Koshi Waza – Hip Techniques

O Goshi	Major Hip	大腰
Koshi Guruma	Hip Wheel	腰車
Uki Goshi	Floating Hip	浮腰
Harai Goshi	Sweeping Hip	払腰
Hane Goshi	Spring Hip	跳腰
Tsurikomi Goshi	Lift and Pull Hip	釣込腰
Sode Tsurikomi Goshi	Sleeve Lift and Pull Hip	袖釣込腰
Ushiro Goshi	Rear Hip	後腰
Ura Goshi	Back Hip	裏腰
Kubi Nage	Neck Throw	首投
Tsuri Goshi	Lifting Hip	釣腰
Utsuri Goshi	Changing Hip	移腰

Ashi Waza – Leg Techniques

O Soto Gari	Major Outer Reap	大外刈
O Uchi Gari	Major Inner Reap	大内刈
Hiza Guruma	Knee Wheel	膝車
Sasae Tsurikomi Ashi	Prop-Drawing Ankle	支釣込足
Ko Soto Gari	Minor Outer Reap	小外刈
Ko Uchi Gari	Minor Inner Reap	小内刈
Ko Soto Gake	Minor Outer Hook	小外掛
De Ashi Barai	Advanced Foot Sweep	出足払
Okuri Ashi Barai	Sliding Foot Sweep	送足払
Harai Tsurikomi Ashi	Lift and Pull Foot Sweep	払釣込足
Uchi Mata	Inner Thigh	内股
O Soto Otoshi	Major Outer Drop	大外落
O Soto Guruma	Major Outer Wheel	大外車

Kata Waza – Shoulder Techniques

Ippon Seoi Nage	One-arm Shoulder Throw	一本背負投
Seoi Otoshi	Shoulder Drop	背負落
Morote Seoi Nage	Two-hand Shoulder Throw	双手背負投
Kata Guruma	Shoulder Wheel	肩車
Ganseki Otoshi	Rock Drop	岩石落

Te Waza – Hand Techniques

Tai Otoshi	Body Drop	体落
Morote Gari	Two-hand Reap	双手刈
Yama Arashi	Mountain Storm	山嵐
Sukui Nage	Scooping Throw	掬投
Uki Otoshi	Floating Drop	浮落
Sumi Otoshi	Corner Drop	隅落
Ude Gaeshi	Arm Counter	腕返
Ashi Guruma	Leg Wheel	足車
O Guruma	Major Wheel	大車
Tai Guruma	Body Wheel	体車
Shiho Nage	Four-corner Throw	四方投
Ushiro Otoshi	Rear Drop	後落
Kibisu Gaeshi	Heel Clip	踵返
Te Guruma	Hand Wheel	手車
Kuchiki Taoshi	One-hand Drop	朽木倒
Sukui Otoshi	Scooping Drop	掬落

Sutemi Waza – Sacrifice Techniques

Tomoe Nage	Stomach Throw	巴投
Tani Otoshi	Valley Drop	谷落
Yoko Otoshi	Side Drop	横落
Kani Basami	Crab Scissors	蟹挟
Ura Nage	Back Throw	裏投
Yoko Gake	Side Hook	横掛
Yoko Guruma	Side Wheel	横車
Uki Waza	Floating Technique	浮技
Sumi Gaeshi	Corner Counter	隅返
Yoko Wakare	Side Separation	横分
Tawara Gaeshi	Bale Counter	俵返
Hikikomi Gaeshi	Pull and Roll Counter	引込返
Soto Makikomi	Outer Winding	外巻込
Uchi Makikomi	Inner Winding	内巻込
O Soto Makikomi	Major Outer Winding	大外巻込
O Uchi Makikomi	Major Inner Winding	大内巻込
Ko Uchi Makikomi	Minor Inner Winding	小内巻込

1. Wristlock Takedown – Kote Gaeshi
   1. Rear
   2. Side
   3. Front
2. Fingerlock Takedown
3. Upper Bent Armlock Takedown – Ude Garami
4. Straight Arm Foward Drop Takedown – Ude Gatame
5. Pull and Push Takedown
6. Armpit Armlock Takedown – Waki Gatame
7. Rear Takedown
8. Revers Bent Armlock Takedown – Gyaku Ude Garami
9. Forward Hammerlock Takedown – Ushiro Ude Garami
10. Forward Dive Takedown

Tsuki Waza – Punching Techniques

Oi Zuki	Lunge Punch	追い突き
Gyaku Zuki	Reverse Punch	逆突き
Morote Zuki	Two-hand Punch	双手突き
Riken Zuki	Backfist Punch	裏拳突き
Ushiro Zuki	Rear Punch	後突き
Mawashi Zuki	Roundhouse Punch	回し突き
Ura Zuki	Back Punch “Uppercut”	裏突き
Shuto Uchi	Knifehand Strike	手刀打ち
Empi Uchi	Elbow Strike	猿臂打ち
Tettsui Uchi	Hammerfist Strike	鉄槌打ち
Shotei Uchi	Heel Palm Strike	掌打打ち

Keri Waza – Kicking Techniques

Mae Geri	Front Kick	前蹴り
Mawashi Geri	Roundhouse Kick	回し蹴り
Yoko Geri	Side Kick	横蹴り
Hittsui Geri	Knee Kick	膝槌蹴り
Mikazuki Geri	Crescent Kick	三日月蹴蹴り
Gyaku Mikazuki Geri	Reverse Crescent Kick	逆三日月蹴蹴り
Ushiro Geri	Rear Kick	後蹴り
Mae Tobi Geri	Flying Front Kick	前飛び蹴り
Yoko Tobi Geri	Flying Side Kick	横飛び蹴り
Kakato Geri	Axe Kick	踵蹴り
Gyaku Mawashi Geri	Reverse Roundhouse Kick	逆回し蹴り

Uke Waza – Blocking Techniques

Harai Uke	Sweeping Block	払受け
Haishu Uke	Backhand Block	後手受け
Sukui Uke	Scooping Block	掬受け
Tsuri Uke	Lifting Block	釣受け
Ude Uke	Forearm Block	腕受け
Shuto Uke	Knifehand Block	手刀受け
Gedan Barai	Downward Swing	下段払
Juji Uke	Cross Block	十字受け
Hiza Uke	Knee Block	膝受け
Jodan Uke	Upper Block	上段受け
Chudan Uke	Middle Block	中段受け

Ude Kansetsu Waza – Armlocking Techniques

6 Sets of Armlocks

*Sets 1-5 from Kuzure Kesa Gatame

Set 1

1. Straight Armlock over Thigh (Ude Garami)
2. Bent Armlock under the Knee (Hiza Garami)
3. Upper Bent Armlock (Ude Garami)
4. Straight Armlock with knee on Ribs (Ude Gatame)

Set 2

1. Straight Armlock with Leg across Neck (Ude Gatame)
2. Upper Bent Armlock from Kesa Gatame (Ude Garami)
3. Lower Bent Armlock (Gyaku Ude Garami)
4. Armpit Armlock when pushed away (Waki Gatame)

Set 3

1. Straight Armlock with foot on Thigh (Ude Gatame)
2. Lower Bent Armlock on same side (Gyaku Ude Garami)
3. One-handed Lower Bent Armlock on opposite side (Gyaku Ude Garami)
4. Straight Fig 4 Armlock (Ude Gatame)

Set 4

1. Straight Armlock using Chest (Mune Gatame)
2. Bent Armlock under outside leg (Ashi Garami)
3. One-handed Upper Bent Armlock (Ude Garami)
4. Straight Armlock using Knee (Hiza Gatame)

Set 5

1. Half Cross Armlock (Juji Gatame)
2. Rear Bent Armlock after turning away (Ushiro Ude Garami)
3. Rear Bent Armlock after pulling towards (Ushiro Ude Garami)
4. Full Cross Armlock (Juji Gatame)

Set 6 (from Tate Shiho Gatame)

1. Straight Fig 4 Armlock  (Ude Gatame)
2. Cramping Armlock (Ude Garami)
3. Knee on Tricep Bent Armlock (Hiza Garami)
4. Straight Armlock over Thigh (Ashi Gatame)

Additional Armlocks

1. Twisting Armlock from Juji Gatame
2. Belly Armlock (Hara Gatame)
3. Straight Fig 4 Armlock from front
4. Straight Fig 4 Armlock from side
5. Two-handed Armlock from front
6. Two-handed Armlock from rear
7. Straight Armlock over Shoulder
8. Straight Armlock with hand behind neck (Te Gatame)
9. Twisting Straight Armlock on the ground
10. Two-handed Armlock from behind Uke
11. Knee on Shoulderblade Armlock
12. Straight Armlock between Legs
13. Straight Twisting Armlock standing beside Uke

Ashi Kansetsu Waza – Leglocking Techniques

Uke on Back

1. Straight Ankle Lock (Achilles Lock)
   1. Standing
   2. Kneeling
   3. Sitting Back
2. Kneecap Dislocation
3. Ankle Lock grabbing the foot (Toe Hold)
4. Cross-legged Ankle Lock with foot under Chin
5. Bent Knee Lock
6. Straight Knee Lock
7. Double Ankle Lock

Uke on Front

1. Double Ankle Lock
2. Straight Ankle Lock
3. Cramping Knee Lock
4. Fig 4 Leg Lock
5. Outside Leg Entanglement
6. Inside Leg Entanglement

Kubi Kansetsu Waza – Necklocking Techniques

Standing

1. Front the front across the jaw
2. Front he front under both arms
3. From the side across the eye socket
4. From behind under the arms (full nelson)
5. From the side around the neck

Ground

1. From Kesa Gatame with arm under armpit
2. From behind using the chest
3. From between the legs lifting up
4. From behind pulling the head back
5. From between the legs using the legs (scissor action)

Nami Juji Jime	Natural Cross Strangle	並十字絞
Gyaku Juji Jime	Reverse Cross Strangle	逆十字絞
Kata Juji Jime	Shoulder Cross Strangle	肩十字絞
Tsurikomi Jime	Lift and Pull Strangle	釣込絞
Tsukikomi Jime	Poking Strangle	突込絞
Kata Eri Jime	Shoulder Lapel Strangle	肩襟絞
Kubi Eri Jime	Neck Lapel Strangle	首襟絞
Hadaka Jime	Naked Strangle	裸絞
Ushiro Jime	Rear Strangle	後絞
Okuri Eri Jime	Sliding Lapel Strangle	送襟絞
Sode Guruma Jime	Sleeve Wheel Strangle	袖車絞
Kataha Jime	Single Wing Strangle	片羽絞
Jigoku Jime	Hell Strangle	地獄絞
Tsuri Eri Jime	Lifting Lapel Strangle	突襟絞
Tsuri Juji Jime	Lifting Cross Strangle	突十字絞
Sankaku Jime	Triangle Strangle	三角絞

Sankaku-Jime (Triangle Strangle)

1. From the Front, Uke between legs
2. From the rear, Sitting behind Uke
3. From the front, Uke on their Back
4. From the rear, Uke on their front
5. From the front, Uke in turtle position
6. From the rear, Uke in turtle position
7. From the side, Uke in turtle position
8. From the side, being held in Yoko Shiho Gatame
9. From the front, after failed Juji Gatame
10. From the front, standing position

Ground

Kesa Gatame	Scarf Hold	袈裟固
Ude Gatame	Arm Hold	腕固
Kuzure Kesa Gatame	Modified Scarf Hold	崩袈裟固
Makura Kesa Gatame	Pillow Scarf Hold	袈裟固
Ura Kesa Gatame	Back Scarf Hold	裏袈裟固
Mune Gatame	Chest Hold	胸固
Yoko Shiho Gatame	Side Four-corner Hold	横四方固
Kuzure Yoko Shiho Gatame	Modified Side Four-corner Hold	崩横四方固
Kami Shiho Gatame	Upper Four-corner Hold	上四方固
Kuzure Kami Shiho Gatame	Modified Upper Four-corner Hold	崩上四方固
Ushiro Kesa Gatame	Rear Scarf Hold	後袈裟固
Tate Shiho Gatame	Vertical Four-corner Hold	縦四方固
Kuzure Tate Shiho Gatame	Modified Vertical Four-corner Hold	崩縦四方固
Kata Gatame	Shoulder Hold	肩固
Uki Gatame	Floating Hold	浮固

Standing

1. Straight Armlock over both Shoulders
2. Wristlock holding Bicep
3. Gooseneck Wristlock
4. Rear Wristlock
5. Hammerlock
   1. Using Outside Hand
   2. Using Inside Hand
6. Upper Bent Armlock
7. Straight Armlock with hand behind Neck
8. Arm around front of neck *see standing headlock #5
9. Straight Armlock between legs
10. Straight Armlock over Shoulder
11. Upper Bent Armlock, hand on chest
12. Naked Strangle Restraint

If you have ever been on the end of a good strangling technique, you will vividly remember the pressure and pain as the opponent’s arms (or your own uniform) tighten around your neck. If executed properly it is a safe technique although it is also difficult to resist. If you don’t submit you can quickly lapse into unconsciousness. So if you are the person who applied the technique, know the signs of unconsciousness. Also know what to do to help your opponent if they should lapse into that state.

If the person against whom you applied a strangle becomes unconscious, immediately release the victim and place them flat so that blood may flow naturally back to the brain. Placing the victim on their side, with the head resting on the arm, will prevent vomit aspiration and facilitate breathing if necessary. Monitor the victim closely to make sure the airway is open and the they are breathing. They will generally regain consciousness spontaneously and be unharmed. If they not regain consciousness in 20 to 30 seconds and remains unresponsive to your efforts to revive them, medical assistance should be sought immediately.

Try to awaken the patient with vocal or physical stimuli such as tapping or shouting. Check for breathing by putting your face close to the patient’s mouth and looking at the chest, listening for air exchange, and feeling for a breath. Keep the airway open and initiate rescue breathing if there is no breathing. If a pulse is absent, commence chest compressions.

There are many old methods of traditional resuscitation that can also assist the victim in recovery. If the outcome is less than desirable these interventions may not be defensible in the courts. They have generally been replaced by CPR which is based on more modern medical knowledge. Among sports’ coaches and medical professionals in Australia, CPR is commonly recognised as the appropriate response to a medical emergency of this nature.

Nevertheless, the traditional forms of resuscitation are considered advanced techniques of Jujitsu and instructors may wish to study them to complete their training for historical purposes or for use in special circumstances.

Traditional resuscitation techniques include:

• The direct massage of the carotid triangle on the neck to open up a collapsed artery or to manually stimulate the carotid sinus.

• Methods of assisting the victim in waking up and focusing attention such as slapping the victim, striking the sole of the foot, or yelling.

• Methods of inducing or simulating breathing through massage of the chest or diaphragm, expanding and contracting the lungs.

Sasoi Katsu with the patient sitting before you: From behind, bend your right knee and place the kneecap against the patient’s spine. Spread your fingers and place your hands on their lower chest, hooking your fingers under the lower ribs. Pull back as if opening the ribs to either side, put your weight on the shoulders to bend the body back, and press with your right knee. This will draw air into the lungs. When the ribs have opened as far as they will go, release them. Air will be exhaled from the lungs. Repeat the process slowly and regularly.

For traditional Eri Katsu kneel to the right of the victim and support their upper body with your left arm around the shoulder. Put the palm of your right hand on the abdomen, just above the navel, and press up against the solar plexus or pit of the stomach. This will cause the diaphragm to rise, expelling air from the lungs. Reinforce the action by bending the upper body forward with your left arm. Gently release your pressure to allow air to enter the lungs. Repeat this procedure until respiration is restored.

For So Katsu, place the victim on their back and kneel astride the hips. Place your hands, fingers spread apart and pointing toward their head, on the bottom of the rib cage. Lean forward and press against the ribs to make them exhale, then relax the pressure. Repeat this procedure, rocking forward and back, until the victim can breathe without assistance. Similarly this can be done with the victim on their stomach.

Note that these resuscitation methods are used for those who have lost consciousness through a strangle and no other reasons. They are not to be used when the person is unconscious due to a trauma, throw or fall where a spinal injury is possible or suspected.

As with other martial arts and most aggressive competitive sports, Jujitsu practice includes the risk of serious injury. Of all the types of techniques practiced in Jujitsu however, strangling techniques have proven to be among the safest resulting in relatively few injuries.

Jujitsu or other martial arts instructors who teach strangling techniques should obtain CPR training and certification for use in case of a breathing or other emergency. Even without strangles, Jujitsu and other martial arts are strenuous physical activities that carry some risks for which the instructor should be prepared

Ukemi no Kata (Forms of Breakfalls)

COMMENCEMENT

Both Tori and Uke walk onto the mat from opposite sides, and stand facing each other, about 5 metres apart. Together, they turn towards the joseki and perform a standing bow.

In that position, they then kneel down to a sitting position at the same time, in these movements:

kneel on the left knee; kneel on both knees; all toes flat on the mat; sit facing each other; perform a sitting bow.

Tori and Uke then stand, rising from the seated position in the opposite sequence. Tori and Uke then take one pace forward, commencing on the left foot, and adopt a position of readiness.

FIRST SET

Tori and Uke take one step towards each other, so as to pass each other on their right hand sides. Both perform a right side breakfall, and then stand up. They then take two more steps forward and perform a left side breakfall. They both stand, turn and face each other.

Tori and Uke both perform a right forward roll, passing each other on their left hand sides. When rolling out of the roll and turning towards the direction from where they started the roll, they follow on into a rolling back breakfall, rising to their feet and adopt a fighting stance with kiai.

Tori and Uke face each other, and adjust their gi.

SECOND SET

Tori and Uke both perform a left forward roll, passing each other on their right hand sides. When rolling out of the roll, they continue in the same direction of travel, and perform a forward dive breakfall.

Tori and Uke take a step toward each other and turn into two rolling back breakfalls, passing each other on their left hand sides. After completing the second fall, they rise to their feet and adopt a fighting stance with kiai.

Tori and Uke face each other, and adjust their gi.

THIRD SET

Tori and Uke both perform a left forward roll, passing each other on their right hand sides. When rolling out of the roll, they continue in the same direction of travel, and perform a hand-stand back breakfall.

Tori and Uke both perform a right forward roll, passing each other on their left hand sides. When rolling out of the roll and turning towards the direction from where they started the roll, they follow on into a rolling back breakfall, rising to their feet and continue into a forward dive breakfall with kiai.

Tori and Uke face each other, and adjust their gi.

ENDING

Tori and Uke stand facing each other, and take one step backwards, commencing on the right foot, and prepare to perform a sitting bow.

In that position, they then kneel down to a sitting position at the same time, in these movements:

kneel on the left knee; kneel on both knees; all toes flat on the mat;
sit facing each other; perform a sitting bow.

Tori and Uke then stand, rising from the seated position in the opposite sequence. Together, they turn towards the joseki and perform a standing bow. They then turn to face each other, and step backwards off the mat area, to end the kata.

Kyushin Jitsu Kata

COMMENCEMENT

Tori and Uke walk onto the mat from opposite sides, and stand facing each other, about 6 metres apart. Together, they turn towards the joseki and perform a standing bow.

In that position, they then kneel down to a sitting position at the same time, in these movements: kneel on the left knee; kneel on both knees; all toes flat on the mat; sit facing each other; perform a sitting bow.

Tori and Uke then stand, rising from the seated position in the opposite sequence. Tori and Uke then take one pace forward, commencing on the left foot, and adopt a position of readiness.

FIRST SET

In preparation for the commencement of the first set of techniques, Uke turns his back on Tori, kneels down, withdraws the club from the belt and places it on the side of the mat. Uke then stands and turns to face Tori.

Tori and Uke approach each other until they are almost two metres apart, in the centre of the mat. Uke raises the right arm, with a clenched fist and steps forward with the left foot in an attempt to strike Tori in a downward swinging blow to the left temple. Tori steps forward and moves inside the blow into position for Ippon Seoinage, and throws Uke to the mat.

Uke steps with the right foot towards Tori and attempts to strike Tori with the back of an open right hand towards the face. Tori quickly blocks the arm with his open left hand and steps into position for O Soto Gari, with his right hand under Uke’s chin, and throws Uke to the mat.

Uke approaches Tori and attempts to strike Tori with a right Mawashi Zuki to the face. Tori steps inside the blow and throws Uke to the mat with O Goshi. Upon landing, Tori applies Ude Gatame to Uke’s right arm, while applying pressure to Uke’s ribs with the right knee. Uke indicates submission.

Tori and Uke face each other, and adjust their gi.

SECOND SET

Tori and Uke approach each other until they are almost two metres apart, in the centre of the mat. Uke attempts a Mae Geri to Tori’s abdomen. Tori moves forward to his right, and catches the approaching kick with a left Tsuri Uke. Tori then steps forward with the right foot and performs Kibisu Gaeshi on Uke. Tori withdraws two paces.

Uke approaches Tori and attempts a front bear hug, over both of Tori’s arms. Tori performs a Shuto Zuki to Uke’s ribs to break the grasp, and steps in between Uke’s feet with the right foot. Tori then throws Uke to the mat with Morote Gari. Tori withdraws two paces.

Uke steps towards Tori and attempts to apply a straight arm strangle from directly in front of Tori. Tori disengages the strangle with both arms in an upward direction, and takes hold of each lapel of Uke’s jacket. Tori then throws Uke with Tomoe Nage. Tori rolls over to land straddling Uke’s chest, and applies Nami Juji Jime. Uke indicates submission.

Tori and Uke face each other, and adjust their gi.

THIRD SET

In preparation for this set of techniques, Uke turns his back on Tori, kneels down and takes hold of a club on the side of the mat. Uke then stands and turns to face Tori.

Tori and Uke approach each other until they are almost two metres apart, in the centre of the mat. Uke holds the club in the right hand and steps forward with his right foot in an attempt to thrust the club into Tori’s stomach. Tori steps forward to his left, outside the blow, and blocks Uke’s movement with a downward left Shuto Uke. Tori then takes hold of Uke’s right hand with both hands and applies a forward wrist lock takedown, throwing Uke to his right front. Tori extracts the club from Uke’s hand, and places it on Uke’s side of the mat.

Uke regains possession of the club, and approaches Tori in the centre of the mat. Uke attempts to strike Tori with a swinging blow to the front of the body. Tori steps to his left to avoid the blow and controls the blow with a double Harai Uke. Tori then delivers a right Mawashi Geri (with kiai) to Uke’s mid section, causing Uke to fall backwards.

Uke approaches Tori in the centre of the mat. Uke raises the club over his head and attempts to strike Tori with a downward blow to the top of the head. Tori steps inside the blow and blocks Uke’s arm with a left Shuto Uke, and throws Uke to the mat with Tai Otoshi. Tori then delivers a backward heel kick to Uke’s solar plexus with his right heel (with kiai), extracts the club from Uke’s hand and retains possession of the club.

Tori and Uke face each other Tori displays the club towards Uke and places it in his belt, then both adjust their gi.

ENDING

Tori and Uke stand facing each other, and take one step backwards, commencing on the right foot, and prepare to perform a sitting bow.

In that position, they then kneel down to a sitting position at the same time, in these movements:

kneel on the left knee; kneel on both knees; all toes flat on the mat; sit facing each other; perform a sitting bow.

Tori and Uke then stand, rising from the seated position in the opposite sequence. Together, they turn towards the joseki and perform a standing bow. They then turn to face each other, and step backwards off the mat area, to end the kata.

Nage no Kata (Forms of Throwing)

1st Set (Te Waza)

 

1. Uki Otoshi Floating Drop Throw

2. Ippon Seoinage One Arm Shoulder Throw

3. Kata Guruma Shoulder Wheel

 

2nd Set (Koshi Waza)

1. Uki Goshi Floating Hip Throw

2. Harai Goshi Sweeping Hip Throw

3. Tsurikomi Goshi Lift and Pull Hip Throw

 

3rd Set (Ashi Waza)

1. Okuri Ashi Barai Sliding Foot Sweep

2. Sasae Tsurikomi Ashi Prop Drawing Ankle Throw

3. Uchi Mata Inner Thigh Throw

 

4th Set (Masutemi Waza)

1. Tomoe Nage Stomach Throw

2. Ura Nage Back Throw

3. Sumi Gaeshi Corner Counter

 

5th Set (Yoko Sutemi Waza)

1. Yoko Gake Side Hook Throw

2. Yoko Guruma Side Wheel

3. Uki Waza Floating Technique

Gonosen no Kata (Forms of Counter-attacks)

1. O-Soto-Gari countered with O-Soto-Gari
2. Hiza-Guruma countered with Hiza-Guruma
3. O-Uchi-Gari countered with Okuri-Ashi-Barai
4. De-Ashi-Barai countered with De-Ashi-Barai
5. Ko-Soto-Gake countered with Tai-Otoshi
6. Ko-Uchi-Gari countered with Sasae-Tsurikomi-Ashi
7. Kubi-Nage countered with Ushiro-Goshi
8. Koshi-Guruma countered with Uki-Goshi
9. Hane-Goshi countered with Sasae-Tsurikomi-Ashi
10. Harai-Goshi countered with Utsuri-Goshi
11. Uchi-Mata countered with Ushiro-Otoshi
12. Ippon-Seoi-Nage countered with Sumi-Gaeshi

Kime no Kata (Forms of Decisiveness)

Idori

1. Ryote-Dori
2. Tsukkake
3. Suri-Age
4. Yoko-Uchi
5. Ushiro-Dori
6. Tsukkomi
7. Kiri-Komi
8. Yoko-tsuki

Tachi

1. Ryote-Dori
2. Sode-Dori
3. Tsukkake
4. Tsuki-Age
5. Suri-Age
6. Yoko-Uchi
7. Ke-Age
8. Ushiro-Dori
9. Tsuki-Komi
10. Kiri-Komi
11. Nuki-Kake
12. Kiri-Oroshi

Itsutsu no Kata (Forms of Five)

Ichi – direct concentrated energy – direct push
Ni – deflection – avoid and use Uki otoshi
San – circular energy or whirlpool – using form of Yoko wakare
Shi – action and reaction – as the sea sweeps clean the shore
Go – the void – using form of Yoko wakare