dropping to
the left knee with a Tsuki to Ukes groin. The Bo is braced along the forearm, then Do
Uchi.
NOTE
This can be against one behind and one in front. As you rotate the hand the top drops
down on the rear Uke.
HENKA
As you move down the left foot goes to the top of Ukes Toki. Tori strikes with a Do
Uchi style to Ukes right shin.
40
2. SUI NO KATA (Water)
Starting in Shizen Tai, Uke does a right Tsuki. Tori steps back a little to the right, and a
left Jodan Uke. As Tori steps forward with the right foot he transfers the Bo to the left
hand, and strikes with a right Omote Shuto to the side of Ukes neck.
NOTE
Hit with either the Bo or with the knuckles of the left fist.
HENKA
As Above. Then the left foot scoops the bottom of the Bo up into Ukes groin.
HENKA
as Above, but with the hand transfer, Tori slams the Bo into Ukes arm with the left hand.
HENKA
After the Bo slam into the arm, the right hand grabs the Bo, with a right step forwards.
The left hand slides to the top of the Bo, and do Uchi.
HENKA
Uke does a right Jodan Tsuki. Tori does a left Jodan Uke (Toris posture is the same as
the first movement in the Chi no kata Bojutsu). the right hand release the Bo, and rotates
so that the thumb is now underneath. Tori lifts the Bo level at shoulder height, and does a
Tsuki with the top of the Bo to Ukes face.
HENKA
If a second attacker is behind Uke, flip the Bo over as in Tento Uchi to strike the other
Uke.
HENKA
As Above then Tobi back.
YOKO ARUKI
As Uke does Tsuki tori steps back, and brings the Bo to Katate Chuden no kamae. Tori
then steps to the left with Yoko Aruki, and slams the side of the bo into Ukes front.
3. KA NO KATA (Fire)
In Shizen Tai, as Uke strikes move the left leg back, and grasping the bottom of the Bo as
it rises on the left. Tori then strikes across from the left to the right to Uke.
NOTE
41
Keep the knees bent.
HENKA
After the neck strike, Tori shifts to the left with the left foot, and releases the right hand.
Tori reaches over and grabs Ukes right hand, and pulls it over the top of the Bo to
restrain Uke. Pull the hand, and push the Bo to drop Uke.
4. FU NO KATA (Wind)
Tori is in Shizen Tai. As Uke kicks Tori drops the top of the Bo over to the left dropping
it down on top of Ukes shin. The Bo is then rotated over so that it is on the left. What
was the top is now forwards. The left hand grabs the Bo. With a right foot forwards Tori
does a Tsuki.
HENKA
Same start. When the Bo has struck the Shin, Tori turns the Bo back, so that the bottom
of the Bo strikes up under the shin. Tori grabs the Bo under the right hand with the left
hand, and strikes with the base of the Bo into Ukes chest (top of the Bo is near Ukes
head).
HENKA
If a Kunai is ties to one end of the Bo (Bo is held with the Kunai at the bottom). Tori step
back as Ukes strikes, and then steps in striking by lifting the base of the Bo up into the
groin.
5. KU NO KATA
Tori is in Shizen Tai with the Bo in the right hand. Uke goes to grab the collar with the
right hand. Tori steps back a little to the right, and drops the Bo on top of Ukes wrist
(top of the bo drops to the left) with the Bo horizontal. Tori then comes in and kicks up
with the right foot under the chin.
HENKA
As Tori kicks up he switches hands on the bo, and rotates it above the head in the left
hand, and strikes down on top of the shoulder or the head. Tori can also throw the Bo at
Uke from here.
HENKA
Same start as the base kata. Tori then steps back slightly to the right, and turns the left
side of the Bo to the right so that it strikes into the side of Ukes neck. The rear of the Bo
tucks under the right armpit.
HENKA
42
If Uke grabs the collar, the same techniques are used, except the left hand covers as in
Omote Gyaku. Use the nail, and Omote Gyaku to take his hand from the jacket, and hold
it out to the left with his arm straight. Strike up under the arm or down on top of the arm.
43
Sanshin No Kata
Kenjutsu
These Kata are to be practice from a variety of starting postitions.
1. Practice each one from different Kamae.
2. With the Katana sheathed in it's Saya, draw the Katana, and do the Sanshin no Kata
using the following draws..
a) Shomen Giri (Vertical cut from the draw)

b) Kesa Giri (Diagonal cut down (Left - Right) from the draw)
c) Yoko Giri (Horizontal cut from the draw)
d) Gyaku Kesa Giri (Diagonal cut up (left - Right) from the draw)
1. CHI NO KATA
Bend the right knee a little forwards so that it is directly over the right foot, at the same
time do a Chudan Tsuki with the Katana, by pushing the arms out so that the arms are
straight.
2. SUI NO KATA
With a slight right step forwards, with the left foot following a little, raise the Katana up
and to the right, then cut down with a right - left Kesa Giri.
3. KA NO KATA
With a slight right step forwards, with the left foot following a little, raise the Katana up
and to the left, then cut down with a left - right Kesa Giri.
4. FU NO KATA
With a slight right step forwards with the left foot following a little, drop the Katana
down to the left, the cut up with a left - right Gyaku Kesa Giri.
5. KU NO KATA
Drop the Katana then while stepping forwards a little with the right foot, cut up vertical
with the Katana (turn it so the cutting edge it up). Step forwards with the right foot again,
and cut down with Shomen Giri (bend the knees).
44
Kuden
Baku - In
Sanpo Hiden
Ten Ryaku Uchu Gassho

(Heaven and universe prayer)
The hands are clasped in front of the body (chest), then move the hands straight out in
front of you until the arms are straight, step back into Doko no kamae, passing through
Ichimonji no kamae.
This gives you the feeling of you and God coming together as one, and to work as one,
through your own strength and mind. Then you can defend yourself.
The hand postures sometimes used as kamae at the beginning of some techniques are
used to help focus your intention onto him.
The Ten Ryaku Uchu Gassho means peace and harmony (all elements from the right
united), with no desire to fight.
Chi Ryaku Futen Goshin Gassho

(Circle of wind prayer)
The thumb (Ku), and the forefinger (Fu) of each hand touch, the left then interlinks with
those of the right hand. These are then held vertical in front of the chest. This is Futen
Goshin Gassho.
When doing this is Kata the right foot steps back, and the hands separate. The thumb and
forefinger still touch. The wrists cross (Kohyo Gassho), as in Jumonji no kamae, but are
close to the body. This is called Kohyo Gassho.
When doing the Futen, you should imagine that a Typhoon or whirlwind is spinning
around you as you preform the Inso. This will help protect you.
Jin Ryaku Chi Sui Ka Fu Henka Ryaku

Hanno Hon Itsu Gassho
(Circle of Earth, Water, Fire, Wind prayer)
45
The thumb (Ku), and the ring finger (Sui), of each hand touch, and those of the left hand
interlink with those of the right hand. They are held in front of the chest. This is Hanno
Hon Itsu Gassho.
When in waza, the right foot steps back, and the hands separate from each other. With the
fingers still touching each other. The right foot steps back, and the right hand drops to the
side of the Obi. The left arm straightens, and points at Uke. This is Ton Ryu no kamae
(escaping dragon posture).
46
Kuden / Hiden
In the Gyokko Ryu there are other forms, that are related to the Sanpo Hiden. They are
called the Gassho Kuji Kiri.
Gassho Kuji Kiri
Kongo Gassho (Cloud)

Suirin Gassho (Water ring)
Kaku Gassho (Fire, and winds).
The above are also called "Sanpo Gassho (3 treasures). They also appear in the Koto
Ryu.
The Kata's in the Jo Ryaku no Maki, Chu Ryaku no Maki, Ge Ryaku no Maki, are also
known as the Koppo San Ryaku Hiden
The hand postures sometimes used as kamae at the beginning of some techniques are
used to help focus your intention onto your attacker.
The Jo Ryaku no maki is the most important level. The Muto dori levels are based on this.
The main point of Gyokko Ryu Taijutsu is move around your Uke. Do not move too far
away or too close. Maintain the right amount of distance.
Also in the Gyokko Ryu is..
Kurai Dori (Sizing up the situation)

Shin Shingan (Gods's heart, Gods eye's)
Tenmon Chimon (Heaven, earth tactics).
Their are also the Hiden (secrets), and Kuden (oral) traditions.
One of the Kuden is "Hissho ho", which means "Always win".
In the Gyokko Ryu Densho, it mentions the use of two balls of a certain size, which are
hidden in the hand, and are used for distraction. They must be small enough so that they
can not be seen in the hand.
When a fight is about to start, do not let the opponent, but take him down with a
technique, that is as strong as is only needed.
The Gyokko Ryu has a rule, that states "Destroy the enemies power, but leave his life",
also "serve and protect the master, as you would do so your parents.
Sanshin No Kata
47
The Sanshin no kata is based on the five element manifestations Earth, Water, Fire, Wind,
and the Void. It is also known by the following names :-
Gako
Soshin go Gata
Gako no Gata
Goshin no Kata
Sanshi Tsuki
In the Tenchijin Ryaku no maki it is known as Soshin go-kei go-gyo no kata.
Takamatsu, when writing the word "Sanshin", would use the Kanji for three fingers,
Hatsumi uses the Kanji for three hearts. Hatsumi says that he cherishes the heart of the
three year old child, and that when he teaches Sanshin, he always thinks of the child that
is three.
Use natural body movement when doing the Sanshin no kata.
The importance of Sanshin is that it is the basis of all are Taijutsu. The movements are
much more exaggerated than the Kata of Kihon Happo. The legs, the knees are used
more, and the body is lowered more by bending the knees. The forms are all related to
"Ken Tai Ichi Jo".
The Earth Kata (Chi) represents the most natural way to strike, with a swinging motion,
which becomes a form of punching. This is much in the way as when we swing our arms
as we walk. It is also the groundwork (Earth) of our Taijutsu. The water Kata (Sui), and
fire kata (Ka) are both killing strikes to the neck. The hand up (Omote Shuto) in Sui
represents the rain drops that fall into the hand from the sky to the earth, Ka is the light.
The hand down containing the Water (Ura Shuto),is put on the fire putting it out (the
killing strikes). The Fu (Boshi ken) strikes to the groin are the area of fertility, and should
stop life before it begins. You must as you strike flow with the wind. Ku (Sky-Void) uses
Chosui Dori. This is when you must pick the flow of the timing, when to block, and when
to come in.
Why Chi Sui etc?
The names are old, and in the past they were also used for counting for example Chi = 1,
Sui = 2. So the names of the kata are not at all that important. In a way they are just a
way of counting or numbering the Kata.
Ki Gata / Torite Kihon Gata

The Ki gata, and the Honshu Goho, have become more commonly known as the kihon
happo, and with in this form they are called Kosshi Kihon Sanpo, and Torite Kihon Goho.
48
The techniques are the same, except for a few changes. In Torite Kihon goho the Jigoku
dori is removed, and Ganseki Nage is used in it's place.
Takamatsu was taught these by his grandfather Toda Masamitsu. When Takamatsu taught
them to Hatsumi he said that they were the foundation stone of the martial arts, and that
he should always practice them.
The Ki, and Torite Kihon Gata's are important, as at least one part of one of these Kata
appears somewere in every Kata. The first two Kata from Jo Ryaku no Maki are made up
of all of these two training levels.
Takamatsu said to Hatsumi:
When I was taught the Gyokko Ryu Kosshijutsu Kihon Gata they were the basic or
fundamental form. I was also told that Kihon Happo was the origin of all Budo, so I say
earnestly to you (Hatsumi) you too make this the basis and teach it to your students.
49
Kotsu
ICHIMONJI NO KAMAE
HANDS
The Ichimonji of Gyokko Ryu, has the left arm straight out towards Uke with the left arm
slightly bent at the elbow pointing to the right, with the left hand open. The right hand is
in Shito Ken tucked neatly into the inside of left elbow. The right hand should rest a little
on the top of the left elbow. The left hand should also when in correct kamae, be pointing
across to the Ukes left shoulder. When Uke punches to wards you his fist will appear in
the middle between the left hand and the right hand. At this point Tori should move, and
block, because Uke is in range, and a Jodan Uke etc, because Uke is now in range, and
the Jodan Uke should make contact. This all depends on timing and speed.
FEET
The left foot is forward, with the left foot, only slightly facing to the right (hardly
noticeable). If you were to look from above the foot would be hidden under the left
forearm. When Tori moves to avoid the incoming punch, the right foot faces the direction
that Tori travels in. The knee will also be directly above the right foot. If they are not, the
bodies balance is off, and Tori is in danger of toppling over. This however changes
according to the situation. There is a border between safe, and dangerous. This must be
determined at the time of the situation. The bodies balance, along with position of the
knees, and feet, must all be able to react together at the same time.
When executing the techniques of the Gyokko Ryu keep within 12 inch (36 cm) of your
opponent. Keep the flow in a circular motion, and do not stop and start as in Karate.
BLOCKING
When blocking in the Gyokko Ryu, it should be remembered that these blocks are very
powerful. When Uke strikes, you must move to avoid the punch, then turn from the hips
upwards, swinging the fist into the attacking arm's muscles.
KEY POINTS
Strike the inside of Ukes wrist, with Nio Ken. This will injure the tendons, and veins of
the wrists.
Back of the hand, with Shikan Ken, or Nio Ken. This will injure the small bones in the
hand, making the fist painful to clench.
Nagare. Use Shuto, but do not just drop the Shuto into the muscle, even though this is
painful, more pain and damage will occur if at the point of executing the Shuto the body
weight is dropped. It is possible to tear the muscle when doing this.
Bicep, use Shuto or Boshi Ken to the inside or the outside of the arm.
Shoulder joint, drive a Shikan Ken into the Joint. Best when a s wing punch comes in.
50
Neck. Striking into the muscle areas of the neck can cause shock, paralysis, or even
death.
51
Kihon Happo Quotes

"Kosshi Kihon Sanpo, Honshu Goho together are called Kihon Happo. Train well in
these techniques. If you do the Kihon Happo correctly, everything is going to be wrong.
Knowing the Kihon happo can make everything work. There is no right and wrong way
to do Kihon happo." (Tenchijin Ryaku no Maki)
50% of all training should be kihon happo (Manaka Shihan)

Yesterday evening I understood kihon happo for the first time. Now I know how many
layers of air there is between two people. It has taken 30 years to get their. (Manaka
Shihan 28th November 1989).
It is important to do the right kind of rolling in Kihon happo, otherwise it is of no use to

practice it. (Someya Sensei 1989).
If you get stuck in a technique, go back to Kihon happo (Ishizuka Shihan)
If you want to train with weapons first do Kihon happo (Ishizuka Shihan)
Kihon happo is the bridge between consciousness, and the subconsciousness. (Nagato
Sensei)
Just because the Shihans do their Kihon Happo a little different, it is not the same as the
foreigners doing theirs a little different. What they call an interpretation of a technique is
often total wrong, because of lack of knowledge. (Nagato Sensei)
If you really put your mind and heart to the study of Kihon happo, then you can learn
amazingly much about what is really important Hatsumi Soke.
Ninjutsu is not intended for the satisfaction of personal desires. The Ninja employs his art
because he is forced to protect his country, his leader, or his family. If you employ
Ninjutsu for the mere fulfillment of your personal desires, your technique will be of no
avail
Momochi Sandayu
Soke Gyokko Ryu
52
This densho is comprised of the personal notes of Graham Ramsden, based on training,
study and material researched from various sources.
Graham Ramsden
7th Dan Shidoshi
Bujinkan Dojo
53
The following pages are included as reference only as they were from my original notes
54
GYOKKO RYU
Torite Kihon Gata
Omote Kote Gyaku

When one is being held in kumiuchi (as in Judo), never hold any part of the opponent's
body or clothing. Place the left hand's thumb nail into the back of the opponents right
hand, stepping backwards and lifting his hand above the opponents head, with the palm
facing away. Then place the right hand onto the opponent's raised hand and apply
pressure to take down.
Ura Kote Gyaku

As one is held in kumiuchi, place the left hand on the opponent's right hand with the
fingers pointing up. From here, step back with the left leg and simultaneously place the
right hand over the opponent's right, digging the thumb nail into it. Move backwards
with the right leg, bringing the opponent to the ground by twisting his wrist and
applying pressure to it with the other hand. A variation of this is to apply pressure to
the opponent's elbow.
Oya Goroshi
As the opponent holds the gi in kumiuchi, gently place the left hand under the
opponent's right hand (which is holding the lapel) with the thumb on the outside and all
the other fingers on the inside. Step backwards with the right leg turning the body to
the side, thus straightening the opponent's arm. Then place the right hand on the
opponent's thumb and use the palm to bend it.
Ko Goroshi
As the opponent holds the gi in kumiuchi, hold the hand with the left in the same way
as with oyagoroshi. Then sink the thumb's nail into the base of the nail of the
opponent's little finger so as to release his grip. Once released, apply pressure by trying
to put the tip of the little finger to it's second joint while encasing it in the hand. Finally,
hold the little finger firmly and bend it backwards.
Omote Gyaku Kimewaza Roppo

First put the opponent on the ground by using omote gyaku then do the following
(opponent on his back after a left handed omote gyaku):
Place the right foot under the opponent's armpit and lock the elbow.
Step on the side of the opponent's face with the right foot and lock the elbow over
the leg.
Step on the opponent's rib cage with the left foot and lock the elbow over the leg.
55
Kneel on the left knee, keeping the right leg straight, pushing the rib cage with the
foot, and keeping the arm straight with the palm facing up, finally putting the body
weight on the wrist.
Bend the opponent's arm at the elbow so that it is perpendicular to the floor and
place the right knee onto the middle of the upper arm, while twisting the hand in an
anti-clockwise manner.
From here do a zenpo kaiten.
Ura Gyaku Kimewaza Roppo

First put the opponent on the ground by using ura gyaku and then do the following
(opponent is on his front after a right handed ura gyaku):
Grasping the hand firmly, kneel with the right leg, keeping the left leg straight so
that the foot is pushing the opponent's arm straight, and place the body weight onto
the back of the opponent's hand, bending it at the wrist.
Maintaining the opponent's arm straight, place the right foot under his wrist, while
keeping it bent and lifting the toes a little. Then kneel on opponent's elbow.
Place the right knee on the side of the opponent's trunk from under the arm and put
the body weight onto it while locking his arm with the right shoulder (facing
opponent's feet).
Bend the opponent's arm by holding the elbow with the right hand and sliding the
left hand under his forearm and catching his shoulder with it.
Lie on the opponent's back, catching both of his arms with the forearms from
above.
From here do a koho kaiten.
Ganseki Nage
As the opponent holds one in kumiuchi, place the hands on the inside of those of the
opponent. Step forward with the right leg , moving the right arm under the opponent's
elbow and bending one's arm so that the hand is next to the ear, keeping it open. At the
same time take hold of the opponent's other elbow. Step in front of the opponent's
right leg with the right foot and twist the body to the left, reaching to the left foot with
the open hand, thus taking the opponent to the ground.
Ganseki Otoshi
This technique is used when one fails to complete ganseki nage. If the opponent resists
the ganseki nage, then place the right foot in front of the opponent's left and slip it
backwards allowing oneself to lean forward. This should sweep the opponent's left leg
56
backwards. During training release the opponent's right hand so that he can do a zenpo
ukemi.
Ganseki Ori
Another way of putting the opponent on the ground if one is unable to do so with
ganseki nage is by using ganseki ori. Instead of twisting the body to the left, place the
right foot behind the opponent's right and lock the knee back while leaning the body,
thus snapping the opponent's leg if done properly.
Goja Dori
This technique, also called musha dori, together with ganseki are traditional forms of
fighting when wearing a "Yoroi" (armour).
As the opponent holds one in kumi uchi, place the hands inside his. Move forward
while moving the right hand over his elbow from the outside and turning it back in,
under the elbow. The elbow should now be bent with the right forearm under it. Clasp
the right hand from underneath with the left hand, keeping both wrists straight, and
raise them towards one's chest, thus securing the opponent. To bring down, kick to the
"kobura" nerve point (the muscle just under the back of the knee).
Omote Taki Ori

As the opponent reaches to catch one's lapel, hold his wrist from above with the thumb
and middle finger and push the base of one's palm upwards under his armpit, so as to
bend his wrist. Repeat to the opponent's other hand and turn the body to the side
placing one foot in front of both of the opponent's feet. Lower the hand opposite that
foot, raising the other, while twisting away, thus bringing him to the ground.
Ura Taki Ori

Again, as the opponent reaches for the lapel, taking hold of the wrist from the inside
with the thumb and middle finger while keeping the index finger straight. Pressure the
opponent's wrist with the index finger and raise his hand. Do the same with the other
hand and turn away from the opponent, placing one foot in front of both of his feet so
as to bring him down.
Hon Gyaku
The beginning is done in the same manner as ura kote gyaku, but turning the
opponent's hand until his palm is in a vertical position and straighten his arm. Then
place the free hand over the holding hand with it's little finger placed on the little
crevice of the opponent's wrist. Finally turn the opponent's hand towards him, keeping
it vertical, to put him to the ground.
Katate Zeoi
57
As the opponent holds one in kumiuchi, hold the wrist that is holding the lapel, from
above with the right hand and turn the body under his arm from the outside so that his
elbow is locked straight on one's chest. pull his arm diagonally down and straighten
one's free hand in front of the opponent.
Ryote Zeoi
This is basically the same as katate zeoi, however one must catch both of the
opponent's wrists before turning the body under his arms and also twisting both of the
wrists together.
Omote Oni Kudaki

As the opponent holds one in kumiuchi, never hold onto him in any way. Place the
right elbow to the opponent's chest with it's hand going under his right upper arm,
while placing the left over the opponent's right forearm. Then clasp both hands
together, turning the body away from the opponent, thus bending his elbow, and
continue to turn to bring him to the ground. Once there, lift his arm up so that the
upper arm is perpendicular to the floor and his forearm horizontal. To restrain, straddle
the opponent, catching the free hand with the right foot, then turn the arm.
Ura Oni Kudaki

From kumiuchi, place both hands inside his, then placing the right elbow to the
opponent's shoulder, pushing it gently. Entrap the opponent's arm by circling the right
hand around it, bending his forearm at the elbow, while holding onto his wrist with the
left and his elbow onto one's chest. Finally, place the right leg behind his and bring to
the ground. Then restrain.
Muso Dori
As the opponent holds one in kumiuchi, turn the right arm in an anti-clockwise manner,
with the hand traveling under his left forearm, turning it. Take hold of his sleeve at the
elbow, having left hand trapped between one's right upper arm and forearm. Place the
left hand on the right and push down onto the elbow.
O-Gyaku
Once again the opponent holds one in kumiuchi. Entrap the opponent's left arm as in
ganseki, releasing his right arm and lever his left arm to bring him to the ground with
the help of one's left hand. Once on the ground, push his forearm forward with the
upper arm. Finally, restrain by straddling the opponent, holding his free hand with the
right foot and use the body weight to restrain.
GYOKKO RYU
Torite Kihon Gata
Migi Omote Gyaku
58
Uke does a left grab to mune. Tori steps back left, covering Uke's hand with his right
hand, with his thumb between Uke's hand and Tori's chest. Tori then steps up to his
right foot with his left, releasing Uke's grip and raising his hand while doing left
metsubushi. Tori takesUke's hands with boh hands (and placing his right thumb in the
centre of the back of Uke's hand). Tori finishes by stepping back with his right foot,
applying omote gyaku, taking Uke directly down.
Hidari Omote Gyaku

As above, on opposite side.
Migi Omote Gyaku Henka

Uke does a left grab to mune and a right punch. Tori covers Uke's grabbing hand with
his right hand. As Uke punches, Tori steps back to the right and does a left block to
Uke's hoshi. Tori then steps forward with his right foot to the outside, releasing Uke's
grip and extending Uke's arm to the side while the left hand sweeps across Uke's eyes.
Tori keeps walking past to take Uke down with omote gyaku (Uke's arm should be
extended).
Hidari Omote Gyaku Henka

Migi Ura Gyaku

Uke does a left grab to mune. Tori covers Uke's grabbing hand with his right hand,
then steps back right while sweeping his left hand across Uke's eyes (metsubushi), and
taking the grabbing hand from above. Tori then steps up to his left foot with his right,
releases Uke's grip and twists Uke's hand upwards. Tori continues to twist Uke's hand
in ura gyaku downwards as he walks forwards.
Hidari Ura Gyaku

Migi Jigoku Dori

Uke grabs Tori's right sleeve with his left hand. Tori steps back to the right (into a kind
of an ichimonji no kamae), with his right palm on Uke's left elbow, and rolls Uke's arm
over (locking his wrist and elbow on the crook of Tori's elbow). Tori then shifts his
weight onto his front, pushing Uke upwards and backwards to the point where his
body wants to come forward. Tori does a right pushing kick to the outside of Uke's left
knee, taking him down with the kick and the armlock, and pinning Uke down with the
shoulder / arm lock.
Hidari Jigoku Dori

59
Migi Musha Dori

Uke grabs Tori's right sleeve with his left hand. Tori steps forward to the right, pushing
Uke's arm backwards, and steps around so that he is parallel to Uke. Tori then sinks
down, and raises back up, applying musha dori with his hands clasped together. As Tori
tightens the lock, he does a right kick to the side of Uke's knee, then goes down onto
his left knee (opposite knee to the musha dori practised in kihon happo) as he takes
Uke down.To finish, Tori secures Uke.
Hidari Musha Dori

GYOKKO RYU
Sanshin No Kata
Chi No Kata
Uke is in ichimonji no kamae, Tori is in shizen no kamae. Uke strikes migi jodan tsuki.
Tori moves back 45 degrees with right leg and lets right arm swing back while left arm
points at Uke. Tori then steps forward with right leg as his right arm swings forward
and up to strike Uke's uko with nishitan ken or sanshitan ken.
60
Sui No Kata
Both Uke and Tori are in ichimonji no kamae (Tori with right fist on hip). Uke strikes
migi jodan tsuki. Tori moves back 45 degrees with right leg and blocks left jodan uke
to the inside of Uke's arm. Tori then steps in with right omote shuto to Uke's uko.
Ka (or Hi) No Kata

migi jodan tsuki. Tori moves back 45 degrees with right leg and blocks left jodan uke
to the inside of Uke's arm. Tori then steps in with right ura shuto to Uke's uko.
Fu No Kata
migi chudan sokugyaku. Tori moves back 45 degrees with right leg and blocks left
gedan uke to the inside of Uke's leg. Tori then steps in with right upward swinging
fudo ken or koppo ken to Uke's gorin.
Ku No Kata
migi chudan sokugyaku. Tori moves back 45 degrees with right leg and blocks left
gedan uke to the inside of Uke's leg. Tori then raises his open right hand above his
head to draw Uke's attention and then strikes right sokuyaku to Uke's gorin
Ku No Kumite
Uke attacks with migi jodan shikan ken (or fudo ken). Tori goes back and blocks with
his right hand with an uke naga shi. Then pull Uke's hand between Uke's legs and turn
at the side of the body. Check the back of Uke's knee with your own knee. This is a Ku
variation and an example of kumite no kata.
61
GYOKKO RYU
Ki Gata
Migi Ichimonji No Kamae

Tori stands in migi ichimonji no kamae. Uke strikes left jodan tsuki. Tori steps to the
inside and blocks with a right fudo ken to hoshi. Tori then steps forward with the left
foot and applies a left omote shuto to Uke's uko or kasumi.
Hidari Ichimonji No Kamae

Hidari Hicho No Kamae

Tori stands in left hicho no kamae. Uke steps in with a right chudan tsuki. Tori sinks
down and does a left downwards block (right past his body) to nagare. Tori lifts his
body up and left to kick to Uke's butsumetsu or armpit. After the kick, the foot lands
on the spot and Tori steps forward with his right leg , striking Uke's Uko with a right
ura shuto.
Migi Hicho No Kamae

Jumonji No Kamae
Tori stands in jumonji no kamae. Uke strikes right jodan tsuki. Tori steps inside the
punch and does a left block to hoshi. Tori then rocks forward, thrusting a left boshi ken
into Uke's right butsumetsu or armpit, then strikes to Uke's eyes with the left hand (this
can only be a feint). Uke steps forward and punches left jodan tsuki. Tori blocks, does
boshi ken and metsubushi as before but on the opposite side.
GYOKKO RYU
Muto Dori Kata
62
Hira No Kamae
As the Uke steps forward with a vertical sword slash, Tori moves from hira back into
hidari ichimonji to avoid the cut. Tori then pivots to the right and does a right shoulder
roll, rolling away in the direction of Uke's advance.
Ichimonji No Kamae
From hidari ichimonji, Tori dives forward and to the right under Uke's vertical sword
slash, to end up behind Uke. As Uke turns and approaches with a second cut, Tori
steps forward with the right foot, and with the left knee on the ground, applies a right
shito ken thumb drive fist to the solar plexus while sheltering himself with the left
forearm.
Jumonji No Kamae
Tori uses Shi Ho Tobi four-directional leaping method from the jumonji offensive
posture to avoid Uke's sword slash. As soon as the blade is cleared, Tori springs back
at Uke with restraining grabs and counter strikes.
Trevor Robinson Bujinkan (Geki Ryu) Dojo
63

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Gyokko Ryu Kosshi-jutsu Bujinkan (Geki Ryu) Dojo

Gyokko Ryu Kosshijutsu

San Dan Kamae

Taihenjutsu Muto Dori No Kata

Torite Kihon Gata

4. Hidari Omote Gyaku Henka

Chu Ryaku No Maki

Sanshin No Kata - Bojutsu

Kihon Happo Quotes

Gyokko Ryu Kosshijutsu

Everything known on Gyokko Ryu Kosshijutsu is from Takamatsu Senseis Kuden.

Gyokko Ryu has principle rules for the Dojo:

2. Forget self, be patient, fear not dying.

Ichimonji No Kamae (Hidari)

MIGI ICHIMONJI NO KAMAE (Right First Posture)

HIDARI ICHIMONJI NO KAMAE (Left First Posture)

Hicho No Kamae (Hidari) (Right Flying Bird Posture)

MIGI HICHO NO KAMAE (Right Flying Bird Posture)

HIDARI HICHO NO KAMAE (Left Flying Bird Posture)

Jumonji No Kamae (Hidari)

MIGI JUMONJI NO KAMAE (Right Position of Ten Posture)

HIDARI JUMONJI NO KAMAE (Left Position of Ten Posture)

Kime No Kamae (Hidari)

Hanin No Kamae (Hidari)

Shoshin No Kamae (Hidari)

Taihenjutsu Muto Dori No Kata

1. Migi Ichimonji No Kamae

2. Hidari Ichimonji No Kamae

Same as above, but on the opposite side.

3. Migi Hicho No Kamae

4. Hidari Hicho No Kamae

Same as above, but on the opposite side.

Torite Kihon Gata

1. Migi Omote Gyaku

2. Hidari Omote Gyaku

Same as above, but on the opposite side.

3. Migi Omote Gyaku Henka

4. Hidari Omote Gyaku Henka

Same as above, but on the opposite side.

5. Migi Ura Gyaku

6. Hidari Ura Gyaku

Same as above, but on the opposite side.

7. Migi Jigoku Dori

Same as above, but on the opposite side.

9. Migi Musha Dori

10. Hidari Musha Dori

Same as above, but on the opposite side.

1. CHI NO KATA (Earth)

AGAINST SEIO NAGE

2. SUI NO KATA (Water)

As Above then Tobi back.

Keep the knees bent.

1. Practice each one from different Kamae.

a) Shomen Giri (Vertical cut from the draw)

Ten Ryaku Uchu Gassho

Chi Ryaku Futen Goshin Gassho

Jin Ryaku Chi Sui Ka Fu Henka Ryaku

Gassho Kuji Kiri

Kongo Gassho (Cloud)

Also in the Gyokko Ryu is..

Kurai Dori (Sizing up the situation)

One of the Kuden is "Hissho ho", which means "Always win".

In the Tenchijin Ryaku no maki it is known as Soshin go-kei go-gyo no kata.