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    Gran libro de maestro nakayama karate

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    Gran libro de maestro nakayama karate

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
    4 views71 pages

    Best Karate

    Uploaded by

    Jesus Villegas
    Gran libro de maestro nakayama karate

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
    of 71
    M. Nakayama Heian.Tekki Front cover photo by Kel Kancko; demonstration photos by Yoshinaa our Distibuied in the United States by Kedanshe Amerea, Ino, 114 Fith ‘vote, New York, NY. 1001, and inthe United Kingdom anc continent Europe by Kodansha Europe Lid, 08 Aldwych, London WOZB JF Pub: lished by Kodarsha interational Lid, 17-14 tana t-choene, Bunkyo-ku, "Fayo 712, and Kadiansha America, in. Copjriaht © 1978 by Kodersha Intemations| Ld, All ight teserved, Printed in Japan. lee 77-74823 isan 0-87011-379-8 ISBN 4-7700-0726-4 tin Japan! Fist eden, 1979 94 96 20 19:18 17 18 Introduction What Karate-di Is Kata ‘Meaning, fmportant Points, Heian and Tekki Heian Important Points, 28 Heian 2 Important Points, 46 Heian 3 Important Points, 60 Heian 4 Important Points, 74 Heian 5 Important Points. $0 Tekki1 Important Points, 106 Tekki 2 Important Points, 127 Tekki 3 Imporiam Points, 140 Glossary CONTENTS Hw m2 18 ar 49 7 98 109 123 142 ‘The past decade has seen a great increase In the pepularity of kerete-d3 throughout the world. Amang those who have been altractod to if are college studenis and teachers, aitisis, businessmen aid civil sorvants. 12 has come 40 be practiced by Policemen and members of Japan's Self-defense Farces. lin a numbes of universities, Ht has become a compullsary sdbject ‘and that cumber is incteasing yearly. Along with the incraaee in Bopulanty, there have been certain unfortunate and regrettable interpretatians and performances For one thing, kerate has been confused with the so-called Chinese style boxing. and its retationship «nth the anginal Okinawan Te has rot boen sufficiently understood, There. are also peopte who have regarded it as a mere show. in which wo men attack each other savagely, or the contestants battle each thar as though it were a form of baxing in which the feet are used, or man shows off by breaking bricks oF other hard ob: yects with us heed, hand oF fost HE erate is practiced solely os a fighting technique, this 1s cause for regret. The fundemental techniques have bess developed and perfected through long years of study and bpractice, but to make any effective use af these techniques. the Spintual sspect of this art of self-delense must be recognized and mast play the predominant role. It gratifying to me to-se2 that there are those who understand this, who know that karate-d6 1s ¢ purely Onormal martial an, and who train with the proper attiuide, To be capable of inflicting devastating damage on an oppo: neat with one blow of the fist or a single kick fas indeed been the objective of thts anciomt Okinawan martial art. But even the Practitioners of old placed stranger emphasis on the spiritval side of the art than on the tochniques. Training means trainéng of body and spirit, and, above all else. one should troat his oppo Nent-courteausly and with the proper etiquette. Itis nat enowah to fight with all one's powar, the raal atyective in karate-d 15 10 dda 59 for the sake of justice Gichin Funakoshi, @ gieat master of karato-dD, pointed out cepeatedly that the first purpose in pursuing this artis the Mur turing of a sublime spint, a spint of humility. Simultaneously, power sufficient to destiay a ferociaus wild animal with a single 8 blow should be deveined. Becoming a tue follower of karate. 6 Is possible only when one attains perfection in these two aspects, the one spiritual, the other physical Karate as an att of self-defense and Karate a @ means of im proving and maintaining health has long existed. During the past twenty years, a new activity has been explored and is com- ing 10 the fare. This Is sports karate. In sports karate, contests are held for the purpose of deter mining the ability of the participants. This needs emphasizing for here again there is cause for regret. There is-a tencency to place too much emphasis on winning contests, and those who do so neglect the practice of fundamental techniques. opting instead to atten jiyd kumite at the earliest opportunity Emphasis on winning contests cenot halp fut alter the fun damental techniques a person uses and the practice he engages 4p, Not only that, it wilt rasult fm a person's being incapable of executing 2 strong and effective technique, which, after at. 15, the unidue characteristic of ksrate-é6. The man who begins ya Kumite premeturely—without having practiced funda: mentals sufficiently—will soon be overtaken by the man who has trained in the basic techneeues long and diligently. Iris, quite simply. a matter of haste makes waste, There is no alterna tive to leatning and ovacticing basic techniques and move- ments step by step. stage by stage. if karate competitions are to bo held, they must be conducted under suiable conditions and in the proper spin. The desire 10 win a contest 's counterprocuctive, since it leads to a lack of seriousness in learving the fundamentals. Moreover, arraing for 2 savage display cf strength and power in a contest is totally undesirable. When this Nappens, courtesy toward the epponent 's forgotten, and this i of psime importance in any expression of karate. | believe this mater deserves a great deal of reflection and self-examination by botl instructors and students To axplain the many and complex movements of the body, it has bean my desire to present a fully ilustiated book with an up-to-date text, based on the experiance in this art that (have: acquired over 2 period of forty-six years. This hope is being realized by the publication of the Best Karste senes, In which earlier writings of mine have been totally revised with the help and encouragement of my readers. This new series explains in dete! what karate-do issn language made s simple a3 possible, and | sincerely hope that it will be of help t» followers of karate- 6. | hope also that karateka in many countries will be able 16 understand each ather better thraugh this serios of books. WHAT KARATE-DO IS. Deciding wino is the winner and who is the loser ts not the thimate objective. Karste-do is @ martial art for the develop ment of character through training, so that the Kereteka can surmount any obstacte, tangible or intangible, Karate-d0 is an empty-handed art of self-defense in which the arms and legs ae systernatically wained and an enemy attacking by surprise can be contralled by a demanstretion of strength like that of using ectwal weapons Karate-d 1s exercise through wilich the koretaka masters all body movements. such as bending. jumping and balancing. by learning to move limbs and body backward and forward, loft anc ‘ight, up and dawn, freely and uniformly The techniques of ketate-da are well controlled according to the ketateks's will power and are directed at ihe target accurate ly and spanteneously The essence of karate techniques is Kitte, The meaning of ‘Rion is. an explosive attack to the target using the eporopriate technique and maximum power in the shortest tine possible. (Long ago, there was the expression ikken hissarsu, meaning “to kill with one blow.” but to assume from this that killing is the objective 'e dangerous and incorrect. It should be remem bored that the karateka of old were able to practice kine daily ‘tien dead seriousness by using the makiwara.) Kime may be accomplished by striking, punching ar kicking but also by blocking. A technique facking Aime can never be regarded as true karate. no matter how great the resemblance to Karate, A contest is no exception; however, it is against the rules to make contact because of the danger involved. ‘Sun-dome means to arrest a technique just before contact with the target (ane sun, about three centimeters). But rat camying a technique through to Kime is not true karate, 60 the ‘question is how to reconcile the contradiction between «ime and sun-ciome. The answer ig this: establish the target slightly in front of the opponent's vital pont. It can then be hit in 2 con- tolled way with maxienum power, without making contact Training transforms various parts of the body into weapons to bbe used theely and effectively. The quality necessary to accom- pBlish this 1s self-control, To become a victor, one must first Ovarcome his own cal, an o Rear KATA The kate of Karate-d6 are logical arrangements of blocking, punching. staking and kicking techniquas in certain set s0- quences. About fifty kata, cr “formal exercises.” are practiced at the present timo, some having been passed down from genera. tion to generation, others having boen developed fairly recently. Kate can be divided into wo broad cetegories. In one group are those appropriate for physical development, the strength= ening of bone and muscle. Though seemingly simple, they require composure for their performance and exhibit strength land dignity when corectly performed. In the other group are kate suitable for the development of fast retlexes and the ability to move quickly. The lightninglike movements in these kata are suggestive of the rapid flight of the swallow. All kata requite and foster rhythm and coordination. Training in kata is spiritual as well as physical. In his per- formange of the kata, the karateke should exhibit boidness and. confidence, but also humility, gentleness and a sense of deco- urn, thus integrating mind and body in a singular discipline. As Gichin Fungkoshi often ceminded his students, “The spirit of korate-d6 is lost withaut courtesy, One oxoression of this courtesy is the bow made et the beginning and at the end of each keta. The stance is the _musubi-cach: (informal attention stance), with the arms relaxed, the hands lightly touching the thighs and the eyes focused stiaight ahead. From the bow at the start of the kata, one moves into the kamee of the-first movement of the keta. This is 4 relaxed posi tion, so tenseness, particularly in the shoulders and knees, should. be eliminated and breathing should be relaxed. The center of bower and concentration is the tenden, the center of gravity In this position, the kerateka should be prepared for any even- twality and full of fighting spirit. Boing retaxed but alert also characterizes the bow at the end of the kata and is called zamstun. In kerate-d0, a8 ia other martial arts, bringing the kata to a perfect finish is of the greatest importance. Each kate begins with @ blocking technique anc consists of fa specific numbar of mavements to be performed in 8 partcular order. There is some veriation in the complexity of the move- ments and the time required to complete them, but each 42 movement has its own mesning and function and mething is superfluous. Pertormance is slong the emausen (performance line), the shape of wiich is decided for each kata, White performing a kata, the karateke shauid imagine himself to be surrounded by opponents enc be prepared to execute defensive end offensive techniques in eny éirection. Mastery of kata is a prerequsite for advancement through Avi? and den as follows: Bth Aya Heian 1 Tih kya Herat 2 ath ye. Heian 3 bth Aya Heian 4 Ath Aye Helan 5 31d kya Tekki 1 2nd kya Kata other than Heian or Tokki Ist aya ‘Other than the above Istdan ‘Other than the above 2nd dan and above Free kata Free kata may be chosen from Bassai, Kankd, Jite, Hengetsu: Emp, Gankeku, Jion, Tekki, \Nijushind, Goyishihd, Unsu: ‘Siichin, Meiky6. Chiniei. Wankan and others, Important Points Since the effects of practice are cumvlative, practice every day. even if only for a few minutes. When performing @ kata keep caim and never rush through the movements. This means always being aware of the correct timing of each movement, {f @ particular kate proves difficult, give it more attention, and always keep in mind the relationship between kata practice and kumite (see Vois. 3 and a) Specific points in performance are 1. Comect order. Tre member and sequence of movernents ls predetermined. All must be jerforned, 2. Beginning and enc. Thre kata must hegin and end at the ‘same spot on the enibusen, This reduires practice 3. Meaning of each movement Each movernent, defensive or offensive must be clearly understood snd fully expressed. This is also ttue of the kata as 2 whole, each of which has its ‘own characteristics 4. Awareness of the target. The kerotaka must know what the targat is and when to execute a technique. 5. Rhythm and wining. Rhythm must be appropsiate to the particular kata and the body must be flexible, never overstrained Remember the three factars of the correct use of power. swift- ress oF slowsness in oxecuting techniques. and the stretching and contraction of muscles. 6. Proper breathing. Breathing should change with changing situations, but basicatly iohala when blocking, exhale 13 when 9 finishing technique is executed, and inhale and extialo when executing successive techniques. Rolated to breathing 1s the kis/, which occurs in the middie ff at the end of the kata. at the moment of maximum tension, By exhaling very sharply and tensing the abdomen, extra power can be given to the muscles, Helan and Tekki The five Heian and three Tekki kata are all basic kata Through the performance of the Heian kata, one should master the principles and skills that are indispensable in karate From the Tekki kate, one should acquire the dignity and strength of karate techniques, But more than that, he should come to master the dynamic, driving force that comes through practice designed to make the hips and stances strang. ‘The embusen in Heian ? and 2 is Tshaped. In Heian 3 and 6. itis T shaped. In Heian 4, it ig sheped like an I, but with the ver- tical ine extending above the upper horizantal line. ‘The embusea in the Tokk: kata 18 8 straight line 4 1 HEIAN 1 From bow to shizen-tai fa Hidari gedan barai 9 t+ A &s % ms Sy >< e Move left foot first Migi chadan of-zuki Left downward block The left fist should be about 15 cent meters above the left knee. Bi Migi gedan barai e 2 % e" of ss wy A ss “we: 4 . ee? a4 1‘ » Right downwerd biock eit leg is jiu ashi (pivot leg). Move Fight lag in a wide arc. Right middie Jevel lunge punch Keop left toot firm, Punch while sliding right foot forward ‘Shizen. ta. Hochingji-€ochi 1. Hider zankunsu-dachi 2 Mig zentursw-ceoh 16 3. Migi zenktss-cachi Migi kentsui tate maweshi-uchi s §. x! Ad b ope : A a : Vertical strike with igh hammpor fist Fitst bring tight foot halfway back and eight fist back strongly. Advance right foot and strike. No power in elbow. Twist right arm 80 back of fistis to the right. Hideri chdan of-zuki i Left midale fever iunge punch Slide iett foot one step forward, Tighten right leg. Left downward block Right te9 is ike ashi. Turn hips to lett. Slide oft foot to left 4 Mio! zen kta daoh} 8. Hin senkurst-tecni Right upper level rising block Cross left palm ang right forearm in front of jaw. Slide right foot forward. Twist right forearm $0 back of fist is to the vear. | 8 i jedan age-uke / \ > at = Right upper fevel rising block Open and close left fist, back of hand outward. Cross wrists. Left woper fevel rising block Open and close right list, Bring st_to the right hip. mn chadan oi-zuki AVA Right middle level singe punch Slide nght foot forward. Tighten left leg. 13] Hidari chadan oi-zuki ayK. Left mnidele level lunge punch Slide left foot forward. Tighten ight leg, Left downward dlock Raise lett fist to right shoulder. Pivot to the left. Migi gedan baral 4. th, » ¢é Fight downwerd blook With left leg as jrku ashi. turn hips to tha right. 12, igi zentereso-clych) 18, Midon zenkutsu-dachi a é aw Left downward block Tura hips to left, move left leg to left. |‘Hidari chisdan o7-2uki ciel , Right middle level lunge punch Shide right foot one step tor- ward. 5 RA ean 17. Wigi renkutsu-tocht Hidari shutd uke g eo eh a pS BY ee Right sword hand block With left knee bent, Left sword hand block ‘Turn with right knee bert. Bring left leg ne 1 left leg. to left side. Migi shute uke pp cer shuce uke Clench bot tes and bring back left foot tote sword hand block Shift weight 10 right leg Right sword hand block Keep left knee bent and pivot on Jeft radually, Turn diagonally to left leg to the right. eee 20. Hidari koRtsu-Oschi IT. Migt kokuisudeeht ‘ 2 26 HEIAN 1: IMPORTANT POINTS! Heian 1 is composed of ba blocking techniques—downwa block, upper level rising ‘middle tevel block with the back the sword hand—and the middi level straight punch. The steaces ar the front stance and the back st countering when your wrist arasped by @ strong opponent. most important things tom in this kata are reversing direct and leg movements, Twenty-one movements. Ab fony saconas. 1. To execute a technique to the left side from shizen-tai, turn hips to the left, slide left foot 10 the lett. 2 3 2. in reversing direction, the feeling should be of quickly pulling the hips toward the heel of the pivet leg, Do not rise the heel of the pivot foot 3. In citcling to the right side with right leg as pivot, quickly Totat hips to the left ond quickly slide lett foot, ory 4. In reversing direction, use the right front leg of the front stance as the pivot leg, Turn hips to the left to take @ left back stance to the right side. Bend right knee: do not change height oF hips. 6. In going from back stance to back stance. shift weight to front leg, Slide back leg forward or to the side, 30 oe HEIAN 2 Migi kentsui hideri sokumen uchi-komi Hidari tekubi nagashi-uke Hideti haiwan hidati sokamen jedan yoko uke ‘Migi zenwan hitei mae yoko kamae Swike 10 left side with rigin hammer fist/ Sweeping block with left wrist Migi haiwan migi sokumen joden yoko uke ! Hidari zenwan hitai mee yoko kamae x R A ‘ ai . Upper level block to right side with right beck-arm{Left forearm at side of forehead karnas Upper level block 10 left side with Jefe back-arm/Right Forearm 21 side of forehead kamee Hi Hidari ken hideri sokumen chitdan-2uki Migi ken migi koshi kamae 4 my ms my Middle jevel punch ta left side with ieft tist/Righs fist at right side 1 Aig kotutsu-doch 2 Hidari kentsui migi sokumen uchi-komi Migi ken migi sokumen chitden-zuki Migi tekubi negashi-uke AAA. ‘Suike to right side with left hammer fisttSweeping block with right wrist Hidari ken ue migi ken Fight fst on top of left fist Turn hips to right. Raise ight sole to left knee, A Middle level punch to right side with eight fsi/Lef fist a¢ feft side Migi uraken joden yoko mawashi-uchi b Migi sokute yoko keage Upper fevel horizontal strike with right back-ist/Side snap kick wih right sword foot Migi shuto uke tts Fight sword hand block Shift weight to lelt leg, ‘bend left knee, slide right foot forward, ‘Migi shihon nukite chidan tate-zuki Hidari shé osae-uke th Middle ievel vertical punch with right four-finger soear hand/Pressing block with left palm Ev: shutd uke Bis: Shuto suigetsu mae kamae Left swore hand block/ Right sword hand in ront of chest kamiee Return kicking foot smoothly. Left sword hand block Slide left foot one step forward. = - 1a patie Th Magara He cs BB” Shute uke iA Left sword hand block With right leg 25 pivot. rotate hips in 3 wide movement to the left, ® Migi shutd uke Ad Right sword hand block Shift weight to left lag, Slice right foot diagonally forward. i" ‘shuto uke BR Left sword hand block Shift weight to right leg and she left oot diagonally forward. Right sword hand block Left log is pivot log, Rotate hips to the right 32. Biot Koutsu-dach 12. Hider kobutso-dchs 14, Mae Okae-oots 15. MMigi Okutee- coh 28 Migi mae keage AA Right frontsnap kick Execute techniques 16, 17 and 18 rapidly. rn be 6 ae TAN igh: midéte level block. inside ourward/Reverse ball-tront- facing position OD Hidari ken chaden gyeku-2uki Ap Middle level reverse punch with fefe fist Punch as soon 9s kicking foot returns to floor. Hideri chiden uchi uke Loft midale level block, inside outward Turning hips brings right foot half a step back automatically. Hidari mae keage Q Left front snap kick Execute techniques 19, 20-and 21 rapidly. 21. Hit sontorso-sbeht 22, Mig zentutou- deci ‘Migi ken chadan gyaku-zuki a RAK Middle tevel reverse punch with right fist Punch while taking front stance after kick. Av. chidan morote uke (Migi chitden uchi uke/ Ave: ken migi empi yoko-208) hid Right middle level augmented foresrn block (Right middle Jove! black, inside nurward/Left fst at right elbow) Left downward biock Right teg is pivot leg. Rotate hips to the left. Right uaper level rising block ‘Open left hand, bring it to the jaw, then advance left foot. 26 a fodan age-uke RP Right downward block With left lag as pivot, rotate hips in a PAAR Retum to shizen-tai by withdrawing left foot, Left upper level ising block Advance left foot, block, withdraw other hand at the seme time. 28. idee! sonkusu-esebi HEIAN 2: IMPORTANT POINTS Techniques practiced in Heian 2 the uppér level biock to the side wi the upperside of the forearm. tr kick, and simultaneous attack with st kk and back-tist. For this simulta neous attack to be strong and effecti the kamige in movement 7 must be perfect, Iris also important to perfectly” ‘master reversing directions and taking the reverse hal-front-facing positon. starting from the same positon. Twenty-six movements. About fory seconds. 1. For the upper level block to the side with the back-arm. the arms should be in the same plane and form a rectangle. The 2 front elbow is at shoulder level, the back elbow at ear level. 2. Fot the simultanvous back-fist stike-side kick, form an axis ‘with the supporting lag, hips and head. Reise the kicking foot to the other knee while turning the hips. 46 ay 3. Executing a technique from gyaku hanmé: With the tight lag ‘a3 pivot, block inside outward with the right atm at the same ‘time the hips are turned fo the feit and the lett leg advances. (Do this by thrusting the right hip forward. nor by taking a big step with the left leg. Reverse punch and inside-ourward block after front kick When blocking. the front leg automatically comes back half @ step. Do not consciously pull it back. 48 Hideri ken hidari sokumen chitden uchi uke ‘Migi ken migi koshi Migi chiden uchi uke Hideri gedan uke 4 Right middle Yevel block. inside outward Left downwerd block Bring right fist outside let elbow. ‘Midte level block, inside outward, to lel side with left fise/ Right fist at right side EY) ices! chadan wohi uke Migi gedan uke vf ~~ aa Aight miacle ever block, inside ourmerd’ Rotate hips in @ wide movement. Left mide level block, inside outward/Righe downward block Execute techniques 2 and 3 rapidly. 1. Mig kBkeiso- oes 0 Foil ite cnoden vehi uke Migi gedan uke § a < re z 4 s Left middle leve! block, inside oveward/ Right downward block Cross aims in front of chest, Hideri chaden morote uke (Hideri chidan uchi uke] Migi ken hideri empi yoko-z0e) | e sy “; a 5 4 5 Left mide level augmented foresrm block (Left middle level block. inside ourwardi Right fist at left elbow) Migi chaden uchi uke |Hidari gedan uke Ne eo a % a a a Right midale lever block, inside outward Left downwerd block Execute 6 and 6 rapidly. Migi nukite chaden tate-2uki g Hidari sh6 osae-uke ta 8 Z ij i? “v ys a x ‘Middle level vertical punch with right spear hand)/Pressing block A with left pala 7. Mig kekarsu-dach i’ kentsui chiiden yoko mawashi-uchi mi a Middlle level horizontal strike with left hammer fist Back ot left fit upward nh” kon ryé koshi kamae fe¢ Both fists at the sides kamae Rotate hips to teft slowly, Slide left foot next to right foot. Right middie tevel tunge punch Execute techniques 9 and 10 rapidiy. Migi empi yoko uchi Side strike with right elbow/Upper body as before Rotate hips Quickly to the left. M ax ‘empi yoko uchi a= ‘sono mame J a Side sire with left elbow/Upper body as before Do not change level of hips, G |Migi empi yoko uchi e a , TTF Side strike with right elbow Turn heae to right. Do not change level of hips when raising knee. | Migi wraken migi sokumen tate mawashi-uchi a1; f é Vervica! swike 10 right side with right back-fist Return tight fist to right hip after strike. Hideri uraken hideri sokumen tate mavrashi-vchi ‘ qi a x «x Venice! strike to tat side with feft baok-fist Strike in # se citcle starting from jaw. Bring right foot to left foot, then to b= AAA Left middle level lunge punch Step in with lett leg (Cumictashi). Yame PY} (iter ken tsuki-age Migi empi ushiro ate Migi uraken migi sokumen tate Hider! chiidan of zuki A aa a Verticet strike co right side with right back-fisr Migi ken tsuki-age lidar’ empi ushiro ate Swinging punch with left fist/Suike to rear with right ‘elbow Yortashi to the right. a HEIAN 3: IMPORTANT POINTS Heian 3 consists of changing bblocks—from middle level to low- er level—elbow block, back-fist ste, stamping kick and other techniques. Especially important are training in the straddle-ieg stance and mastering the unique ‘ai-sabaki of sliding the feet (yori-ashi).. Twenty movements, About forty seconds, 1. The ists in both the miedle 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, Tho fist for the middle level block, inside outward, passes outside the other elbow, Cross both arms in front of the chest to execute kime, 2. In the elbow block to the side of the body. the knee must be raised to chest level for the stamping kick (furmkom/). Do not bblock with the arm only. The feeling should be of blocking with the hips. Take advantage of the hip rotation, using hips. chest and both arms as @ single. massive unit 6 4 HEIAN 4 3. From elbow block to the side to vertical back-fist punch: Swing the fist from in front of the jaw and retum the forearm slang the sme course, fist coming t0 the hip. 4. From teft henge punch 0 right swinging punch: Right foot |s pivot An elbow strike tore rear can be made atthe same time. 82 Hideri haiwran hideri sokumen jéden yoko uke Migi zenwan hitai mae yoko kamae RAR Upper level block (0 left side with left beck-atm/Right forearm at side of forehead kamse i ken geden jaji uke Lower level X block with both fists Twust down from fight shoulder and cross wrists, 2. Hidan kokueu-laed? \Migi haiwen migi sokumen jedan yoko uke idan zenwan hitai mae yoko kemae Upper lavel black to right side with right back-arm|Left forearm 2t side of forehead kamae |Migi chiden morote uke (Migi chiden uchi Juke/Hideri ken migi hiji-zoe) Fi Right middle level augmented block (Right middle jevel block, inside outward} Loh fist at right elbow) i Fy6 ken migi koshi kemae Hidari ureken hidari sokumen yoko mawashi-uchi/Hidari ’ keage ’ a a Right elbow strike Execute techniques 6 and 7 rapidly. a Upper Jevel horizontal strike to left Strike left palm strongly. SRE ign oe ee deft beck-fist/Left side smap kick Bi iy6 ken hidari koshi kamae MMigi ureken migi sokumen jédan yoko Midari empi uchi mawashi-uchi/Migi yoko keage oper level horizontal stike ta right side with right back-1 Pe kann wick __ tnt bow sites elbow strike & Hidarieshi-cochs to, see a Re Both fists at left side kamae Bring left foot half a step to the right, Tur head to right Migi shuto jedan yoko mawashi-uchi #Hidari sho jodan uke a- Upper level horizontal strike with right sword hend/Upper level block with lef palin 14 ‘ken chadan kakiwake uke 3 Migi uraken tate mavseshi-uchi |Hidari ken hidari keshi ( 1 ; f : ’ ak Upper lve! ight font soap Varia strike with ght back fiLet st 10 left side "9 joden mae keage Migi chiden oi-zuki Hidari ken hidari koshi Midole level reverse wedge block with both fists Execute this technique slowly. Right midale level lunge punch/Left fist t0 ‘Yager level right front snap ack _left side _Pynch with return of foot t0 floor, Hider chirden Chadan kakiwake uke |gyaku-zuki Upper level felt trort snap kick Middle level lunge punch with left fist PRY Mic! chadon morote uke Left middle level reverse punch Midalle love! reverse wedge blog ps i] Wligi ken chadan gyaku-zu- Hideri chiidan morote fii /Hidari ken hidari Koshi ke 9 Left middie level avomented forearm Right middle level augmented forearm Left middle level augmented forearm k Middle level reverse punch with block bloc! righ fist/Left fist to left side block 17 18, Hiden kekutsu-dechi 19. 22, Mini kokutsu-ciohi 22. Mer ROkureu-coch! 24. Migi koku: u-dache 20 20, Hider zante ects ie ae Hidari shuto chiden uke Migi shuté mune mae kamae a e. Migi hiza age-ate VEE) ya ken migihiza ryasoku hikioroshi emf a > +e oe @ , " * W ne , Right knoo stike/Lower both fists at sides of right knee Raise right knee high. Migi shuté chadan uke Middle level block with left sword hand Right sword hand in front of chest kemae " * 4 | Kenscrmeuninsmiies wswewe el ‘samo luvei, 2, Hier Roku eaeh HEIAN 4: IMPORTANT POINTS ‘The techniques in Heien 4 are the downward X block and the middle level ‘augmented forearm block. roundhouse sword hand strike, vertical slbow strike, reverse wedge block and knee strike. The difficult ccrossed-fect stance should be masiered. Movements 1 and 2 are done slowly. but hanes and foet must move in unison. Twenty-seven move- ments. About fifty seconds. 1. In the front stance for the lower level X block. the hips should be fairly low and somewhat to the front. Aim for the opponent's ankle. If the hips are withdrawn or the block is 100. high, it will not be effective, a 2. Inthe upper level horizontal strike (movement 11), raise the left palm. bending the elbow, to the front of the forehes Swing the right palm downward from the right side of the head in a wide arc, Both arms myst be swung in unison with the leftward rotation of the hips. , 3 In the vertical back-list strike after the front kick fully Utilize the spring of the left ankle to jump in. Supporting the body weight on the right leg, bring the left foot behind the right ‘ankle for the erossed-feet stance. This is necessary to maintain balance. 5 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 ‘bend. Strie to the front at jaw level at the same time the loft {ist is brought to the lef hip, 5. When kicking after the middle level reverse wedge block, the armpits must be tight to keep the elbows near the bady. Other- wise, the fece and abdomen will be open to counterattack. ‘AX the same time the kicking leg ig lowered, continuous punches can be executed. 8. Rising knee strike after augmented forearm block fram right back stance: Bend front knee and shift weight forward without ing hips. Raise both: hands diagonally, then immectately ‘aise right knee high and bring both hands down to the side ‘of the leg. % a ken chidan uchi uke mA FLL RK A 2 Middle level block. inside outward, with left fist Execute techniques 1 and 2 rapidly. Ei” zenwan mizu-nagere kamae ART / Fy, e owe Left forearm flowing water position Move head. arms and leg together and slowly. Midole tevel reverse punch with right fist Withdraw lett fist strongly. Hidari ken chiidan g Gi gyaku-2uki 9 Migi ken chidan uchi Mille level reverse punch with fof fist 4. Hidart KORURGU- Coch) 3 Hessoku-dacht | 6 ea zenwan mizu-nagare kemae a8 Fight forearm towing water position Move head. arms and eg together and slowly. ‘ 1 Lower level X biock with both fists Cross wrists while advanc- ing teft leg. 6. Heisatutechs 20 17 (iad chaidan morote uke H Fight middle level augmented foreerm block a” shé jeden fai uke Le Upper level X block with both gees eater, Sd Thrust upwards 4 I 8, Miter zenketeu-dochi BY viai ken chaden of-zuki, a” chiden-zuki Aa RRLER beau Jevel punch with left fist Middle jevet . punch with a fist Dn sho hidari sokumen chitden kake-uke : Middle evel hooking block to itt side with ‘eft paler Bring left palm forward fram under tight elbow. 110] Ry6 shé chaden osae-uke « J Me " 1 Middle level pressing block with both palms Keep wrists together, Extend right hand. B Migi ken migi sokumen geden barai at oa é Fi FB a t 3 downward block to right side vith right fist Bring right fist about § centimeters sbove right knee qh” mikazuki-geri 116] Migi empi mae uchi Hy A ema lt wi a, sy and ea & - erbow Keep alt hand in the same place. Migi chaden morote uke 18 ta ‘morote koh6 tsuki-age eS } ‘ Aight middle level augmented forearm block Bend right knee. Right a swinging punch to the reer Keep sat tist at r < Bring et foot behind ag foot Fight elbow. 16, Kioentaohi 17, Bigg ashi mae késa-dachi Mig chudan morote uke @ middle level augmented forearm block Straighten lett snee, Slide right foot to the right , i oe Bott — DD Migiten mio sokumen jodan uchi uke |b Hideri ken migi sokumen gedan uke Downward strike with right sword hand Sweeping block, left Upper level block, inside outward, to right side with alin to right shoulder 4isi{Oownwerd block to right side with lel fist Downward X block with both fists Migi shuto gedan uchi-komi Hl. Hidari sho migi kata ve nagashi-uke 19, Migi ashi mae késa-dachi ig I . 2fb, Migi kolestsu-cechi 6 87 Heisoku-dachi Jétai sono mama 3 é informal attention stance/Uoper body as before Slide left foot slowly next to right foot. Hideri ken hidari sokumen jodan uchi uke b Migi ken migi sokumen geden uke Upper fevel block, inside outward, to teft side with left fise Downward block to right side with right fist pesca 298, AMipi zenkuse-dechd Hidari shuté geden uchi-komi @ Migi sho hideri kata ue nagashi-uke q Downward strike with left swerd hend/Sweeping Block. right A ‘pain to tof shoulder Yame HEIAN 5: IMPORTANT POINTS 6 The techniques in Heian § include the flowing water position, upper level X block, middle level pressing block ‘with both palms, downward block to the side from the straddle-leg stance, middle tevel hooking block to the Side, crescent kick and crossed-feet stance after jumping. In going from the middle level reverse punch from the back stehce ta the informal attention stance-flowing water position (movements 2-3 and 5-6), head. arms and leg. ‘must move in cocrdination with the hip rotation, When this is mastered, mavements 10, 11 and 12 can be ‘exbcuted continuously. In movement 18. the crossed-feet stance after jumping must be strong. This stance occurs often in the kata, Twenty-three movements. About fifty secands. 1 1, In going from the lower level X block to the upper level X block, keep the wrists ctossed, bring botih palms close to the hest. and block by thrusting upward. Then extend the right palm in front of the right nipple. palm upward. Tum left palm downward, 90 2 Downward side block: Turn hips and head to the left end bberd left knee. While raising left palm to right shoulder, strike downward with right palm. Without moving feet, shift weight to rightdeg. Asif wringing out a towel. block diagonally down- vwatd with the eft fist while raising the right fist above and in back of the eight shoulder. a 3, Point 2 apolies also in movernents 22-23. Tako care to not move feet while shifting {com front to back stance. 92 Kao migi muki Joiai sono mama ae Turn head to righi/Upper body 9s is Lower hips. Gross left foot over right. Hidari epi migi sokumen chitdan uchi ‘Migi sho hidari biji ate Midale (evel strike to right side with left elbove!Right palm t0 ‘oft elbow Pa 9 sho migi sokumen chiden keke-uke Hidati ken hidari koshi tye Middle level hooking block to right side mith right walentLert fist to left side Ayo ken migi koshi kamee } ; 2 Both fists right sicle kamae/Turn head to left Gack of left frst to the front, back of right, downward. Left downwaid! block ‘The feeling is of blocking an attack to the left side strongly i ceo mae késa-dachi /étai sono mame a 1 ot ‘Right foot in front, crossed-feet stence/Upper body as before Do not break posture of torso, Ge kegi-zuki 4 * , a a @ Hook punch with right fist Bring right forearm about 20 cen timeters in front of and parallel to the chest. \Migi chiaden uchi uke Kao shémen muki ‘ rg ? 7 oo SS Right midale level block, inside ovtward/Turn face to trom Strong stamping kick to the left Hidari haiwan jodan nagashi Hider ken jedan a-uke/Migi gedan uke lo ura-zuki . a » sepa hos =a Upper level sweeping block with left back- Upper level close punch with left arm{Right downward block fist/Right fist at left elbow Kao migi muki it] Hidari ude hideri sokumen r Jétai sono mama behadan uke a * s 4 Middle level block 10 left side with left arm — Turn head to left/Upper body a& before Kao hidlari muki I6tai sono mama Hidari ashi namt- i. Jotei sono ip 4 A v Tura head to right/Upper body as Left retwming wave kick/Upper body as before before Migi ashi nami-gaeshi | Hidari ude migi sokumen @ Jétal sono mama 'b chadan uke Right returning weve kick/Uoper body Middle Javel block to right side with lett as before orm Keep right fist 2t lett elbow, PFW 87 ken migi koshi kamoe Kao hideri muki Hidari ken hidari sokumen chizdan-2uki a a ss ' s we ea Midolo level punch to left side with left tst/ Middle level hook Both fists right sie kemse/Tum head to left Move head aod Sch wits ight fr attns simultaneously, Hidari sho hidari Sokumen chidan kake-uke FA Misi emoi hidari so- Fryo ken hidari Migi ken migi koshi tumen chadan uchi Roshi kamae 3 a au a a a Mido leelsirite ro ll side Both fats lt side kemae Right downwerd Block Midale level hooking block to left side with left palm) Righh fist with right elbow Tura head to right - 10 right side Midari ken kagi-zuki Hideri ashi mae kosa-dachi Hideri chidan uchi uke Kao shomen muki Va a Left midete lovel block. inside ovtward/Turn face ¢o front Bir = Btece a 4 h Left foot in from, Hook punch with fet fist crossed-feet siance Migi ude migi bsokumen cha- dan uke 93 Migi haiwan jédan nagashi- Migi ken jodan ura-zuki o 4 ) ia ° \ i a as a4 as Upper fave! sweeping block with right Upper level close punch with right quke/Hidari geden uke : back-armjLeft downward block Turn tece 10 right Right revuenir 20. 21, Kosa-daci 22, Kibe-ceohl 202, 2 2A. 26a. 200, 102 103 a0 hidari muki Jétai sono mama a s a Turn head to left Upper body 2s before Loft returning wave kick Es ‘ken migi sokumen chiidan-zuki Ez: ‘ken kagi-zuki LHe - 4 1 s ‘Middle level punch to right side with right fist!Hook punch with eft fist Hidari ashi nami-gaeshi Migi ude hideri sokumen Ayé ken hiderl koshi kamae ly chadan uke Kao migi muki 4 4 a Middle level block 10 left side with Both fists at tol side kamae/Tum heed right arm Stiong Fumikori to right Yame Quietiy face to front end slowly return aims and legs to original damee. TEKKI 1: IMPORTANT POINTS The performance line in the Tekki kata is a staight line, ‘with movernents being made to one side or the other. If the ctossed-iest stance is not corract, the performance line tends to bend to the front. So the timing of shifting the body weight and aligning the toes of both feet is important, Whatever the movement. the stradale-leg stance should not be broken. And wien executing techniques 10 the side. the body from the hips. down must face forward. Sice these kata are rather moneto- Rous, turn the head beskly and strongly. Twenty-mne movernents. About {ity seconds. 1. Most important is the hook punch. By executing this correctly, the tightening of the shoulders, elbows and armpits ‘ean be mastered. This in tur shewld load to development in Punching and effective blocking, A reriarkable difference in the Use of techniques can result from leatning this kata, 108 3 2. In the stamping kick from the straddle-leg stanoa, keep the loft knee taut even as the body weight gradually shitts to the Fight. Bring the right foot from behind the left knee, raising the nee in @ high arch, 3. In the returning wave kiek, the position of the ins must not change, 107 4. From upper level sweeping forearm block to upper level close punch: Raise the right list from under the left elbow to the Tight ear, At the same time, bring the left fist from the right shoukier downward and outward. Thon strike straight to the front with the right fist, the left fist coming below the rightelbow. 108 Migi zenwan migi sokumen chadan uke Hidari zenwan mune mae suihel kamae Ryo hij suibei ni har Kao sigi maki . ‘AS 7 yO a «4 3 & ay » a & & a4 % Etbows honzontaly soreauTurh head to right Do this slowty see eve nook to ihe side at frente fran end qual EY) tigi zemsren igi sokumen geden uke (igi zenwan shémen gedan uke y Hidaei sho migi hiji ni soeru Hidari sho migi hifi ni soeta mame q + & & 4 To % ae wo «2a a4 4 Lower jevel block t0 sight sidle with sight forewmpleft palm Supporting right efbow Lower level block to the sront with right forearm|Lett palm sup porting right elbow 7 oes — | Pau SUTIRE ERT Ee Reet 3. Hier! ashi mee hésa-dachi 2. Kiba-dboeni Ayo hiji suihei ni hare Hidari zenwan hidar! sokumen chadan uke Kao hidari muki \Migi zenwan mune mae suihel Kamae $ i , : . 9 H BF = i“ oe Oe . = = g 4 Soe eee i Elbows horizontolly soreadiTum hood to left Move lelt lea end arms simultaneousty. A 3 2 4 1 Midte level blook wo left side with felt focearm/Réght forearm horzenta? kemae Hideri zenwan shomen gedan uke Hidari zeriwan hidari sokumen geden uke Migi sho hidari hijt ni soeru Misi sho hidari hiji ni soeta mama , 8 ae - > 2 e & s » s 4 é % Lower level Block to thont with fol Forearm) igh pal support- Lower fevel block to feft side with left ferearméight at ing teft elbow supporting left elbow 5 Heisoku-dooni 1 Ribeaischi 7. Migrashi mae esa-dacht 2. Kisa-dachi ne 113 Hidari sho hidari koshi Migi ken hidari sho ni atera a a 4 a 4 a Left pain at left side/ Right fist 10 left palm Back of left hand outward, Back of ight fet tothe front Migi empi uchij Hideri bp sho suigetsu mae ni 5 tater Migi ken migi koshif Hi- HN cari sho migi ken mae ni atery ; q Le 4 Right elbow strike/Lefe petm vertical i root oF cast Bight fist 2t right sidefLeft palm in Pont _of right fist igi sokumen chidan uke i tekubi ni soon i 10] ‘Migi zenwan a aa a 4 a Middle level block to ight side with right foreerm/Left palm at righ nis Migi shé migi sokumen chidan Hidari ken tsukami-uke/Kao migi muki i 3 Kagi-zuks as an. asa ba Middle Ievel grasping block co right sice wh right — Heok punch with let fist fisaf Turn teed to right 110. Rpe-coom 12. 1 116 2 Hidari ashi mae kosa-dachi ts i Left foot in trene, crossed-feet stance i 14. Reee-dac 16 e ¢ Hidati chidten uchi uke Keo shomen muki 9 ; ‘ r ha Lett mice level block, inside outward! Turn face to front Migi she migi koshi[Hidari ken migi sho ni ateru Kao hidesi mukd “a 36: Rivo-cooha a Righe palo 9¢ right side/Left fist 0 right palin/Tusn face to Hert Tr a 183 Migi heiwan joden na- Migi ken jodan ura-zuki a 9@Shi-uke/Hidari ken ge- fy Hider zenwan mune mee don uke suihei kamae a 4 a 4 Upper levol swooping block with Fight beck-erm|Donnwant block with iett Upper level clase puneh with sight fist fisijLett forearm horontal kemes MY Micari zenwan hidari sokamen chuden uke “)) Migi shi hidari tekubi ni soeru \iaieile level block to left side with ieft forearm) Right pais 40 deft wrist 260, 7, 18, v7 Hidaci ken hidari koshi Migi sho hidari 119! [a Hidari empi uchi/Migi sho suigetsu mae ni tateru Hidori sho hideri sokumen chadan tsukemi-uke * a a » @ hea Loft fist at feft side/ ight atm in “Left eibawr sirike/Fughe pein verically bi frapt of left fist front of chest il Migi ken kagi-zuki Fy Migi ashi mae késa-dacht a Miidsle level grasping block ro fet side with latt palm Siawy, § 1b. Kibs-dechi 118 20. 22. Mig ashi mao kase-dacht 22. Kibs-dacht 19 Hidari haiwan jodan na: Hidari ken jodan ura-zuki] TERK 2 PORTANT OO —————= a gashi-uke/Migi gedan by Migi zenwan mune mae ¥ A YA, TF 4 a a a Upper evel sweeping block with leh Upner tevel close punch with fan Fist bock-arm| Fight lower level Sloak Righa forearm hovizongal kemae 9 Re , 8 ~_——UchKChUmUCU AR a & Quietly withdraw right leg to return tw shizen-ta From this kata, master the difference botwoen the middle Level grasping block (tsukami-uke) and hooking block (keke-uke). Yome Twenty-four movements. About tity secanus. 1. Movements and 2: Raigo the forearms in front of the head with the feeling of folding the shoulders together. Block Phe 2b, Shizer-tei strongly to the right with the elbow bent. 120 7 2. in the lowet level block to the frant white moving tothe side, bringing the right arm down must be done at the same time the left foot is brovght infront of the fight foot. The foot mevernent is slows and smooth, the atm movement forcofir 3. Elbow strike to the from {mevememts 10=11): To be effec: iva, the hands must come ta the side simultaneously with the faising of the knee and tho strike be made while bringing the Jeg down. The upper body turns, but the hips and legs should face to the ftont throughout the movement. 4. In contrast to the sword hand and slightly “rising” wrist of the hooking black (see Voi. 1, p. 81), open the thume and swing the rn im & half citcle fr the grasping block, lightly bending the elbow in the final phese. Tighten the armpits while drawing the opponent towards your 122 ge TEKKI 3 Hideri chizdan uchi uke Migi ken migi koshi ? hada i T a 6B s 4 * &-—\o Lele mice tevel black, inside outwordiRight Hist at right side Mligi zenwan chiiden barai | Hidati zenwran mune me suihel Kamae % LF La Middle level block with right forearm)teft foreanm hovieontal kamee Right elbow on loft wrist Migi chadan uchi uke Hidari gedan uke § $. 3 4 - Ai gar aa aa ae Right middle lovel biock, inside outwatdjLeht downward dfock Migi haiwan jodan nagashi-uke é Hidari ude wa sono mama —_, L 4.2 a ao oe Upper level sweeping block with right back-aken/Leh arm 88 18 5 Migi ken migi Koshi Hidati sho migi ken ue top of left fist ‘ist and left palm downwara, ri ‘Migi ken chadan choku-zuki Migi zenwan hineri Hidari ude wa sono mama Kao migi muki i | Upper level close punch with right fst Bring right elbow on Right tet ae right side/Lett paim on right fist Back of night . a as “* (Migi zenwan migi sokumen gedan oshi-uke Hidari sho migi hiji ni soeru Hidari ashi mae késa-dachi dota sono mama y » “a 7 Lower level pressing block 10 right side wah right forear/Left supporting right elbow | Migi ken migi koshi-biki Hidari sh6 migi ken ura ue-zoe « x a he ) Left foot in from. crossed: feet stance/Upper body as before Migi ken migi sokumen gedan furisute | Hidati shé soeta mama a aa as be 464 Lower level swing to right side vai right fist/Left paim as is 9 Mian 98h moe Ros2-dooh) 10, Kiba-dechi lat ee Migi chadan uchi uke || Hidari gedan uke vik ¢ \ aoe Right middle Jevel block, inside ounward/Lett lower leve! block Migi ken chadan choku-zuki Hideri sho sone mama Midiote level straight puch vith right fstiLert palm asis Twist right-arm while thrusting it forward stiet! on 4 Hidasi haiwan jodan 16] Hidari ken jedan ure~ Hideri chiidan uchi uke nagashi-uke|Migi ken i. i. zukifMigt zenwan mune gepeie 3 ‘ono meme ioe het ate a ha aa aa ‘ ok aie a « aa s Upper fevel sweeping block with fe — Ueper level close putrch with teft Left ita evel biodk dnaaie ourwardt/ Figs tower (eye) brook bock-arin Right fst as is ist Right forearm horizontal Kamse Kao hidari muki (PW) igi ashi mae kosa-dachi ‘Kao shomen muki{Hideri fumikomi Jotai sono mama Ve) tétai sono mama tai sono. mama ab 7 rT 4 OT a » é a ve Sy a 2 * ‘Tum head to ieft/Upper body es Right foot in front. crossed- feet stance ed to front/Laft stamping kick/Upper ‘as Boker before Upper ody as before et in he ee | Hidari zenwan chiidan barai Hidati haiwan joden 22 | eee Migi ude we sono mama fagashi-uke 3 sn £Pi eg bo an oo | a 2 | Sn, gee me ih = os * on a ae 33 ea * ‘idle level Block with lett forearn " “Cpoar Ioval weeping block wah eed, Right arm a is Jab pathsara punch with leh fst ih 70. spi ashi mae hasa-dechi 19, Kiba-dach =e oi 22 132 133 A Hidari ken hideri koshi Hidari ken chadan choku-zuki ‘Keo hideri mukijHideri zen- ee. Migi sho hideri ken ue Migi sha sone mama 25) SE ee a Migi ashi mae kosa-dachi wan hineri 7 T rd a a Let fist at lett side/Right palmon Middle Pewi swcighe punch fath left Tur esd 10 lelt{Turn left fst over Right foot in front crossed-foer ee neue ae Hidari zenwan hideri sokumen gedan oshi-uke Migi sho hidati hiji-z0e S £ % A ‘ 2 sein pion Biot eo wit eos i to eciatins wh otees wy Hidari ken hidlari sokumen geden furisute Migi sho soata mam at os “a 8 ae » Lowa eval wing toe si nt lt at Rgh otlm supporting eit elbow. 28 a 25. 20. Migi ashi moe D1. Kiacibe a. ose doch 195 yaa. Hidari ken hidari koshi ni hiku Migi sho hidari ken ue-z0e choku-2uki Midari ken hidari koshi ni hiku ot a oe Fie Hidari ken chitdan il MMigi sho migi sokumen chidan tsukemi-uke i 1 1 \ a as a 4 s a . aa ae afd a Puilteh fit zo fete siveRighe palm on left fis: ——-‘Misiole level straight punch wit Middle level grasping block 10 night side with right palm \ ‘eit fis Right palm as is Withrow fet fst to fet se | Hicdati ken kagi-zuki Hidari ash} mae kosa-dachi Migi ken migi koshi fetal sono mama 3 3 7 TF g ' ty ‘ a 4 r 1 ee aa 44 Hook punch with let fest/ Right fst at tight side Left foot it front, crossed-feet stance) Upper body as before 55, Hisar shy mae &680-dechi Hidari chadan uchi uke/Migi ken sono mama Kao shomen muki 1a to Left mile level block, inside outward Right fist as isfTurn head! to front Migi ken jodan ura-2uki Hideri zenwan mune mee suihei kamae a aa ta aa Upper level close punch with right fist/Left forearin horizontet games 34. Kibo-dachi 6 138 Migi chadon uchi uke Hidari gedan uke as aa aé Right middle level block, inside cutwerd/Lett (ower tevel block Yeme athe i Withdraw right leg and quietly return to shrzen-tai % Shizen 10% TEKK| 3: IMPORTANT POINTS: i " ) » ! | Mastery of quick timing is necessary for the changing blocks. Master the steddle-leg and crossed-Teet stances Thiry-six movenents. About fity seconds. 1. Exvept for stance. the changing riddle-lower level blocks are the same as i Heian 3. Blocking in mavernont 3 is lke strik- ing to the lett. 2 Inthe downward swing (movement 11), the arm is brought back to the same position, but with the back of the hand upward, Do not Iet the torse wiggle. 140 141 GLOSSARY Foran rumeral refer to otter valumes in tit sees: Comprehensive: Flndomenal il Kurla 12 1. Kamit 2 gecko: ning Stock 20, 28, 48° | eA, 80. 18 sb “oot lea choke aa tran pun, 28.1201, (G88 102212 ‘hdc mil vet fhien bares mle vel block 124 iden ahi mide level srka, 8 fhogen vee. mia leva ioe, 28, 75, 98, (17; t 59. 0:1, 90, 106 ‘hudanszik twice Wse! punch, 82. 23,101 a 13 emusen: pertornance tine. 18, 106: i 207: too ing figs web elbow atiee to the ‘root 85.123, ‘emp! vehi: alow site, 873 77 ‘io stir st: bus sks to tHe roa 38 fumes: $8311. 88 furstome. semi Wik, 60, 8. 97. 708, 407. 188: It, 60, 68; Wl 33 furovies swing. 128.14 ‘podan lower level ‘edlan tars avward block 17,28 43,62, 90, 96, 122: |, 965M. 108 gedsn whe. downer biock, 80. 27. 31.98, 110. 125 luck nyse hat-Yont Hog ‘possi, 4,46, a6 1, 24 tito reverse punch. 49,48, 70, "7, 80:4, e821, 424, 1V. 108 Iachiagé-dacht pen tg stun. 1 442 129 anwar: upper se ot fre persotu-docht informal gttanuon Swen, 60. 78, 85, 00, 142: 1. 29 biden lett gar aot-aeont let Reg stnce, 96, cr ie elbow Ihyrshar elbow bloek, 60,61, 62 itor locos fsa 290-0. sing lwo sie. 72.74 *® 1, tanks shor taser: to bil with one Blew. ‘ik ost poh Nee, 19, 19, 22, 28, 304, 0031, 72,100 eta: ipger eveh ‘eeion ute par leva block. 46, 68 872M, 106) (0 upper body Deft uke, block 4. 74. €0, 30-1, 64 sage 2v8t_ ok punch, 89.108, 115 1365 1,71511, 80 ste-uke: hooking block. 68, 90. $8, 121.122; 181 JIahwaka ufo: reverse wedge Black, 88,78, 78:1, 04 ame: posture, 2, 92, 46, 108; HI 14,21, 28, 36, 40; 1.40 tate shoulder an. fst fenens arene tt, 18:1, 17 ear 14 ‘eb Gach: etrate-leg stance, 54.00. 8, G6, 106, 110. 128, 140! |. 92 i 62 ima bith, 11,815 1,80; M1 16.38 "118 0hd tana reversing nection. 28 30.46: 0720 10 Weketsusdacth: back senom 26. 28, 90, 22, 50, €8, 78:4. a 62h 90, 64 en doc: croseed-tect stance, $8, 74, 78,85, 80,94, 96, 16, 112,116, 128140211, 82 koahi ti, 8, 1.895 1L83 fosin 0 kai: hip rlavon, 81. 78: 38 ite: spun. 40.48: 1,111 ie 13 se: root mae Keage: fom yeas tok, 81. 48, ‘a, 09,76: 1, B6. Nl BB: 30,89. 98 Inonorkor" cching. 28; 1, 68 ire ran Imp ashintocls. waht tag ete. 68 imikorok-ga crsconn hick, #8, 90; WV. 82, bd inv nage temas: Yowing wate poaton, 78, 0; 108, 90; 1 122 mowie kone Suki soe suamemta origing punch to We rear 8 merote ke: bagsentad ordornblock. 42,82, 69.14, 16.11. 84 ‘ace, 1008 Out, 123 28 ‘eganbhuko: swasning block 83,86, 8, 108,117, 828s, 622 10,6) -aept goas Yxuming wave Weck, 98, 107; 1 208 ‘ue Sat hand ‘kau lunge punch, 16, 28, 88; 62 69, 921 6B:I1 Be, 2B 36. 138 ossesute: resting block 3f BA, 82 BD: | 62 ‘shsuker ress block 120 onojsaohe: L games, 88) 1.28 fen-zuk alienate mxindting. 78: ce ye both thin aukite: tourtioger speee hans ‘Shizen-tat naw oastion. 16. 282 12 ‘fe palm Shor ont stat: sword hand hua newest vole roundhouse Sword hard tie, BB: |, 74, 21, 190: 1, 72,98. 78,108,116, sits ven: seed hard Black, 28,28, 38:1, 6051, 14s, 128 sohumon ae ott wad Soot suigetay sola planus, chest Sedona 8 isi\que, 1 (ai snbntis 0: MI, 78-785 Ml 18, 72, 89,100, 114.128: 1¥. 85, 102 tandem contol piety, 12 aie manasa! fis tea veal etbowe ke, 78:1 282 1 1312, BS tte mawashi-achi: verve se, 16 36,87, 68, 78; 1,78; , 128 aes auht vervcsb punch, 97. 6951.70 tube oe edomete: grasping block, 185, 1112, 137 tsukinagee swinging pune, 58, 62 ene Rome ar, 93, 00 ‘er Aes lock, side outs, 40, “48, 60,61, 26,87. 97. 196. 124, | SriL-2 ae arn ‘ke-oue: chenging blocta. 60, 6 1a rato beckett roRon-vehi back fet etbe, 4B, 47. 00.95; 1.74, 75; 8251.26, 60, 308; 1%, 108, 172 azobs love puneh, 98, 108, 292, 128: 1,70; ve 46 ame, 00 1 yoko kooge: sie snap Rick. $8.8, 47, j 80:80. F1 188 yoko Mavens novzanta ees 35, 54,06, 76:1, 7s ML 120 | yoko se sie, 8 yoko uke sce Hk 32, 64 Yoreehe wing the Boot, 005, 7 mL TOA. 37 2anshin: atte ol razed alerts, 12 28 zenkutss dash: nt otaneo, 12, 28 5/88, 05, BF: 1,90, 11 16,52 $18.00 M32 GY

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