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The techniques presented in this book are dangerous. Before you begin
your Brazilian Jiu-jitsu training, you should consult a physician. You and your par tner should always communi-
cate with each other and stop when the other signals. All techniques should be practiced under the super vi-
sion of a qualified instructor. The author of this book shall not be held liable for the misuse of any information
contained within.

Requirements for Blue Belt vary from school to school, even within the same association. The pur-
pose of Brazilian Jiu-jitsu Basics is to provide readers with the most commonly required techniques for
blue belt.
This E Book does not contain ALL of the techniques from BJJ Basics, nor does it outline each tech-
nique in depth. This is the Cliffs Notes version, providing readers with an outline of commonly required tech-
Before we start, I would like to provide you with a complete list of commonly required techniques for
blue belt. Most teachers follow one of two approaches: 1. a smaller number of techniques form each position
at a very high level of proficiency. 2. a larger number of techniques as an overview, making sure the student
has a general understanding. I find myself somewhere in the middle, but prefer the first method and my
Basic Book reflects the highest percentage moves (moves you see working most of the time) within the art of
Brazilian Jiu-jitsu.
I have broken the following list down by position to make it easy to follow:

Commonly Required Blue Belt Techniques:

- Headlock Escape
- Side Control Escape
- Mount Escape (upa)
- Mount Escape (elbow escape/escaping movement)
- Ankle Lock Escape
- Escape from Knee on Belly
- Escape from Rear Choke

Hold Downs
Must show ability to control from:
- Mount
- Side
- Kesa Gatame
- Knee On Belly
- North South

Top Submissions
- Kimura
- Arm Lock (juji gatame)
- Choke from Mount
- Choke from Side
- Choke from Knee on belly
- Ankle Lock (sometimes from within guard)
- Americana (key lock)

Must be able to exhibit the ability to keep people from passing the guard easily.
- Guillotine
- Armbar
- Omoplata
- Triangle
- Collar Chokes (2)
- Kimura
- Must be able to combine at least 3 of the previous moves in a sequence

- Scissors
- Standing Sweeps (usually require 2)
- Belly (Kimura) Sweep
- Setting up sweep with Armbar
- Setting up sweep with Triangle

Guard Passing
- 2 - 3 Ways to Pass the Guard

Techniques from the Back

- At least one way to take the back & control
- Mata Leo Choke
- Collar Choke

Standing Techniques

A variety of self defense movements are taught here, these are the ones that I feel are important:

- O Goshi
- O Soto Gari
- Ippon (usually for Rear Choke Escape)

Double Leg Takedown

Ukemi (how to fall)

Basic Self Defense Movements:

- Bear Hug Defense
- Head Lock Defense
- Lapel Grab Defense
- Basic Punch Defense
- Basic Kick Defense
- How to close the distance (clinch) on punches
Other Requirements:
Different schools may have extra requirements. Some schools will force you to compete for each belt, some
don't compete at all. I have a set of basic disciplinary requirements, these are among them:
- I won't give a Blue Belt to a smoker
- Student must be helpful and respectful to classmates
- Student must show respect for himself and others outside the
- Children and teen age students must be passing at school (academically)
- Student must show respect for their uniform and belt as well as hygiene

Some schools require you to know BJJ history, instructor's history, help around the school, etc … It all varies
from school to school.


I have included the Chapter outlines from Brazilian Jiu-jitsu Basics as this is an overview of the Blue Belt
requirements. The actual book contains text descriptions for each picture in an easy to read format. I have
included two pages as a sample of what you will see when you order the actual book.
Once I grab my oppo-
nent ’s lef t wr ist, I will sit up,
reaching over his lef t tr icep as
shown to the left in figure 2.

I continue to reach over

my opponent ’s lef t ar m with my
3 lef t ar m until I reach my own
r ight wr ist (figure 3). Once I
reach my own wr ist, I will grab
i t a s s h o w n i n t h e c i rc u l a r
picture below. I will
keep my opponent ’s
left arm bent at a 90
degree angle.

4 To finish this lock on my

opponent ’s shoulder, I must per-
for m the following t ask s:
-Turn my opponent’s left hand
toward the ceiling.
-Keep my right leg over his back.
-Weave my left leg around his as
shown and kick out.
Guillotine Choke from the Guard

Sometimes, I will attempt
the Kimura lock and my oppo-
n e n t w i l l d e fe n d b y g r a b b i n g
his own belt or pants as shown
here to the lef t in figure 1.

If this happens, I will

move to a new submission by
releasing my gr ip on my oppo-
2 nent ’s lef t ar m and wrapping
m y l e f t a r m a ro u n d m y o p p o -
nent ’s neck until my lef t hand
is under his chin (figure 2).

Once my left hand is

under my opponent ’s chin, I
w i l l c l a s p m y h a n d s t o ge t h e r a s
shown in figure 3.

3 At t h i s p o i n t , I m u st
remember to squeeze his neck
tightly with my arms, not allow-
ing him to pull his head out and
escape. I keep my guard
closed around his waist and
s q u e e z e m y l e g s t o ge t h e r.

Standing Techniques Chapter Outline

Closing Distance Punch Defense Kick Defense

Grab Defenses Rear Choke Defense


Head Lock
Passing the Guard Chapter Outline
Techniques from the Top Position 100 Kilos
Controlling from the Top

Hold-downs consist of a T h i s i s s i m p l y a h o l d d o w n f ro m
ser ies of immobilization techniques the side position where you are
and body positions that will allow you chest to chest with your oppo-
to either restrain or submit your nent. The leg of your opponent
opponent from the top. Your legs that is closest to you should be
should be used as both counter controlled so that he cannot
weights and stabilizers to hold your replace his leg under neath your
opponent in a desired position. Most b o d y a n d r e g a i n h i s g u a rd p o s i -
hold-downs from the side are t i o n . Fo r t h i s p u r p o s e , y o u r h a n d
designed to keep your opponent's will usually grab your opponent's
shoulders pinned to the floor. pants by the hip or leg.
Sometimes when your hand
i s r e q u i r e d fo r a f i n i s h i n g t e c h -
Kesa Gatame n i q u e f ro m t h i s p o s i t i o n , t h e h a n d
i s r e m o v e d f ro m t h e l e g a n d t h e
There are two variations of (your) leg closest to his leg is
Kesa Gatame: one in which your arm moved in to block it. The leg on
is under the armpit of your oppo- the side of your opponent's head
nent's far arm and the other where is usually kept in an extended
your arm is around his neck instead. p o s i t i o n fo r t w o p u r p o s e s :
In the variation where your arm is not
under your opponent's armpit, you 1 ) To assist in creating pressure
must be sure to keep the shoulder by dr iving of f the ball of y our foot.
closest to you off the floor and main-
tain an upward pull on that arm. This 2 ) To p ro v i d e a c o u n t e r w e i g h t i n
leverage will stop your opponent from the event that your opponent
rolling on his side and escaping. a t t e m p t s t o ro l l y o u .

Modified Kesa Gatame

Pull up on your opponent’s close arm so

he cannot face you and get to his knees.

Post your leg out for a base

The difference between Kesa

Gatame and Modified Kesa
Gatame is the arm under your
opponent’s far armpit.
North South

Known in Japanese terms as

"kami shiho gatame" or "top four cor-
ner hold", this position should be help
by keeping a wide base with your legs.
If your legs are not posted out at a 45
degree angle, your opponent will have
a better chance of rolling you from Knee on Belly
side to side. Your opponent's hips
will be controlled by the use of your Like the mount position, your
hands and sometimes your head in his hands are free to attack your oppo-
lower abdominal region. Control of nent with strikes or submission holds.
the hips will restrict the lower extrem- Many exper ts of jiu-jitsu prefer to
ities full range of motion. use this position while fighting on
sur faces that may cause damage to
the knees. Here, a majority of your
Mount body weight is rested on your oppo-
nent's sternum, belly or lower chest
If y ou have achieved the with your knee. Your other knee is
mount position, you will be 'sitting' kept at a 45 degree angle to your
on your opponent's chest with both opponent's body for balance, count-
knees on the floor at either side of er-weight, and mobility.
his body. This position is an excel-
lent position from which to attack
because your arms are not always
required to maintain the hold. The
freedom of your arms will allow you
to either str ike your opponent or
apply submission holds.

You may grip your opponent’s pants so
that he cannot escape away or place his
leg under you to regain his guard.

You may choose to hold your oppo-

nent’s gi collar and apply pressure to

100 Kilos
his face with your shoulder.
You may spread your legs out
and drop your hips low to pre-
vent being rolled.

North South

Grab your opponent’s pants

so he cannot escape easily.

You may flatten your stomach to his and

grapevine the legs for less maneuverabil-
ity, but greater control.

Sit higher on your opponent’s chest

for more attacking options...
Your lef t
hand may be
Your right hand may be used to con-
moved to dif-
trol his leg or set up chokes with the ferent posi-
use of the kimono. tions in order
to establish
control of set
up submis-

Hold your oppo-

nent ’s collar and
pant leg. Pull up
and drive your knee

Knee on Belly into his chest/belly

for tight control.
Finishing from the Top

Once you have established control of your opponent from the top
position, a variety of submissions that may be applied will present them-
selves. The following submissions are basic joint locks and chokes which
every student must know before passing on to the level of blue belt in
Brazilian Jiu-jitsu.

Arm Bar


from Side

Arm Bar
from Knee
on Belly

Collar Choke
from Knee on


Techniques from the Back Position

Rear Mount

Also called "taking the back", the rear mount or back mount position is a
trademark position of the ar t of Brazilian Jiu-jitsu. This is the most dominant of
all jiu-jitsu positions and will provide it's user with the most protection against
counter attacks out of all the positions of jiu-jitsu. As a user of this position, you
are controlling your opponent with your feet, called "hooks" over the top of his
upper (front) thighs. This will limit his ability to turn freely and face you or roll
away. Attacking from the back will limit your opponent's leverage to strike or attack
your vital areas, while at the same time, providing you with the position in which to
mount a series of highly effective attacks.
Taking the
Back from
North South

the Back

Choke from
the Back
w i l l b e c o v e re d i n gre a t e r d e p t h
i n T h e M a s t e r Tex t .
The impor tant thing to
remember is to not allow your
o p p o n e n t t o p a s s y o u r g u a rd
and assume control at your
s i d e . To d o t h i s , y o u m a y u s e
y o u r fe e t t o c o n t ro l y o u r
opponent ’s ar ms, hips and
l e g s . Yo u r h a n d s m a y a l s o b e
incor porated to assist in set-
There are two basic ting up submissions and turn-
types of guard in Brazilian i n g y o u r o p p o n e n t o v e r.
Jiu-jitsu: open and closed. Yo u r fe e t s h o u l d b e u s e d
Any time your ankles are
crossed behind your oppo-
nent ’s back , y our guard is
closed, when they are
u n c ro s s e d , i t i s o p e n . M y s u g -
ge s t i o n t o a l l s t u d e n t s o f
Brazilian Jiu-jitsu is to prac-
t i c e w i t h y o u r g u a rd o p e n a s
much as possible.
O n c e y o u r g u a rd i s o p e n ,
t h e re a re m a n y d i f fe re n t wa y s
t o p l a c e y o u r fe e t a n d c o n t ro l like hands, adding two to your
y o u r o p p o n e n t . E a c h d i f fe r - c o n t r o l l i n g l i m b s . Yo u r f e e t
ent place ment has a name that can be used to block punches,
most schools use to descr ibe or stop your opponent from
t h a t t y p e o f o p e n g u a rd , b u t moving to your side (passing
t h i s i s a n a d va n c e d m a t t e r t h a t y o u r g u a rd ) . Fo r t h i s , y o u m a y
p l a c e y o u r fo o t i n y o u r o p p o - moving back or to the side.
nent ’s bicep. If your opponent Let ’s say your opponent
is moving to your left, you wished to move to his left; in
s h o u l d p l a c e y o u r fo o t i n h i s that case, you would simply
l e f t b i c e p . Yo u m a y a l s o p lace p l a c e y o u r l e f t fo o t b e h i n d h i s
y o u r fo o t u n d e r y o u r o p p o - r i g h t l e g , p re v e n t i n g h i m f ro m
nent ’s lef t ar mpit and ‘hook’ m o v i n g t h a t wa y .
y our foot behind his lef t ar m. Your feet may be placed
As y ou do this, y ou must con- in y our opponent ’s hips as well.
trol his collar so he does not This action will help control the
att ack y our a n k l e a s I w i l l i l l u s - dist ance between y ou and y our
trate in the section on leg opponent. Remember that y our
l o ck s . T h i s t y p e o f g u a rd u s e l e g s a r e l o n ge r a n d f a r m o r e
is commonly called “spider power ful than y our opponent ’s
arms. This will allow you to
keep an opponent who wishes
t o str ike y ou at a safe dist ance.
Control of the hips is also ver y
im por t ant against a much heav-
ier opponent who is tr ying t o
im pose his weight upon y ou.
Through the combination
of these foot placements, y ou
will begin t o control and of f-
g u a rd ” a n d i s a h i g h l y e f fe c t i v e balance y our opponent. This
p o s i t i o n f ro m w h i ch t o s e t u p o f f - b a l a n c i n g w i l l p re s e n t y o u
many common submissions with new oppor tunities to
i n v o l v i n g y o u r l e g s . Yo u r fe e t sweep and/or submit your
may also be used to control opponent with great ease from
y o u r o p p o n e n t ’s l e g s b y ‘ h o o k - the bottom position.
ing’ under or behind them. This
w i l l p re v e n t y o u r o p p o n e n t f ro m

The feet may be
used like hands
to control your
opponent’s arms.

Use your hands to control your opponent’s

arms, legs or neck (collar) to stop him from
coming to your side (passing you legs) and
set up submissions or sweeps (turnovers).
Submissions from the guard

The first three submissions: 1. ar m bar 2. tr iangle choke 3. omoplata

(shoulder lock with the legs) in this section are the pillars of submission from
the guard position. The reason for this is as follows: first, all three of these
movements connect to each other equally . In other words, you will be able to
access either one of these submissions if the first doesn't work or in the event
that your opponent is making an escape attempt. The second reason for the
impor tance placed on these movements is that they are all achieved through
leverage created by your ar ms and legs together. This makes them very easy to
apply with little use of strength. The final reason for the impor tance of these
movements from the guard position is that they can all be per for med without the
use of the kimono, making them applicable in any situation. In the next few
pages, I will illustrate the dif ferences between these three moves when the
kimono is not involved. The techniques without the kimono are straight from
the Master Text and will give you a tiny sample of what is to come.






to Set up

to Set up

Sweep 1

Sweep 2

Kimura Sweep




Leg Locks

For reasons of safety and other philosophical complexities, leg lock

techniques in Brazilian Jiu-jitsu are usually a secondar y method of att ack . It
is, however impor t ant to lear n and underst and them. You will probably find
that responsible instr uctors will not allow you to per for m these techniques as
a beginner dur ing regular free spar r ing practice. There are two fundament al
reasons for this: the first is because accidents do happen in ever y spor t. If
you are allowed to per for m leg lock s at full speed and resist ance, it is
inevit able that you or your par tner will eventually make a mist ake and injure
that area. If an injur y to the leg occurs, unlike an injur y to the ar m, the recipi-
ent will be extremely disabled and may not be able to attend wor k or other
impor t ant life callings and typical duties. The second reason is that the
nature of the ner vous system in the are of the foot is such that the recipient
of the lock will of ten times not feel pain before damage to the ligaments
occurs. A student will eventually gain the exper ience and level of matur ity
that will tr igger a willingness to submit to this type of lock , but in the beginning
of your Jiu-jitsu practice, you will not yet have this foresight.
Ankle Lock


Knee Bar