Front cover photo by Keiz6 Kaneko; demonstration photos by Yoshinao MuraL

Dis.\ribllJted lin the Unittld States by Kodansha America, Inc, 114 Fifth Avenue, New York, NY 1,0811, and in the United Kingdom and continental Europe by'Kodansha Europe uc.. 95 Aldwych, London WC2B 4JE Published by Koda nsha lnternationa I Ltd., 17 -14 Otowa t-chorne, Bunkvo-ku, Tokyo 111 2, and! iZodansha America, Inc Copyright © 1979 by Kodansha International Ltd. Alii rights reserved. Printed In Japan.

LCC 77-74829

ISBN 0-87011-379-8

ISBN 4-7700-0726-4 fin Japan)

First edition. 7979

94 95 20 19 18 17 16


Introduction What Karate-do Is Kata

Meao·ililg. Important Points. Heian and: Tekki Heian 1

Important POil[JtS, 28 Helen 2

Important Points, 46 Heian 3

Important i'-'oints, 60 Heian 4

Important iPoints, 74 Heian 5

Important Points, 90 Tekki 1

Important Points, 706 Tekki 2

I mportant Points, 721 Tekki 3

Important Points. 140 Glossary

9 17 12










The past decade has seen a great rncrease III the pcpularltv of karate-do throughout the world, Among those who have been attracted to it are coilege students and teachers. artists" businessmen and Civil servants, It has come to be pracuced bY' policemen and members of Japan's Self-defense Forces. In a number of umversiues. It has become a cornpulsorv subject and that number is increasing yearly,

Along With the increase III popularity, there have been ce,r;(,alnJ unfonunate and regrettable interpretations and perrnrmances. For one thing. karate has been confused with the so-called Chinese-style boxing, and Its reranonship wrth the orrqinal Okinawan Te has not been suffic.entiv understood, There are also peoo.e who have regarded it as a mere show, in whrch two men attack each other savagely, or the co ntesta Jl ts battle each other as though It were a form of boxing in which the feei a~e used, or a man shows off by breakmq bricks or other hard objects With hrs head, hand or foot

If karate is practi ced solely as a flghti ng tech nioue. this 1,3 cause for regret. The funuamental techniques have been developed a nd perfected throug h 10 ng yea rs of study and pr<lctlte, but to make any effpctlve usc of these techniques, the spiritual aspect of this art of self-clefense must be recognized and must play the predominant role. lt is gratifYing to me to see that there are those who understand this, who know that karate-de) I~ a purely Orion~al martial an. and who train with the properatutuoe.

To be capable of inflictmq devastating damage on an opponent with one blow of the fist or a single kick has indeed b-e,en Ihe objective of thrs ancient Okinaw,m martial art. Gut even the practitioners of old placed stronger emphasis on the spiritual side of the art than on the techniques Training means tralnlng of body and spirit, and, above all else, une should treat his opponent courteously ami WI!~1 the proper etiquette It is not enough t.o fight with all one's power, the real objccuve III karate-do IS to do so for the sa ke of justice.

Gichin Funakushi. a great master of karate-do, pointed out repeatedly that the first purpose In lJursuing trus art IS the nurturing of a subiime spirit. il Spirit of hurnihtv. Simultaneously, power sufficient to destroy a tcrocio us Wild a II 11n31 witn a 31 n9 lc


blow should be developed. Becoming a true follower of karatedo is possible only when one attains perfection 10"1 these two aspects. the one spiritual. tile other phvsical.

Karate as an ant of self-defense and karate as a means of improving and maintaining health has 19n9 existed. D~rilng the past twenty years. a new activity has been ex;:>lored and is cornI ng to the fore. Th is is sports karate.

I n sports karate. contests are hel d for the RU rpose ef determining the ability of the participants. This need~ enwhasi7ing, for here agai n there IS ce lise for regret. There is a tendency to place too much emphasis on wmiling contests. and those who do so neglect IRe practice of fundJmenta·! techntques, opting instead to attempt jiyu kum ite at the earl I est opportun Ity

Emph(lsis on winning contests cannot help but alter the fWIi1- darnenta I techn i ques a person uses and the practico he engages In. Not only that. it will result in a person's being incapable of executing a strong and effective technique, Which, after all. IS the unique Characteristic of karate-do. The man who begins Jlye! kumite orerneturelv+without havrnq practiced fundamentals sufficientlv+vvi!l soon be overtaken by the man who has trained In the basic techniques long and diliqeritlv. It is, ouue Simply, a matter of Ilaste rof;kes waste. There is no alternative to learning and pracncinq basic techniques and' movements step by step. stage by stage.

If karate competitions are to be held. they must be conducted under SUitable conditions and In the proper spint The destre to win a contest IS counterproductive. since It leads to a lack of seriousness in learning Hne fundamentals. Moreover. aiming for 8 savage di SD lay cf stren gih a nd power ina contest is tota Ily undesirable. When this happens. courtesy toward the opponent IS forgotten. and th is IS of pn me irnoortan ce Ir1 a ny expression of karate. I believe this matter deserves a gregt deal of reflection and self-examination by both Instructors ahd students:

To explain the many and complex movements of the body'. It has bee n my desire to prese nt a fully Iii I ustrated book with an up-to-date text based all the experience in this art that I have acquired over a period of fortv-six years. This hope is being realized by the publication of the Best Karate series, In which earlier writings of mine have been totally revised with the help and encouragement of my readers, This new series. explains in detail what karate-do is In language made as Simple as possible. and I sincerely hope that It will be of help to followers of karatedo. I hope atso that karateka In many countries will be able to understand each ·mhl?.r better through this series of books.


Deciding who IS the winner and who IS the loser I,S not the ultimate objective. Karate-do IS a martial art tor the development of character through traini ng, so that the karateka can surmount any obstacle. tangible or Intangible.

Karate-do is an empty-handed art of self-defense In which the arms and legs a re systematically trained' and -an enemy attacking by surprise can be controlled by a dernoostration of strength like that of using actual weapons.

Ka rate-do IS exercise through wh ich the karateka masters a II body movements. such as bending, Jumping and balanclnq, by learning to move limbs and body backward and forward. left and right. up and down. freely and uniformly.

The techniques 01 karate-do are well controlled accordmq to the karate ka' s Will power a nd are d I rected at the target accu ra ely and sponte neo u5ly.

The essence of karate techniques IS· kirne. The meaning Of kime I s an attack to the target usmg the appropn ate technique and maximum power In the shortest trrne possible (Long ago. there was the expression ikken hissetsu. meaning "to kill With one blow." but to assume from this that 1<IIIIng is the objective IS dangerous and incorrect. It should be remembered that the karateka of old were able to practice kime daily and In dead seriousness by USing the makiwara.)

Kime may be accomofished by strikinq, punching or kicking. but also by blocking. A technique lading kime can never De regarded as true karate, no matter how great the resemble nee 10 karate. A contest is no excocti on; however, it rs aga ms t the rules to make contact because of the danger involved.

Sun-dome means to arrest a technique just before contact With the target (one sun. about th ree centimeters). 8 ut not ca.rrying a technique through to kime is not true ka rate, so the question is how to reconcile the contradiction between kimo and sun-dome. The answer is thrs: establish the target slightly in front of the opponent's Vital point. It can then be hit in a controlled way With maximum power, without making contact.

Training transforms various parts of the body Into weapons to ,be used freely and effectively. The quality necessary to accomplish this IS self- control. To become a victor. one must first overcome his own self.



The keto of karate-do are logical arrangements of blocking, pu nchino, stri king and kicking techn iques in certain set seq u enee s. Abo u t fifty ka tao a r "forma I exerc i ses." are practi ced et the present time. some having been passed down from generation to generation. others having been developed fairly recently.

Kata can be divided into two broad categories. In one group are those appropriate for physical development, the strengthening of bone and muscle. Though seemingly simple. they requ ire composure for their performance and exh ibit strength and dignity when correctly performed. In the other group are kata suitable for the development of fast reflexes and the abi I ity to move quicklv, The lightninglike movements in these kata are suggestive of the rapid flight of the swallow. All kata require and foster rhythm and coordination.

Training in kata is spiritual as well as physical. In his performance of the kata. the karateka should exhibit boldness and confidence. but also humility. gentleness and a sense of decorum. thus integ-rating mind and body in a singular discipline. As Gichin Funakoshi often reminded his students. "The spirit of karate - do is lost without cou rtosv."

One expression of this courtesy is the bow made at the beg i n ni ng and at the end of each kata. The stance is the musubi-dschi (informal attention stance). with the arms relaxed, <>,._. the hands lightly touching the thighs and the eyes focused

:;. straight ahead.

~ From the bow at the start of the kata. one moves into the

~ ~ kamae of the first move men t of the kata. This IS a relaxed posi~Ion. so tenseness. particularly in the shou I ders and knees. shou Id be eliminated and breathing should be relaxed, The center of power and concentration is the tendon. the center of gravity. In th is position. the karateka shou I d be prepared tor any eventual i ty and fu II of fighti ng spi rit,

Being relaxed but alert also characterizes the bow at the end of the kata and is called zonstnn. In karate-do. as in other martial arts. bringing the kata to a perfect finish is of the greatest importance.

Each kata begins With a blocking technique and consists of a specific number of movements to be performed in a particular order. There is some variation In the complexity of the movements and the time required to complete them, but each


movement has its own meaning and function and nothing is s.uperfluous. Performance is along the embusen (performance line), the shape of which is decided for each kata.

While performing a kata. the karateka should imagine himself to be surrounded by opponents and be prepared to execute defensive and offensive techniques in any direction.

Mastery of kata is a prer~qus.lte for['leernent through k,/O'

and dan asfGllows:

8fh kyu· Heian 1

7th Rya Heian 2

6th 'kyu H ei a n 3

5th f{Yu He,{an 4

4th twa Hejan 5

3rd kya Tekki 1

2,J;lQ Ijyu 'Kalia other H'lilA Ph~<ia[\'l or Tekki

ht kyO Other tban the above

1 st,dan 0ther than 'the above

2nd dan and above Free kata

Free kata may 0e chosen fmll'l Bassai, ~anKu. .Jjtte, Hangetsu. Empi, Gahk~kl!. Jion. lekkl. Nijlishihoi GDJushih6. Unstr, S,ochin .. Meikyo. Ch~ntel. \lVankan and others,

ImporJant Points

Since the effects of practice are cumulative. practice every day. even if only for, a few minutes. When performing a kata. keep calm and never rush through the movements. This means always being aware of the correct timing of each movement. If a particular kata proves difficult. give it more attention, and! always keep in mind the .lielationshAp between kata practice and kumite (see Vols. 3 and 4).

Specific points in performance are:

1, Correct order. The number <Inc! sequence ot movements is predetermined. All must be performed.

2. Beginning and end. The kata must begin and enc at the same spot on the embusen. This requires oractjce.

3. Meaning oi each movement. Each movement, defensive or offensive must be cleanly u [lderstG~d and fUlllly expressed. This is a Iso true of the kata as a .whole, each of wh ich ha'S its own characteristics.

4. Awareness of the. target: The i<,arate,k;;r iflust know what the target is and when to execute a technique.

5. Rhythm and timing. Rhythm must be appropriate to the particular kata and the body must be flexible. never overstrained. Remember the three factors of the correct use of power. swiftness or slowness in executing techniques. and the stretching and contraction of muscles.

6, Proper breathing. Breathing should change with changing situations. but basically inhale when blocking. exhale


when a finishing technique IS executed. and inhale and exhale when executing successive techniques.

Related to breathing IS the kiai. which occurs in the middle or at the end of the kata. ill the moment of maximum tension. gy exhaling very sharply and tensing the abdomen. extra power can be given to the muscles.

Heian and I ekki

The five H eian a nd three Tekki kata are all basic kata. Through the performance of the Heian kala. one should master the principles and skills that are indispensable in karate.

From the Tekki kata, one should acquire the dignity and strencth of karate techn iques, but more than that he should come to master the dynamic. driving force that comes through practice designed to make the hips and stances strong.

The embusen in Heian 1 and 2 IS I shaped. In Heian 3 and 5. it is T shaped. In Heian 4, it is shaped like an 1, but with the vertical line extending above the upper horizonta] line.

The: embusen in the 1ekki kata is a straight line.


11 HEIAN 1

From bow to shi'Ze'rf-tai


Move left foot first.


Right middle level lunge punch Keep left foot firm. Pom;h while slliding .right foot forward,

Shizen- tei. Hachinoji -aeoui 16

Midari geda'FI ba'Fai




Left downW;;Jrd blec« The left fist should be about 15 certti-

meters iJbove the left kmee. ' ' .

3. Migi zenkutsu·dachi

Rlghr downward block Left leg is jiku 8/iihi (pivot leg), Move fi'ght leg. in .a wi d~ arc.

Migi gedan barai


2. Mlgi zen/<i(![cfJl!I-d{)({hi

Migi.kentsui tete mewsshi-uehi


, .. ,t'

vertice! strike with fight hammer tis: First bring right foOl halfway back and: r~@ht fist back stronqlv. Advance right foot

II Hidsri chadafJ oi-zuki

Left middle level lunge punch Slide left Toot one step forward. Tig,hten right leg.

and strike. N'O power in elbow. Twist right arm so back 0] fist is to the right

Hider! gedan barai

~ ~(

Left downward block Right leg is Jiku ash/ Turn nips to left Slide left foot to le'ft.



4. Migi zonkutsu-decni

5, Hidsri zenketsu-ascni

6. Hidarf renkutsu-dechi


_ Migi jOdan eae-uk«


Right upper level rising block Cross left palm and right forearm in front of jaw. Slide fight foot forward. Twist right forearm so back of fist is to the tear.

HidarijiJdan age-uke

Left upper level rising block Open and close right fist. Bring It 10 the right hip.


7. Migi zenkutsu-dachi

,Migi jodan age-uke



Right upper level rising block Open and close left fist. of hand outward. Cross wrists.

8. Hideri ze.nkucsu"dachi

9. Mig; zenkutsu-dachi


IIII'Ii9i chiidan oi-zuki


Left downward block Raise left fist to right shoulder. Pivot to the left.

Right middle level lunge punch Slide right foot ·forward. Tighten left Jeg.

Migi gedan baral

Right downward block With left leg as jiku eshi. tum hips to the right.

Left middle /eve/lunge punch Slide lefrt foot forward. Tighten right leg.


12. Migi zenkutsu-dsch!

10. Hidan eenkutsu-oech! 22

11. Migi zenkotsu-dechi

13. Hid<lJ'i zenkutso-aechi

Hidari gedan bsrst


. ,.

~I •



Left downward block Turn hips to left. move left leg to left. IlHidari ehadan al-zuki


Left middle level lunge punch Slide left foot one step fOJward.

14. 'f1Jda~1 pmkursu-qaehi 24

1'5 .. Mlgi ~enkt!J.(su-daot1J


III Migi cbiidsn oi-zuk!

t· • • -



" Right middle level lunge punch ward.

iii M"f(Ji otuider; oi-zuki

.... '


Ult: ..




Slide right foot one step 'for-


Right middle leve//unge punch Slide right foot one step forward,

lG. Hider) ,zemkutsu-d#chi

17. Migi zenklJl-su=dachi

Hider! shutD uke

Left sword hand block Turn with right knee bent, Bring left leg to left side,

lID Migi shuto uke

Righ[ sword hand block Keep left knee bent and pivot on left leg to the right.

Left sword hand block Shift weig,ht to right leg

gradually, Turn d Iy to left-

18, Mig; k6kutsu-dacfii 26

19, Hida!'i koku{su-daolli

Right sword hand block With left knee bent. shift body weight to left leg,

EII"Mari shut« uke



Clench bOllfi fists and bring back left 10Dt.

2.0, Hiden k6kutsu-daChi

21'. Mig; RokurIiy-a8c'!1I




Heian 1 is composed of bas:l~ blocking techn iques-downwara block upper level rising block. middle level block with the back ot the sword hand-and the midd I!I level straight pu neh. The stances i;lre the front stance andllhe back stance Als-o included is the method Q-f counterinq when your wrist liS' grasped py a strong opponent. The most important thil1gs to mas.:t~r in this kata are reversing directiori and leg movements.

Twentv-one movements. About tony seconds.



2. I,n reversing direction, the feeling should be of quickly pulling the hips toward the heel of the pivot leg. 00 not raise the heel of the pivot foot

3. In eirdrng ro the- right side with right leg as pivot. quicklv rotate hips to thle left and q!-lic'k!y shde Ileft foot.



1. To execute ·a ,techh·!qUe to the !ef! side from shizen-tei, tum hips to Nw·left. slide !'eft foot 1Q the felt.



~ ,
~ ~

5 2


4. I n reversinq direction. use the ri.ght front leg Clef the front stance as the pivot leg.. Tum hips to Hile leh to take a. 'left back stance to the rigilt side. Bend right knee; do not charme height of hies.

5. 11);1 going from back stance to back stance. shift weight to front ,leg. SI!ide back leg forward or to the side.


Hidari haiwafJ hidar/ sokumen j6dan voko uke Migi zenwen hits! mae yoko ksmee

Upper level block (0 left side with left back-arm/Right forearm at side of forehead kamae

Hldari ken hidari sokumen cbiidsn-zuki Migi ken migi koshi ksmee

Middle level punch to left side with left fist/Right fist at right side

f. MigI' kOkt!ts(j,·da'chi 3;2


III Mlgi ~entsui. hidalis.okfJmen uchi-kam) Hldafl tekubi nsqesht-uke

Upper level block to right side with right back-arm/Left forearm at side of forehead kamae

4. Hidaci k,okutsu-dachi



Hidari kenisui migi sokuinen ucbi-komi Migi tekubi nagashi-uke

IIllgi ken migi sokumen cbcden-zuk! Hidari ken hidari kosh!

Strike to righl side with lett hammer fisc/Sweeping block with right wrist

Middle level punch to right side with right fist/Left fist at left side

II ~ Hidari ken ue mig; ken a

Migi uraken j6dan yoko mawashi-uchi b Migi sokuto yoko keage



Right fist on top of left fist Turn hips to right. Raise right sale to left knee.

Upper level horizontal strike with right back-fist/Side snap kick with right sword foot

5. 34

7e. Hider! ash/-deeM



_ Hidari shuto uke .: Mig; shuto suigetsu mae kamae

Left sword hand block / Right sword hand in front of chest kamae Return kicking foot smoothly.

Left sword hand block Slide left foot one step forward.

8. Mig! k6kutsu-dachl 36

9. #idsrf k6.kmsu·daclii

Right sword hand block Shift weigh!" to left leg, bend left knee, slide right foot forward.

Migi shihon nukite chtJdan tete-suki Htdsri sho osee-uke

Middle level vertical punch with right four-ringer spear hand/Pressing block with left palm


10. Mig; kakutsu-dachi

11. Migi zerrkutsu-decbi


Hidarf shuto uke

Left sword hand block With right leg as pivot. rotate hips in a wide movement to the ,left.

DI Mig; snut« uke


Right sword hand block Left leg is pivot leg. Rotate hips to the

I~~ rig_h_t_. ~~ ~ ~~

Right sword hand block Shift weight to left leg. Slide right foot d 13gonally forward.

Hideri sbuto uke

Lett sword hand block Shift weight to right leg and slide left foot diagonally forward.

12. Migi kdkU"fsQ- dachi 38

73. 1-1 ltisri k-ok!J/sl/-daclli

J 4. Hkier: k6ku/s,u-dachi

15. Migi kOkll(SU- dach/



~IAdigiChadan'UChiUke 11;1 Gya.ku hsnmi


Right middle (evel block. inside outward/Reverse half-fromfacing posicion

111 Hidsri ken chiiden gYBku-zuki


Middle level reverse punch with left fist Punch as soon as kicking foot returns to floor.

II Mig; mae keage

Right front snap kick Execute techniques 16. 17 and 18 rapidly.

Hjdari chOdan ucn! uke


Left middle level block. inside outward Turning hips brings right foot half a step back automatically.

16". Hidarf zenkutsu-dschi




, )

t 8. Migi zenkulsu·dactJi"



_'1 Hider! mae keage

Left from snap kick Execute techniques] 9,20 and 21 rapidly.

Mig! chOdan morote uke (Mig; chiiden uchi uke/ liIillHidar; ken mig; empi yo'ko-zo,e)

Right middle level augmemed forearm block (Right middle level block, inside outwerdll.ett iist et right elbow)


Middle level reverse punch wilh right fist Punch w,hile taking front stance after kick.


20. 42

21. Hidari zenkutso-decb!

.... *

Left downward block Right leg is pivot leg', Rotate hips to the left,


22:. Migi zenkutsu-dschi

~ .

• .. ;I~


23. Hidari zeakutsu-dsohi


Migi jodan

Right upper teve! rising block Open left hand, bring it to the Jaw. then advance left foot

II Hidsri jodan age-uk.




Lett upper level rising block Advanoe left foot. block. withdraw other hand at the same nrne.

'II Mig; gedar> barai

Right downward block With left leg as pivot, rotate- hips ilha wide movement.


Heturn to shizen-.ra/ by withdrawing left foot.


24. Mig! zeakl:1tsu-dachJ



26. Hid&rt:zenkutsu-dachi


HlilAN 2:' IMPORTANT POINTS===========

Techniques practiced in Heian 2,a.r:e 'the upper le\lef block to the side will] the usperside of the forearm. ~ronl kick. and simultaneous attask wj~h sida' kick ano back-fist. For this sirnultaneous attack to be stro'ng arid effecti ... ;~. the kemee in movement 7 muse hoe perfect. 1.1 lis also Important to perfectfv master re\lersing directions 8md taking the reverse half-frant-facing positlon starting from the same position,

r wentv-six movements. About ioav seconds.

1. For ~he Iupper level black to the sikfe, with the back-arm. the arms should be in the 'S·ame. plane aad form a rectangle. The front elbow ~s at shoulder level. tMe hack elbow at ear level.


2. For the simultaneous back-fist strike-side kick. form an axis with ths sugportrrng leg. hips, and head, RaiiSe the kicking foot to the .Q~ner knee wh ile turli1i;n9 theJ hips.




3 .. Executing a technique from gyaku hanmi: With the right I'eg as pivot. block inside outWard \i}'ith Hie right arm at tfm3 same time the hips are' turned to the letit and the ('eft leg advances. 1)0 this' by thrusting the r,iont flip forward, not by taktng a big step with the left lie9.

Heverse punch and. inside-outwasd blockefter frnnt kick:

When blocking. the front leg automatically comes back half a step. Do not consciously pull it Qil.d.:!.


Migi chDdan ucbi uke Hidari gedan uk»



Middle level block, inside outward, to left side with left tist! Right fisc at right stae

Right middle level block, inside outward/Left downward block

Bril'\H right fist outside left elbow.

Hideri cbiiden uchi uke Migi gedan uke

Left middle level block, inside outward/Right dow.nward block Execute techniques 2 and 3 rapidly.

Right middle level block, inside outwsrd Rotate hips in a wide movement.

7. Migi kokutsu -dachi 50·

2. Heisoku-decbi



_ Hidari ehiiden uchi uk» 1II1:II1 Migi gedan uk»



Left middle level block. inside outwardlRight downward block Cross arms in front of chest.

II Hideri ~h~dan ."!·or~te' u~e {Hldari chOdan uchi uke] Mlgl ken hider! empt voko-zoe)

Left middle level augmented forearm block (Left middle level block, inside outward/Right Iis: at left elbow)

II Mlgi ~htldan uch! uke Hldafl gedan. uke

.. ,

Right middle level block. inside outward/Left downward block Execute 5 and 6, rapidly.,


7. Migi k6kucsu-dachl

'. ....

~J -. J , Migi nukite chiiden tete-euki Hidar; sho osee-uke

Middle level vertical punch with right spear hand/ Pressing block with left palm


I I.,

5. Heisoku-dech! 52

.,. ,



Hidari kerttsui chaden yoko mewsshi-ucb!


Middle level horizontal strike with left hammer fist Back of left fist upward.

Ryo ken ryo koshi kamae

I Mig; chuden ei-zuki

Right middle level lunge punch Execute techniques 9 and 10 rapidly.

Mig; empi yoko uchi Jotei sono mama

Side strike with right elbow/Upper body as before Rotate hips quickly to the left.


! .

Both fists at the sides kemee Rotate hips to left slowly. Slide Ileft foot next to right foot.

9. Kiba-dachi 54

10. Mig; zenkutsu-dachi

t t. Heisoku-dachi

12. Kiba-dachi

II Migi ursken migi sokumen tate msweshi-uchi

-, , ,

venice! strike to right side with right back-fist Return right fist to right hip after strike.

Hideri ursken hidari sokumen tate mewsshl-uchi

Venica/ strike to left side with left back-fist Strike in a semicircle starting from jaw.

13. 56

14. Kiba-dachJ

III Hida.ri e.mpi voko ucni lIIiI.Jotai SOnG mama




Side strike with left elbow/Upper body as before Do not change level of hips.

Side strike with right elbow Turn head to right. Do not change level of hips when raising knee.


16 .: Kiba -dachl


Mig! uraken migi sokumen tate mawashi-uchi

foIidati chue/an zuki


Vertical strike (0 right side with right back-fist

Migi ken tsuki-age .fjidari empi ushiro ate


Swinging punch with right fist/Strike to rear with left. elbow


77. 58

18. Hidari zenkutsu-dech!

Bning right foot to left foot. then to the right and use lit as pivot.


Left. middle level IU(lge punch Step ilR wi~n Ileft leg ('fum/dashi).

III Hidert t: t, sukj-age l1li Migi empi ushiro ate

Swinging punah with Jeft fist/Strike to rear with right elbow Yorieshi to the 'fIght.


2. In the elbow block to the side of the body. the knee must be raised to chest level for the stamping kick (fumikomi). Do not block with the arrn only. The fe€.Iingl should be of blocking with the hips, Take advantage of il'tle hip rotation. using hips. chest and both arms as I,l' sinqle, massive unit.


Heian 3 consists of changing blocks-from middle leye·1 to lower level-elbow block. back-fist strike. stamping kick and other techniques. Especially important am training in the straddle-leg stance and mastering the uni.que tai-sebaki of sliding the feet (yori -eshi).

Twenty movements. About fony seconds.

1. The fists in both the middle and lower level blocks should be equidistant from the body. Do not let either elbow move more than a fist-width from the side of the body. The fist for the middle level block, inside outward. passes outside the other elbow. Cross both arms in front of the chest to execute kline.



3: From elbow bi'ock to the side to vertical back-fist punch:

Swing the, fi,st from lilii1 frOnlIt of the jaw atid return the ·fmearm

along the- same course. fist comilh,g to 1lile hip. .

4. Fwrn left 1l1~ge punch to righ~ swingingl punch: Rjg~t foot Is pivot. Arl elboW'stF,iRe to the rear dm be made at the same time.




Hidsri hsiwen hidari sokumen j6dan yoko uke Migi zenwsn hitai mae voko kamae

Upper level block to left side with left back-arm/Right toresrm at side of forehead kamae

IIRyO ken gedan jOji uke


Lower level X block with both fists Thrust down from right shoulder and cross wrists.

, ; heiwen migi sokumen jodenyoko uke Hideti' zen wan hitai mae yoko kamae

Upper level block to right side with right back-arm/Left forearm at side of forehead kamae

Migi chiiden tnorote uke (Mig; cniiden uchi uke] Hidari ken migi hiji-zoe)


1. Mig! kokl:ltsu-d'achi 64.

2, Hider) koku.rsu'dachi

Right middle level augmented block (Right middle level block, inside fist et right elbow)


3. Hidari zenkuTsu-Ciachi


IIIJYO ken migi koshi keme«


Hider! ursken bider! sokuinen j6dan yoko mawashi-uchi/Hidari yoko keage

Right elbow strike Execute techniques 6 and 7 rapidly. Strike left palm strongly.

Hideri empi uch!



Upper level horizontal strike to right side with right back-fisllRighr side snap kick

Left elbow suike

Both fists at left side kamae Bring left foot half a step to the right. Turn head 'to right.

I _IJ!'~

5: Migi eshi-dechi


8. Hidari ashi-dachi


TO. Mif]; t.enkutsu-dachi



... Migi j6dan mae ! keage

..... -II!!

II M~gi ~hut? !?da-n voko meweshi-uchi Hldafl sno jodsn uke

" i'

Upper level horizontal strike with right sword hand/Upper level block with left paim

Upper level right from snap kick

II'M(gi Lffaken .tate" maw~shi-uchl .Ffldan ken hider! koshi

Vertical strike With right back-fist/Left fist (0 left side

Migi jodan mse ke'age'

Migi chiJdan oi-zuki Hida,; ken hidsr! k.oshi


Middle level reverse' wedge block with both fists Execute this technique slowly.

Upper level right front snap kick

'1:/11' ~G" i., .

1 {

. --- ..

~ "

Right middle level lunge punch/Len. ttet to len side Punch with return of foot to floor.

13'. Migi a:,hi mae kpsa·dlJchi


'4. Migi k6k:r:WW·dachi!

71 .. 68.




'.6. Mig; zenkutsu-dechi 69

[Hidai'i cbiidsn gy.aku-zuki

11 ChDdan kekiwek« uke


Left middle level reverse punch Middle level reverse wedge bloak

II Migi ken chtJdan l'lyaku-zu- la· Hided chiidsn marote ki / Hidari ken hidari koshi III uke

Middle level reverse ounch with right fist/ L efr fist to left side

Left middle level augmented forearm block

,OJ Hidati iodan mae keage

:111 H!d.,! ken chiiden oi-suki

Middle level lunge punch with lefe fist

flNi,dari chadsn morote uke

, .,

Right middle level augmented forearm Left middle level augmented forearm

block block

17. 70

.' -

18. Hidari k"JkulSu-dachi


20. Hidari zenklJtsu-dect»

Upper level left front snap kick

III: · Mig; chDdan . merote uke

II , ,


22. Mtgi kOkursu-dachi"

23. Hidari kOkutsu-dachi

24. Migi k6kutsu-decbi


II Migi biz« age-ate

Ryo ken mig; hire rvosoku hikioroshi

Middle level block with right sword hand Keep hips at the same level.

Hider! shuto chudsn uke Migi shuto murre mae kamae

Middle level block with lef! sword hand/Right sword hand in front of chest kamae

27. Hidari kokmsu-dachl


Right knee strike/Lower both fists at sides of right knee Raise right knee high.



26 n

The techniques in Heian 4 are the downward X block and the middle level augmented forearm block. roundhouse sword hand strike. vertical elbow strike. reverse wedge block and knee stnke. The difficult crossed-feet stance should be mastered. Movements 1 and 2 are done slowly. but hands and feet must move in unison.

Twenty-seven move-

ments. About fifty seconds.

H ElAN 4: IMPORTANT PO.l NTS~==::;;;ii==::=::=====:::

1. I~ the front -stanoe for the lower level' X block. the hips shoutc be fairfy low and somewhat to the front Aim for t'he oppenerrt's ankle. If the hips are withdrawPl or the block is too hlg1:i. it win not be effective.



2. In the upper level horizontal strike (movement 11). raise the left palm. bending the elbow. to the front of the forehead. Swing the right palm downward from the ~ljg!iJt side of the head in a wide arc. Both arms must be swung: in unison with the leftward rotation of the hips.

3: ,In the vertical back-fist strike .after the front kick. fully utilize the spring of the let,t ankle tojurrrp in. Supporting the body weight on the right leg. 'bring· the I'eft foot behind the r,ight ankle. for the crossed-feet stance. This is necessary to' maintain balence.







4. The essential POint of the vertical strike is to swing the right hand in a wide arc as If following the course of the left hand. Strike to the front at jaw level at the same time ihe left fist is brought to the left hip.

5. When kicking· afler t'he middle level reverse wedge block. the arrnplts must be tight to keep the elbows near the body. Otherwise, the face and a.bdomen will be open to counterattack, At the· same time the kicking leg is lowered, continuous punches can be executed.

6. R'ising knee strike after augmented forearm block from right back stance: Bend front Knee aond .shift forw.ard without raising hips, Raise both hands diagonally. then immediately raise right knee h'igh aDO bring both in1ands down to the Side of the leg.





D Hideri ken chuden uchi uke

B Migi ken chi/dan I/Vaku-zuld


1ft'· .....

. ~

left fist Execute

Middle level reverse ounct: with right fist Withdraw left fist strongly.

Left forearm flowing weter position Move head, arms and leg together and slowly.

'II' . Mlgl ken cnaaen uchi uke

, " ~

Hider! ken chOdan fJyakU-ZUki.


Mid'dle level brock, inside outward, with right fist ,v7iddle level reverse punch with tett fist

'i'~--!II!!!!!!!!!!!!II!!!!!!!!!!! ~"IIIIIiiiiii!!~~~~-iiiiiiiiiIiii!!!!!!!!!!!!!!!!! -----------


I t ~. f!,/

1. Migi kdkuts.u-dachi 78


4. Hider! kokwsu-dachl



tenwaa mlzu-nagaf;e kemse

,., 'I

Right forearm flowing water position Move head. arms and leg together and slowly.

ken gedan iuji oke

Lower level X block with both tists Cross wrists while advanoing left ieg.

. '. "chuden morote ake




Right middle level augmented forearm block RYQ she jilii ake


Upper level X block with

both palms Thrust upwards with wrists still crossed.


Z. _H/d:ari ki5ku~su-di)tlli

6. Heisoku-da.cbi

Ryo she; chirden osee-uke


Middle level pressing block with both palms Keep wrists together. Extend right hand.

Migi ken mig; sokumen gedan bsrei



. '

Downward block to right side wi[h right fist Bring right fist about 5 centimeters above right knee .

10 .. 82


12. Migi zenkutsu-decbi


Middle level punch wirh left fist Middle level suaight punch with right fist

~ Hidari sho hida"i sokumen chiiden keke-uke

Middle level hooking block to left side with ./eft palm Br'ing left palm forward from under right elbow.






Right crescent kick Kick left palm with right sole, quicklv return foot to right side.

Mlgi chiiden morale uke

Righi middle tevet augmented forearm block Bend right knee. Bring left foot behind right foot.

15, 84

16. Kiba-dachi


From strike with right elbow Keep left hand in the same. place.

". Migi morote k6ha tsuki-aY'e ••

, Ai

Right augmented swinging punch to (he rear Keep left fist at right elbow.

17_ .Migi "sf)i mae kose-dech!

18. R et/oji-da chi






IIJjliY6 ken gedan jiJji uke

- •


Downward X block with both fists



Migi shoto gedan uchi-komi

Hider! sho migi kala ue neqssni-uke



Downward strike witn right sword hand/Sweeping block, left palm to right shoulder

IIiIMi9i chiidan morote uke , R"ghr middle level augmented forearm block Straighten lell

knee. SlideflQ hi: i to the rig

II. Mig; ken mig; sokumen j6dan uch! uke b Hideri ken mig; sokumen gedan uke








Upper level block. inside outwerd. [0 righl side with right fist/Downward block to right side with lefl fist

79. Migl eeni mae kosa- dacht


20. Mig; zenkutsu-dsch]




2M. Mig; koktnsu-tiechi


fI- Heisoku-4a'ctn' JDtai sana mama

, ,

Informal snention stance/Upper body as before Slide left toot slowly next to right toot.

Hidsri ken hida'fJ' sokurnen jOdatl uchi uke bMig,i ken mig; sokumen gedan uke

Upper level block inside outward, to left side with left fist Downward block to right side with right fist

II Hider/ shYlo gee/an ucbi-komi

a MFgi sho tnderi kata ue nagashl- uke

(' ,


It '!;._




Downward strike with left sword hand/SweepiD,9 block. right palm to left shoulder


22. Heisoku-decbi 88

2:3a. Migi zenkutsu-cJ,achi



IRElAN 5: IMPORTANT POINTS ============:::t::=~========:;::=====~======

The techniques in Heian 5 include the fJowing water position, upper level X block, middle level pressing block with, both palms. downward! block to the side from the straddle-lea stance, middle, level hooking block to the side, crescent kick and crossed-teet stance after jumping. ln going from Hile middle level reverse punch flrom t:he back stance to the informal ettentioh stance-flowing water position (movements 2-3 and 5-6), head, arms and !e<9 mUSI move in coordination with the hip rotation, When this is mastered. movements 10. 11 and 12 Can be executed continuously. In movement 19". the crossed-feet stance after jumping must be strong. This stance occurs often in .the kata,

Twenty-three movements: Abour fifty seconds.


1. In going hom tfIe, lower level X block to tlnel upper level X block. B:eep the wr'ists crossed. br,ing botn palms close to the chest. and block by thjustinq upward. then extend the rig:ht palm in f:ronl o~ the right nipple, palm upward. Tt;lfn Ie:N palm dovvnwasd.





2.. Downward side block; Turn hips and head to the left and bend left knee. While raising left palm to righ'! shoulder, strike downward with right palm. Wjthou~ feet. shift wei.ght to right leg. As if wf,inging out a towel. block diaqonatlv downward] with the left fi:st ·whil~ r>a.ising tho right ti~t abElve and in back of the ri,gJlt shoulder.

~ l
l' 1f
.. • ,

'3. Point 2 applies also lim movements 22-23. Take care t'® 'MJt

move feet ~hi!e shiftililg from [ron!t to back stance. ..


I Keo migi muki -Jote! sono mama

Middle teve! strike to right side with lef! elbow/Right palm to left elbow

Mig; sho migi sakumen cbiiden kake - uke Hidert ken hidari koshl

Ry6 ken migi koshi kemee Kaa hider! muki

Middle level hooking block to right side with righ( palm/Left tist to left side

Tum head to right/Upper body as is Lower hips. Cross left foot over right.

II Hk!a_ri e,!,pi, mifli ~_~kumen chiiden uchl M~gl sho hldtJfJ hilI ete


Bott: fists right side ksmsefTum head (0 left Back of left fist to the front, back of right. downward.

J. Hidari ashi mee kose-dsct»


2. Kiba-dachi





Left downward block Tha feeling is of blocking an attack to the left side strongly.

II Migl ash; mae' kose-dechi Jbtai sono mama

Right toot in front. crossed-feet stance/Upper body as before Do not break posture of torso.

5. 9~


Mig; ken .kagi-zuki

Hook punch with .right fist Bring right forearm about 20 centimeters in front of and parallel to the chest.

Mig; ohuden uchi uke 1(80: sbomen muki


R.ight middle, level block, inside outward/Tum face to front Stronq starnpinq kick to the left.

7. Migi a_shi mae kqsa-dachi

8. Kib</-d"chi


Hider! heiwen jadan nagasbi a-ake/Migl gedan uke

" a

Upper level sweeping block with left backarm/Right downward block

Hider! ude hided sokumen b~htidan- uke


Middle level block to left side with lefl arm

Hideri ken loden b um-zuk!


Upper level close pUfich with Ieit fist/Right fist at tett elbow


Kso migj muki Jotei sana mama

1:1" ",.II

Turn head to left/Upper body as before




,-, Keo hidari mukt 1.2- ,)6tal sana msms

# idar; a~hrnami -g8,eshi

a Jotsl sono mama

Turn head to right/Upper body as before

Left reruming wave kiak/UPPeI body as before

~,~~!' Mig; ash; nami-gaeshi

.1iI"'~. ,;8 Jotetsono mama


R ifJht returning W8 ve kick I Upper body as before

Middle level block to right side with left arm Keep ri g'ht. fist at refit elbow.

,J I

1M, .





... Ryo ken mig; koentksmse Kao bider! muki

Both fists right side kamae/Tum head to left Move head and arms simultaneously.

• a


I •

14. 100



. J I



.III!!, I, Hidari ken hidsti sokumen ctniden-suk! I Mig; ken chDdan kagi-zuk;

Middle level punch to left s-ide with lett fist/Middle lev.el boot: punch with right fist

Migi empi hidari sohume» chDdan uchi


.. Migi qeden barai

Hidert stio hidari sokumen cbiiden kske-uke Mig; ken mig; koshi

•• Rvo ken hidaIJ • koshi kamae

Middle level strike [0 left side Both fists left side kamae Right downward block

wirh right elbow Tum head to right



Middle level hooking block to left side with left palm/Right fist to right side-


! -



~ I HMari ken kagi-zuki

IIHidari ashi mae kose-dsch!


Hook punch with left fist

Migi heiwsn iodeo nagashia uke/Hidarl qeden uke

Left toot in front. crossed-feet stance

.:r.J. -Pi,11 b Mig; ken ioaen ure-suki


Upper level close punch with right

Upper level sweeping block with righc downward block



,21. Kds8-dachi

22. Kiba.-d8ahi


Hidsri chDdan uchi uke Kao shomen muki


Left middle level block. inside outward/Tum face to from

Ell mig; III Mig; ash!' na- [III Mig; ude mifji

muki IIIISml-gaeshi III bsokumen chu-


'fum face to fight

~ II Middle level block ~right

Righl rewrning wave kick side with' arm






•• Ry6 ken hidsri Rosh; ksmee Kso migi

Ksa hider! muk! Jose! sono mama

Hider! ash; nami~fJaeshi

Mig'i ude hidari sokumeo b cniiden u/(e



Turn head to lett] Upper body as before L eft returning wave kick

if;. Migi ken migi sokumeo chDdan~zuki

1111 Hidar; ken kagi-zuki

Middle level block to left side with right erm Strong tumikomi.


Bott: fists at ten side kamae/Tu.m head to right


, I
I 1
I .. ,
,II Il A "~'~ :~f -



Quietly face to front and' sl'owly ,r,arum arms end legs to 'Original kemse.

Middle level punch to righ1 side with right fist/Hook punch with lett fist

F,'_t-.I _....I(IIir---.





26. 104



TEKf.<! 1: 11MPO~lANi[" IPOINTS =============


-t-- ........ ----.:::.... ....

The performance line in the Tekkl kata is a straight line, with movements being made to one side or the other. If the crossed-feel stance is not correct. the performance line tends to bene to the front. So the timing of shift,lng the body weight and aligning the toes of both feet is important. Whatever the movement. the straddle-leg stance should not be broken. And when executing techniques to the side. the body from the hips down must face forward. Since these kala are rather monotonous, turn the head briskly and strongly.

Twenty-nine movements. About fifly seconds .

• ¥t..


1', Mnst important is the hook plmtkl. By exeol.l,lililg this ccrrectiv. the lightening of the shoulders, elbows and armplts can be mastered. This in turn should, lead to development ilil punchinq and effective blocking. A. remarkable difference in the use of techniques caril resu II Jf:r·mTl learning th rs kata.

2. In the stam!'Jing kick from the straddle-leg stance, keep the left knee taut even as the body wei§ht graducfJly shifts to the right. Bring the right foot from behind the left knee. rais,ing the knee in a nigh arch.

3. ln the retliUlning wave kick. the posltlon of the ~ips must mot change ..





4. From upper level sweeping for-eD~m block to upper level close punch: Raise the righrr fist lwm. Linder the le]t elbow to the right ear. At the same time. bring the left ttst frorrr the flight shoulder downward and outward. Then strika straight to the front with the rl 9 ht jist. the· left hSl c~rnl ng below the right elbow.


7 liEKK.12

Ry6 hiji suinet ni haw faa mig;


. ' ,


elbows horizontally spreedl Turr» head to right Do this slowly and QiU lelly

Mig; zeDwtJn shomen gedq_F/ uke Hideri sbo mig; hl/i ni soeru


, \


J ~

Lower level block to the front with right forearm/Left palm supporting right elbow


1, Hidsri eshi, mae.k6se-dachi

2, «ibs-iiscni

Migi zeowen-miai sokurhen chtuisn UKe Hidari zen wan murie sui/;ei.kamfj'e

.~ :~. ~:.~ - -

Middle level block to riglJ( side with right forearm/Left forearm hor'-zoflta! kamae

Migi zenwen migi sokumen gedan I/ke

Hider! sho ff{igi hiji ni soete mama

~ ,




-,' ~ ...


Low~r level block to .right side with .right palm sUPiJQr:.ting rigl)[ e,lbow


J, Hideri ash! mae kose-dschi

4. Kiva.daeM


I_,.,g,y Ry6 'Qiji suibet Qi hera Kao hidsri-muki

., I




Elbows hor.fzb'nta/Zy spreadj'TurtJ head to lef.t MOlle lehleg 'lnd 'arms simutlaneeuslv.

n ... ,''''''~' zehwsh shemen gedan uke Migi shi5 hidsi} hiji.n; Gaeta

, I' ,
" j
'7( ~.
", I
• .,." :; ,'_ .L ower revel block to trent with lei: forearm/ Right palm suopertina: left elbow

Hida_ri zen wan hideri Sa/<cumeR r;budan uke Migl zen wan mone mae suibei kamae


• I \

Hidad zenwsn hkJafi sokumen gedah uk« Migi shtJ hicjpri tuF ni soete mama

Middle level block to left side with 1eft (orearm/ffight forearm hor/zioN,tel kamae

7. M!~?i ash; mac: kdsa-dachi



Lower ievet hlock t» lef.t side with left fwearmJf?ight {J81m sUPPorling felt elbow

M~----------------------------------------~--------------~------ __ ~--------~ __


5., Heisoku-dachi 11'2

6'. Kiba-daclri

p ~

8. Kiba-daclri


.. Hidsri sho hidari koshi Migi ken bidsti sho Fli eteru



Left palm at left side/Right fist to 1&11 palm Back of left hand outward back at [right fist to .the trent

•• 1 Migi empi f,Jc.h_i/Hidad

b sho suigetsu mae nt

I -teteru

fl(Iigi ken migi ko.~h// Hi-. dad sh« migj ken mae ni a




t t».




...... ...-Migi zen wan migi sokumen ohodsn uke r!iCJ'ari sbo migi tekubl ni soeru


• •

Middle level block to right side wlt,h right forearm/Left palm at right wrist

Migi sho migi' so kum en' r:'hiJdan tsukami-ukefl<ao migi muki

Hidariken kagi~zuki

I ~ ~

Hook punch with lett fist

77 b. Kibs-tischt



Hidari ash! mae kasfJ-f/acbl

~ ,-


Left fo()~ in front. crossea-teei startce

MidtJri chfidfJn uchi uke triao shamen mwki


I, *

L eft middle leve! bl:m;,*- in!!I{;fe oinwerd

TUrn face to front

Nllgi siio migi .kosMIFtidar! ken migi sJ76 ni ateru I!!!lMlKao ttidesi muki




r;:_~~ , ~.?h




Right palm at rig"1it side/Left fist to dght palm/Tum face to teit


. I



1 s. Klba-dacfli



Migi haiwan j6"dan ne,if) ga,sl-li-uk:e/11idari keo,ge- dan uke


. ,


Migi ken ioden ura-zuki b Hi~ar~ zenwan mune mae

SUlhe'lkamae -




~ _ . '

Upper leyel sweeping bJjock With rlgfit

back-arm/f!ownward bloc« with I@fl {isr

Upper tevet clos:e p&nch with right flsJ/ Left {orearrri norizQrltal kamae

Hidad zenwan hidad sekumer: chiffdan uke Migi shil.hidari tekubi nt soeru


Mm'dle level block to left .side wl1,fJ tett t'orearm! Righi (Jakn to





Hideri ken hidar; kosh!

a. kM'n"g; ~h6 hidad .•......

e- Pia", ."

Hidsri empi ur;hijMigi sho .!l~. b slilgetsu ma~ ni tqteru


~ .

Lett e/bdw smke/Rlghl palm veruceu»

f,rrml 'flf chest

Migi ssn! mae kr3sa4dat:;hi

Lei; Irs! at lef.r slde/Rlghr Rafm in ~u (Jf lefr fist

II Mifii ken kagi-Nki

Nook punch with ·righ.1 fist

1ge. 11IB

,~ ,,'.



Righ.t toot in kont, croesed-teet stance

... Hidsri skr¢ hidar; sfJkumen chudsn tsuka.m;-uRe

'It ~, ~,

Jr" 1r i(' Jr-'


/IIIiddle level grBsping' bio/ilk IG tett side with Iflit' pa/'m 3.1 owly. Mig; chDdan uchi une

.Ii ,

Right middle level block, inside olJtVlf_ard



22. Migi esb! mae ko,se-dachi



23. Kiba-dachi


Hidari halwan j6d'all naiii. a gashi-uke/Migi gecJan uke


• •

Upper level sweeptru» b"rock wilY) feft

f)ack~afrnIRigh.r lower teve! block


24a. 120

Hid'fJri ken jodan ure-euki] Migi zen Wen mune mae suthei kemse


.~. ~~ .. , IJ~


Upper levet close ovnci: with left Iist .Right -tbresnrrhonzonte] 'kamae

From this kata. master the difference between the middle levell grasping block (/sukarni-uke) and hookmg block (kiJke~uke).

Twentv-tour movements. About flflV seconds.




1. Movements 1 and 2: Raise the forearms In front of the head with the feeling of follding the shoulders together. Block strongly to the right with the elbow bent.



2. In the. lower level plock to the fron~ wnlle'mmm;')g to tr"e side, briClglr:lg the f.ight arm down must be cone at the same time the left foot is brought II'l front of the right foot. The foot movement is slow and smooth. the arm movement forcefu I.

3. elbow strike to the front (movements 10-11): To be the hands must come to the side sirnu Itaneously with the raising of the knee and the strike be made while bringing the leg down, The upper body turns. but the hips and legs should face to the front th roughout the movement.

4. In contrast to the sword hand and slightly "rising" wrist of the hooking block (see Vol. 1. p, 61), open the thumb and swing the arm in a half circle for the grasping block, lightly bending the elbow in the final phase. Tighten the armpits while drawing the opponent towards you.


HitJari chfjdan uchi uke . Mig; ken mig; koshi

"'--"_ .....

, kyfl

Mig; zenwan chiJdan barai

Hidari zenwan mune mae suihei kamae

Left middle level block. inside ou/ward/Rlghl fist at righl side


,~ .. '

~~ , ,rl' "

• -"--0

Mt(JCI/e levo! block wuh right forearm/Left ioresrm honwntal karl7ae Righ\ elbow Oil [left vvnst.


Migi chuden uctti uk» Hidari gedan uke .

Mig; haiwan joden nagashi-uke Nidari ude wa sono roam,a


Right middle level block. inside outward/Left downward block



, .


Upper level sweeping block wltb F(ght1back-armILefl arm as is





1. Kiba-dachi 124

1f -.




Mig; ken j6.dan ure-zuk!

Upper teve! close punch with riqh: fist Bring right elbow on top of left fist.

II Mig; ken cbudan cboku-ruki Hi'dari ueie Wp saao meme



Middle level sffelghl punch with Tlghl flsttLeft arm a'S is





Migl ken migi koshi

I r"JJr""ffH sho migi ken ue

Right fist at right side/Left peim (HI rFght fist Back of right fist and left palm downward.

, Migi zen Wan hineri Kao migi muki



Twist right forearm/Tum head to right lNo power in right elbow,

.J f




Hider! a'shi Pnqe!

J6tai'sono mama ~

Mig.i zenwan mig! sokumr;;f1 gedan oshi-uke Hidari sfio mig! hili nf soeru


~ ." ~ ~ ~

;~I ,
~' #if ~ 7f
". .,. "<;:. ";"' J' "

Left too; in fron t.crossea - feet sfaFli;el Upper bpdy as be tore

Mig} ken meg; sokumen gedaf) tisisut«

Hida'/:/ sho.soeta ma~rpa'


lr'· ". .t;1!' ,'" .... 7( ...

.., ". .ii .;i"

.' .~ ~ ,.. ~..

1 ,

.. I.'. .,. ., _. • •

Lower level SWint) to r:lf}hr side witt! eight fist/ Left palm as is

9. flidari ashi rnee-kose-dechi




Lower teve! pr.essing block to right side. wah (igb! forearm/Left w'Jfr! st;J{1porring right elbow . ,

Mig! ken migi kosli!-biki

i Hideri.sho mig; keR ura ue-soe






Pu/I right lis.! te right side/Lefr palm on right fist





. , ~

Middle level ,,[faigilt punch ,with right fist) Left palm as is Twist right arm wh lie thruSll[lg, i ~ fOlwar:d',

Hidari chiideo uchi uke

Mig; gedan uke.

Migi ken ctiuden choku-zuki 'Fbdari sho sana mama




i I

Left mir;Jdle level block. ins/de outward! flight lower level block


13 130



Right middle tevet bloc); inside omward/ Left IQ,WiH Mvel -blodR

Hidari halwan j6.dan

••• 0 nagiJshi-uke!Migi ken . sana mama


Migi chiidsn ucbi uke Hider! gedan uke



I \

Hider! ken joden ute-

b zuki] Mig; zenwsn mane ..... _... mae 'suihe! kamae


•• *' •

Upper level sweeping biock with I€}f( bf!.£.'k-arm./Right fist as is


Opper level close punch with left frs(jRight toresrm horizontal «emee





13; .

Kap hida.ri riwki

. Jatsi sona mama

Hidarf zenvvnn chiiden berei Mifli ude wa sana mama


• .. .. Ita Midd/~ level block. with left toreerm arm as is

.l1li". /Illig; ashi mae koss - decb! • Jotei sono: mama


! :


>,r. ~.

" V

, # ~ ~"

Right fOG(' in tront. csossed-teet stence

l)~J' body ·85 betore

f:lidari haiwan jodan nagashi-uke


.. .....

Upper level sweeping block with

Kao sbomen muki/Hidari Iumlkorni Jotei sane mama

''a .. 1.

• I~

Tuit'1 j)e~:ad to $tamping Rick./Upf3er body as before.

Hidari ken ioden ura,~zf:lki



rum heodto leltjUpper ,body. as


18. Migi ostu mae «osa-dectn

19. Klba-dachi


~ .")


Upper level close punch with tett fist

20 ..



l1li- Hidsri ken chiiden cboku-zuki Ii ... Migi s'!6 sono mama

It-.- Hidari ken hidari koshi ."'11 ,Migi sbo hkieri ken UfJ

• • M

Left fist at left side/Right palm on Middle 'Tew! stM';ght

lefl fist {lsI/Right palm as is

..... ' Hidari zenwan tttaeri sokumen gedan oshi-(fk€! MigJ s'ha hidari hi/i-zoe

punch ~'th left




• '. J \ '.

Lower lev,&1 pressI.fY9 block (Q left side with ten forearm/Right

palm supporting tetteibow

23. 134



.... Kao hidari muki/Hidarf zen, wan hineri



.. ..

Turn hea.d to left/Turn left tis: over

~ rt Mig} ashi mae kose-dechi


Right ioot in front. crossed-feet

stsnce m Hidari ken bider! sokumen gedan furlsute (1;1 Migi shQ soets mam~

" .~

i ... \. _i

,~,~ ~

~l ': n'~ · r{

. .. ~ . ...... .. ..

Lower le vel swing /0 lett side with lert fist I R igh r palm supporting left


26. Mif/i est» mae k6;a-dachl

27: Kibe-ctoct»




~ fl' Hidari ken hidari koshi ni hiku iii. Migi sh» bider! ken ue-zoe

, r-, '~'-'




I .c. • ,

Pull tett tist W left side/ Righ{ palm on left ti«:

Hook punch with left list/Righi fist at .right side



29. 126


~; 'I Hkisri keq chisden l ' choku-zuki



.>-rf .

I • •

Middle level straight punch with tett (ise/Righl palm as is

Mig; sb» mig; sokumen cbedea tsukemi-uke iii .. Hidari ken hideri kash! nt hiku



... •• ..4

Middle' level grasping block to right side with rigfil palm Wirl?d(?w left fist to let: side

.- ... _, .. Hider! sshi mae /<Qsa-dactJi .. Jotai son 0 mama. ,

~~ ~'
~> ~.
/I .. I ~ i.
I \. 31.

Lett fOO{.f17 front, crossed-feet sYance/Upper body as be/ore



33_ Htdsr; sstu mae ~6sa·dachl

.... Ridati ohVdan vehl uke! Migi ken SOIJD msme iii. Kao sh6men muki

I "
• &

Lett middle teve! btock. inside r;;ut"W8ISd/R/ght tistestsll um head {O from


Migi ken

.1iI111 Hidari zenwsn mune mae sUlhei kemee






~ 1f!'


Upper level close punch with right fist/Left forearm horizontal kernee

34_ Kiba-eachi





III: ~~gi ~hi1dan ueh! I:1kf3 l1li Hideri gedan uke

! ~.



Aight middle level block. inside outward/Left lower level block




Withdraw right leg and quietly return to shizen-tai.



TEKKI 3: IMPORTANT POINTS============= 1I======================

MasteN'ot qurek timing j,s necessary for the chanqiriq blocks.

Mas.ter the straddle-leg and crossed- fe'et sta nees.

Thirtv-si« movements. About (dty seconds.

; I



1. Except tor stance, the changing middle-lower level blocks are the same as in Heian 3. Blocki[;lg In movement 3 is like strikin 9 to the left.






2. In the downward sWing (movement 11). the arm is brought back to the same posi tion. but with the back of the hand upward. Do not let the torso wiggle.




k6h6 tenken: reversing drrectron. 29. 30. 4,6: II. 72': III, 1 00

k6k(f/su- aact»: hs ck stance. 2.6, 28. 3(},'3Q:, 50.13'4.78. I. 31 : II, b~~ III. 48.54-

k6sa-d"chj: crossed-feet stuncs. 68. 74.75,85,, ;16. 118.140: II, 52

koshi: liip . side : ~, ~~; III n

kostu no ka/tr;n: 11i., rotation. 61. 75: 11.16

kumne. SpJlllng. 10.. 13. I. 1111 kyu: '13

I, 29

Imiwan: upper side of forearm, b3CKarm

helsoku-dachi: infor mal attenuon

stance, 50. 79. 88. 90. 112: I, 2&

mae; front

mae keeqo: front ~nBP kick. 41. 46.

48,69.76: 1.86. Ii. 88: III. 67. 91l mewertkorr.t: circling. 29; IV, 98

mig!. right

milJl esru-doctn: right leg stance. 66 milwzuki·gcn: crescent kick. 84. 90;

IV, 52.54

rnizu-nagare kemee: flowing water pcsuron. 78. \10. 1.104; 11.90; IV. i22

morale kaha tsuki-a'fje: auqrnented sWinging punch ie thIJ rear, 85 morale uke: auqmcaten fDrAqrm block. 42. 52. 65, 74. 76. ~1 : L 64

mune: chest

musubi-decbi: informal attention

stance, tees ou t, 1 2: I. ~£1

Roman numerals refer to other volumes in this series, I, Cornprehensive : II. fundamentals: III. Kurrute 1 ; IV. Kumite 2.

cmbusen: performance, line. 13. 106: jiku ssht: pivot leg, 17, , 9, 22. 29.

1.94 30: II. 60: Ill. 72.100

empi: elbow iodan: upper level

empi mae (JcIJi: elbow strike to the }<ldan uke: upper level block. 46. 68;

·front. 85. 1 n I, 57; II, 106

empi ucbi: elbcw strike. 67: 11, 71 jolai: upper body

emp, usiuro ale: elbow strike to tl-e juji uke. X block. 64. 74. 80. 90: I, 64 rcar,58

age·i1ke_ "~Ing block. 2.0. 28, 44: l. 70; II, so. 1118

esbi: foot. leg

choku'l1Jki: straight punch. 28. 126, I,

6'B: 11.102; IV. ,62 chuden: rriddle level

chudsn beret: middle level block, 124 cnuoen ucbi: middle level strixe. 94 ohoden use: I11lddle level block. 28,

73. 98. 111 ; I. 59. 96; II. so. 106 chuoen-eoki. middle level punch. 32. 83.101

dan: 13

iumidestn: 58: II. 68

tumikorrn: stamping kick. 60. 61. 97. 105, ~ 07. 1 33: It. 60. 68. I l I. 33 [urisute; ~wing, 1 28. 141

oeden: lower level

peden bersi: downward block. 17. 28. 4:1. 82, 90. 96. 122: I, (;,6; ~I, 106 gedan uk«. downward block, 50. 87. 91,98.110,125

gyakIJ ""nnll: rever se ha Ii - trent - ja~j "g ~OSITlo,". 40. !(6. 48; 11,24 gyakIJ-zllki: reverse-punch. 40. '!8. 70. 79.90: I, 68: II. 124, IV, 1@8

"a ctunon-d« chi: open leg stance. 16:


tuderi estn-tiect»: left leg stonce. 35.


/II/i: elbow

hi/I uk e: elbow block. 60. 61. 62 hits): iorllhcad

hiza flge· ille: r is I ng knee stri ke. 72. 74, 16

nagashi-lJke: sw~ping b10CK. 33. 86. ~,; I.. 6~; I,V, tl? nvmi,·ggeshi: returning wave KiCk, ~(). 101; I, 10'6.

l)uklW: spear hard

Ikken h'SS81SIJ: to kill wi th 0 ne blow.11

oi-zuki: lunge punch. 16. 28. 55 62. 69,83: I, 68: II; 88. ~ 26,: 1111. 34, 136, osee-uke: pressing blm;) ... 37, '53, \32, 90: 1,62.'64

osbi-uke: press in g 610 ck, 1.29

kagl-zuki.- hook punch. 97. 106. 115. 136: I. 71; 11.90

kske-uke: hooking block. 83, 90. 95, 121.122.: I. 61

kskiwske uke: reverse wedge block. 68.74. 76: I. 61\

ksmee: posture. 12. 32. 46, 105; I~I.

14.21. 26, 36. 40: IV. 40 ksts: sh ou Ider

ken: fist

kentsui: ha mmer fist. 1 8: I. 17 k'di- 14

kibe-dschi: straddle-leg stance, 54. 60. 83. 94, 106. 110. 124. 1<10: I. 32: 11,5?

kirne: fiIlISh.11, 61: 1,50: 111,15,34:


mnoji-r5Iachi: L s.wcke. 85; I. 29· rea-zuki: alternate ["melling, I6; I. 68

rvo: both

sluito: sword 11 an d

shuto rnswesh! uchi: roundhouse sword hand strike. 68; 1,74, 82: II, 130; III.

shuta uko: sword hJnd block, 2.6, 28,

36; I, GO: II.lle: IV. 138 sokurnen: Side

sokuur sword foot

suiqets», solar plexus, chest sun-dome: arlc~ling a technique. 11

tsi-sebok): so. IL 76-7&: III. 15. 72. 80. 100, 114, 128: IV. 86, 102 teruten: Center 01 gravity. 12

tete mawashi fllji uch]; verucat elbow strike. 74; I, 24; II. 1 ~1 : III. 84

tete rnewestu-uchi: ver tical strike. 13,

56. 6?, 69. 7(i; 1.75; II. 129

tete- zuk): IIHr\1 cal pun co. 37, 53: I, 70 IHkuhi. Wrist

Isukaml·uke: grasping block. 115. 121,122.137

tsuki-eq«: swinging punch, 58. 62

uchi· komi: stri ke. :i 3. 36

'uelli uk»: hlock, inside out~'flrd. M). 48, 50, Ej~, 18, 87, 97. I: 16. 124. l. 58; II. 22

udo: arm

uke- grm: eh ~ng i ng bl or ks, 60, G 1.

l/iO "

ureken: 'bac~ - fist

uroken-uctn: back-Iist strike, aG, 47, 60.75; II, 74. 75. II. 82: III. 76. 3D. 106; IV" 108. 112

ur+wkl_ close punch. 98. 108. 11 r. 1 26 _ I, 10.- I V. 44

usiiiro; rs-ar

verne: slew

yoko keage.- Side snap kick, 35, 46, 47. 66: 'I. 87. II. 1 ~5

vuko rnewashi-uctu: horizontal stu ke. I. 7~: 11.128 ycka ucru: side 55

VQko uke: slue block 32 .. 64

vorr-oshi: sliding tile feet, liO; U. 70; 111.WO.l !7

zeostnn: sta it! of re.iaxed a I ertness. 1 2 :

smron nuklte: fow-Enger spear hand 1111. 26

sbizen -tei: natura I jlQbl tion. 1 6. 28: ,7e'''kutsu -deciu: Rron t eta nee, 1 " 28.

1,28 3/,53,05.81: I. 30. II, 18, b)

sbo: palm sbomen: front

zen wan. forearm






1. Comprehensive .5. Heian Tekki

2. Fundamentals

9:. Bassai Sho, Kanku Sb'o, Chinte

6. Bassai. Kanku

a .. Kumite I 4. Kumite II

10. tJnstl, Sochin, N'ijushiho 7. Jit!te, Han@etsu, Empi 11. Gojushiho Sho, Gojushi-

B. Gankaku, Jion ho Dai, Meikyo

Kata, the formal exercises of karate traininq, were the essence of practice in Okinawa and China, and are the core training method even todayDetai'led here in 1508 sequential photos are the five Heian and three TQkki kata, mastery of whicn is necessary tb attain first dan.

Demonstrated by the author and 'rioshlharu Osaka.

Masatoshi Nakavama carries on the tm'CiJition of his teacher, Glohin Funakoshi, the Father of Modern Karate. Lon.g professor and director of physical education at laKushoku University, his alma mater (19371, he was ch ief instructor of the Japan Karate Association from 1955 until his death in 19'B7. A ninth belt and a familiar face at tournaments, he was among the first to send instructors overseas and to eneourage the developmerit of karate as a sport along, scientific lines.

"Tech n ica Ily excellent."

Library Journal

IS~N ~-87D11-379-8 ISBN4-7700-0726-4 C2375 P1960E (in Jap'an) )E1ilfil,96dFlj'j (*'1* 1 ,90~'Fl

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