Black Belt Guide to All Techniques in Budoshin Jujitsu Forms from White Belt Through Tenth-Degree Black Belt

BLACK BELT GUIDE TO ALL TECHNIQUES IN BUDOSHIN JUJITSU FORMS FROM WHITE BELT THROUGH TENTH-DEGREE BLACK BELT

ALPHABETIZED PROMPTS

SENSEI DAVE CLARK, SANDAN

No matter how educated, talented, rich or cool you are, how you treat people ultimately tells all. Integrity is important.

– Author Unknown

OTHER BOOKS By DAVE CLARK :

PIANO COMPANION

A COMPREHENSIVE APPROACH TO LEARNING HOW TO PLAy THE PIANO By NOTE, CHORD SyMBOL, AND EAR

1985

DAVE CLARK JIU-JITSU CONSORTIUM

INTEGRITy, HUMILITy, RESPECT

2007

BALANCE

THE ART OF TEACHING THE GENTLE ART DIRECTED POSITIVE ACTION FOR EVERyDAy LIVING

2010

PIANO STUDENT’S TOOL KIT

EASy WAyS TO LEARN ALL THE GOOD STUFF

2016

COMPLETE GUIDE TO ALL BUDOSHIN JUJITSU TECHNIQUES FROM WHITE BELT THROUGH TENTH-DEGREE BLACK BELT

QUICK CROSS-REFERENCE STUDy GUIDES, PROMPTS, TEST STUDy GUIDES

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Table of Contents Page

Introduction 1

Budoshin Jujitsu Belt Levels 3

A Creative Teaching Approach – The Power of Compound Instruction 4

Technique versus Form – The Waza in Kata 7

Budoshin Jujitsu’s Use of Japanese Terminology – Loquacious Linguistics 9

Suggested Reading and Viewing – Seek and Ye Shall Search 11

How to Use This Black Belt Guide – Dissecting the Moving Parts 12

Explanation of Acronyms – Answers Afore Anyone Asks 14

Table of Terms – Perceiving Parameters 15

Table of Prompts – Sixty Study Sessions 16

Alphabetized Prompts 19

A 21

B 25

E 26

G 27

H 29

I 40

J 41

K 42

M 53

N 63

O 66

S 67

T 81

U 95

Y 112

Appendix 117

Table of Quantities – Totaling Techniques 118

Multiple Technique Flow – Always Have Another Technique Ready 120

Sixty Step Multiple Technique Flow 122

Link to Video of Sixty Step Multiple Technique Flow 125

Energizing Meals 126

Effective Workouts 127

Dave Clark Jiu-Jitsu Consortium Guidelines 129

Conclusion 131

Introduction

Ready to fast track your self-defense instruction? Herein find cognitive shortcuts that

1.) follow consistent standards 2.) provide easy-to-use flow charts 3.) develop efficiency and effectiveness on the mat and during mental imagery practice 4.) offer trouble-shooting guides that avoid visual clutter 5.) strengthen the connection between your self-defense system and the real world 6.) map your progress 7.) minimize error 8.) improve technique recognition and recall 9.) allow flexibility for various learning styles 10. create a venue for wrapping your mind around all 200 five-part techniques necessary to move from white belt through tenth-degree black belt – eighteen total belt levels.

Personalize this knowledge by occasionally penciling in your own words to improve understanding.

This guide, like my most recent book, is inspired by the many books and videos of Sensei George Kirby, Judan, who generously devoted countless hours through more than half a century of intense jujitsu study and focused instruction, during which Sensei documented more than one thousand techniques and variations. As Sensei’s Budoshin Jujitsu instructional system evolved with each new book or video, belt level requirements gradually became more comprehensive. Collating techniques for each belt level from Sensei’s writings, pictures and digital video discs results in this effort to include all techniques necessary for advancement through the eighteen belt levels.

As black belts, we are charged with reminding our jujitsu classes that the fascinating study of jujitsu allows an accomplished student many ways to avoid unnecessary mental and physical confrontation. If and when confrontation becomes unavoidable, a student has the ability to instantly tie an aggressor’s mind and body into a knot, with the outcome ranging from pain without injury, to pain with injury, or much worse. One of jujitsu’s many advantages over hard-form martial arts is its development of abilities to modulate a response for any situation.

Sensei Dave January, 2018

Budoshin Jujitsu Belt Levels

Earning a white belt – Hachikyu – involves walking into a dojo, observing a class, and signing waivers. Wearing a white belt demonstrates initiative, and a willingness to improve levels of integrity, humility, and respect. Black belts occasionally wear a white belt with these purposes in mind.

Yellow Belt – Shichikyu 15 Forms

Green Belt – Rokyu 9 Forms ( 24 Total )

Blue Belt – Gokyu 21 Forms ( 45 Total )

Purple Belt – Yonkyu 15 Forms ( 60 Total )

Brown Belt – Green Stripe – Sankyu 23 Forms ( 83 Total )

Brown Belt – Black Stripe – Nikyu 12 Forms ( 95 Total )

Brown Belt – Blue Stripe – Ikkyu 16 Forms ( 111 Total )

First Degree Black Belt – Shodan 39 Forms ( 150 Total )

Second Degree Black Belt – Nidan 22 Forms ( 172 Total )

Third Degree Black Belt – Sandan 9 Forms ( 181 Total )

Fourth Degree Black Belt – Yodan 10 Forms ( 191 Total )

Fifth Degree Black Belt – Godan 9 Forms ( 200 Total )

Sixth Degree Black Belt – Rokudan

Seventh Degree Black Belt – Shichidan

Eighth Degree Black Belt – Hachidan

Ninth Degree Black Belt – Kudan

Tenth Degree Black Belt – Judan

A Creative Teaching Approach

The Power of Compound Instruction

When a teacher is capable of creating an adventurous classroom environment that allows students to discover their own preferred learning styles, then students’ natural strengths become the primary focus of their efforts, thereby generating solid success early on in students’ learning cycles. The cliché applies: nothing succeeds like success. 

Young people tend to know more about important things that are changing, while older people tend to know more about extremely important things that never change. This may create a disconnect, which can be sidestepped by developing an interest in both. Remain open to the possibilities inherent in sharing and listening to thoughts, concepts and ideas from multiple sources, while observing from several perspectives. The result is astounding enrichment.

For example, regardless of natural ability or educational background, all of the best musicians with whom I have had the pleasure of working have three things in common.

1.) They play more than one instrument. 2.) They know rhythm, scales and chords extremely well. 3.) They wear strange attire.

Becoming very accomplished at more than one instrument provides the immeasurable advantage of acquiring musical paradigms and perspectives that can be gained no other way. Becoming accomplished at rhythm, scales and chords, which are the fundamentals of music, allows performance to become second nature. And the only possible cure for a musician’s choice of weird clothing is marriage to a resilient spouse with a somewhat reserved sense of style, and even that does not always provide a sufficient remedy. Regardless, these three qualities are both consistent and indelible in all the great musicians with whom I have been blessed to share a stage.

Likewise, all the best martial artists with whom I have worked have three things in common.

1.) They practice more than one system of self-defense. 2.) They have internalized timing, techniques and forms. 3.) They often wear a somewhat odd uniform that is, or strongly resembles, a gi.

Becoming very accomplished at more than one system of self-defense provides the immense advantage of acquiring self-defense paradigms and perspectives that can be

4 gained no other way. Becoming highly skilled at timing, techniques and forms, which are the fundamentals of all martial arts, develops self-defense expertise that is second nature. The gi is worn only to avoid destroying street clothes. As is the case with the best musicians, these three qualities are also both consistent and indelible in all the great self- defense sensei with whom I have been blessed to work.

Proficient sensei, especially those who have enjoyed opportunities to present self- defense seminars to fellow sensei, tend to develop more than one way to teach any technique. Hence, sensei with extensive backgrounds tend to present their students with two or more ways to learn the day’s lesson. Consequently, more students learn more techniques with more ease and clarity. Just like well-managed money toward eventual retirement, more is better; just as compound interest greatly magnifies retirement portfolios, compound instruction intensifies the day’s lesson, and expands opportunity in learning experiences. Even students who don’t get lost in the first presentation of a technique, often grasp important concepts in the second, and alternative, way of examining a technique.

A great example of this is found in my greatest college professor, Art Woodbury, who would purposefully allow our class to mentally wrestle with a concept he was teaching. Toward the end of class, he would present us with an alternate way of coming to understand the concept, thereby purposely creating a collective ah-ha, or eureka moment, that excited students, and positively electrified the entire class. This is when he became so enthusiastic, that he often hyperventilated. Students loved his classes because this second explanation – the pearl of knowledge – was his way of creating sizzle, and, to repeat another cliché, the sizzle sells the steak.

Our professor actually had a name for this second presentation in each class he taught: nutshell. Students saw it coming when he said, “Now, here is what is really going on. Are you ready for the nutshell?” Being the excellent teacher that he was, and due to the frenzy that he purposely stirred up in each class, he knew that this presentation of a second way, and often an enhanced way of understanding the concept, would be received by his students like third-world children experiencing a first taste of chocolate.

A perceptive sensei is likely to develop, just in the process of teaching, more than one way to teach a concept. Students’ questions, ideas and glassy-eyed stares inspire a deepening of this sensei’s own thought processes, resulting in both clarifications and alternate ways to understand and/or explain techniques. Enthusiastic students deserve a lot of credit for improving their sensei’s teaching abilities. Great sensei recognize and fully appreciate the symbiotic relationship between themselves and their students, and actually thank them for creating the space for all to improve.

Finally, in considering the end result of any learning process, I will make the point that the journey and the destination are not at odds with each other. Obviously, the destination is the reason for the journey. Similarly, possessing comfortable musical performance proficiency is the reason for learning to play more than one instrument, and practicing rhythm, scales and chords for countless hours. Likewise, possessing extensive self-defense skills is the reason for acquiring more than one black belt, and practicing timing, techniques and forms for countless hours.

Perhaps less obvious is the fact that the journey is the reason for the destination. Both bring joys, challenges and insights – planning, accomplishing and reflecting. Thomas Aquinas said, “Anticipation is the greater joy.” Apparently, he never loved. It is experience that is real. Everything else, including the concept of anticipation, is mind- play and semantics – mere mental gymnastics. Ultimately the journey and the destination meld into one entity. We evolve into observing that desired results are, and always have been, about the enduring happiness brought about through hard work that leads to accomplishment, resulting in ever-increasing levels of humility, integrity and respect.

Technique versus Form

The Waza in Kata

These two terms are often used interchangeably. While they are similar, they are not exchangeable. One term does not accurately convey the other.

A technique, or waza, may be a spirit shout or kiai, a ready stance, an attack, a block, a strike, a throw, a submission, a reversal, sprinting away, use of words to deescalate either a mental assault or a physical confrontation by conveying respect, a look, – the list goes on. Martial artists combine techniques to create forms, or kata. Proficient martial artists combine forms to create multiple technique flow, which is actually a long series of waza experienced non-stop as one extensive kata.

On a considerably deeper level, technique is the martial path of self-development, or budo. Toward this end, we include life force, or ki. Sensei Kirby defines ki as the inner spirit or energy expended in executing any movement or technique. It is both the source of power or energy in the human body and energy directed from the body. Ki is located in the lower stomach or saiki tanden, which is not only the source of ki, but also the center of balance. Kuzushi, the practice of off-balancing an opponent either physically or mentally through the use of physical and/or verbal distractions, also figures into this equation. Also included as a technique is mushin, literally translated as “no-mind,” that is a genuine quiet confidence, born from sufficient practice and experience, which allows a defender to get out of the way of their own thinking to expend minimal effort while skillfully meeting fast paced challenges. Sensei Kirby says mushin refers to a high skill level in any subject or matter in which no conscious effort is expended to accomplish a goal and in which the person completing such a task usually has no recall of all the specific steps he took to effectively complete the task at hand. A state of mushin is essential for any effective self-defense action.

The list of techniques is never complete, because new techniques are being developed, even as these words are being read. And, because it is the combining of techniques that creates forms, the list of forms is also never complete.

The Budoshin Jujitsu system of self-defense contains 860 forms, which are presented in Sensei Kirby’s “Big Book.” From hachikyu through judan, our system makes use of many hundreds of techniques inside two-hundred, five-part standardized forms selected from the system, herein divided into sixty study sessions. When you have enough experience, both on the mat and in focused mental imagery, you will find yourself saving a lot of time reviewing the mounting totals of jujitsu forms in your arsenal by using

7 prompts. What used to take 45 minutes in the dojo using our Quick Cross-Reference Study Guides will take about 15 minutes using prompts.

This guide is written to lead us on the adventure of discovering every technique inside every form, comparing and contrasting each, so that retention improves to the point that these techniques become automatic. Enjoy this intense work that is cleverly disguised as play. 

Budoshin Jujitsu’s Use of Japanese Terminology

Loquacious Linguistics

Ushiro hiji nage, or backward elbow throw, could be named hiji ushiro nage, or elbow rear throw. Budoshin Jujitsu offers up numerous examples like this. Also, as jujitsuka progress through the ranks, they begin to observe that many upper-belt and dan-grade forms combine techniques from two lower-belt forms into one form. Which technique is named first in these combinations can be somewhat arbitrary, especially when my sensei’s sensei, Jack Sanzo Seki, aka Jack Haywood, taught a technique by one Japanese name in one class, and in the next class, referred to the exact same technique using a slightly different name. Though Sensei Seki was Okinawan, in the naming of the eight hundred and sixty jujitsu forms that he taught my sensei, George Kirby, he occasionally used his native Japanese language somewhat arbitrarily, just as we English-speaking sensei might choose to do on occasion.

Some jujitsuka ask, “Why use the Japanese terminology at all?” As a white belt, I tolerated the Japanese terminology as I began teaching anyone who came into the dojo behind me. In the process, I convinced myself that I would remove Japanese terminology when I became a sensei. It seemed challenging enough to remember the English names of the techniques, so why throw in another layer to learn? And how is knowledge of a foreign language supposed to make me better able to defend myself?

A two-fold answer was presented to me: 1.) There exists an advantage in the use of Japanese terminology that English alone seems unable to provide, and 2.) The demonstrated respect for the origins of this art form contributes toward the building of character. So I made recordings of Japanese to English and English to Japanese to hear in my car while driving around town. In a week, I knew the majority of the terminology. No big deal. By the time I attained the rank of sankyu and above, all my tests were in Japanese. Though I began to sense some of the two reasons provided to me, a third reason upper belts seem to prefer Japanese terminology began to emerge. Every art form makes use of dual terminology. Why should jujitsu be any different? I began to enjoy the jargon the Japanese language provided. The other six members of our jujitsu consortium, five black belts in karate, and one brown belt in karate, also seemed to enjoy Japanese jujitsu’s alternate terminology.

With all of this said, any system needs standards, and the standardization of jujitsu techniques’ names, with me leading a dojo, is on at least its third generation of English- speaking sensei. Also, kubi shioku yoko nage atama shioku waza, or ude tatake mae ube maki sounds more enigmatic than neck nerve side throw with head nerve technique, or

9 arm strike forward thumb wind. So, on multiple levels, the message becomes very clear. Embrace the gobbledygook!

A jujitsuka can easily master the majority of Japanese terminology in one week by creating and using flash cards. Have students get some index cards and use the Table of Prompts found on pages 16 and 17 of this guide as a checklist to write a Japanese term on one side of each card, and its English translation on the other side. When their stack of cards is complete, tell them to use compound instruction by going through the stack of flash cards, both Japanese to English, and English to Japanese. When a student is able to accurately get through the cards both ways, that jujitsuka knows the terminology. Have students maintain their newly-acquired skill-set by reviewing the flash cards at least once or twice a week, until the terminology becomes permanently etched on the big-screen in the back of their minds.

Lastly, the acquisition of foreign language terms, mixed with the complexity of learning two-hundred, five-part forms, each one containing the techniques of an attack, a block, a strike, a throw, and a submission, prevents students with less initiative from fully internalizing both the art form and chaos-creating practices of jujitsu. Step up. Learn the language. It is an integral part of the challenge. And, smile! Always smile. You will brighten other people’s day, and perhaps keep yourself out of trouble. Also, a smile invites people to wonder what you are thinking. 

Suggested Reading and Viewing

Seek and Ye Shall Search

Multiple sources provide answers to questions you do not yet know how to ask, and reaffirm knowledge gained from street and mat experience, related reading, and your study of videos. The following books and videos have benefited me as both a student and teacher of the art. I owe the authors and producers a tremendous debt of gratitude for having shared their knowledge so generously. I highly recommend these resources:

Budoshin Jujitsu Student Handbook by George Kirby Jujitsu: Basic Techniques of the Gentle Art, Expanded Edition by George Kirby Jujitsu: Intermediate Techniques of the Gentle Art by George Kirby Advanced Jujitsu: The Science Behind the Gentle Art by George Kirby Jujitsu Nerve Techniques: The Invisible Weapon of Self-Defense by George Kirby Jujitsu Figure-4 Locks: Submission Holds of the Gentle Art by George Kirby Jujitsu: Advanced Techniques for Redirecting an Opponent’s Energy by George Kirby Budoshin Ju-Jitsu “Big Book” by George Kirby Jutte: Japanese Power of Ten Hands Weapon by George Kirby Japanese Jiu-Jitsu by Darrel Max Craig Jiu-Jitsu Complete by Kiyose Nakae Jiu-Jitsu: The Effective Japanese Mode of Self Defense by K. Koyama Eight Budoshin Jujitsu Videos by George Kirby, produced by Panther Video Budoshin Jujitsu Yudanshakai Nidan, Sandan, Yodan, Godan Kata Videos by George Kirby Critical Judo by Des Marwood The Sport of Judo by Kiyoshi Kobayashi Judo Unleashed: Essential Throwing and Grappling Techniques by Neil Ohlenkamp Mastering Judo by Masao Takahashi Falling Hard by Mark Law Dynamic Aikido by Gozo Shioda Aikido: The Essential Guide to Mastering the Art by Bruce Allemann Anatomy of A Street Fight by Paul Vunak Tae Kwon Do by Yeon Hee Park, Yeon Hwan Park and Jon Gerrard Black Belt Tae Kwon Do by Yeon Hwan Park and Jon Gerrard Ultimate Guide to Tae Kwon Do by John R. Little and Curtis F. Wong Krav Maga For Beginners by Darren Levine, John Whitman and Ryan Hoover Krav Maga Weapon Defenses by David Kahn Krav Maga: How to Defend Yourself Against Armed Assault by Imi-Or Lichtenfeld Black Belt Krav Maga by Darren Levine and Ryan Hoover Complete Krav Maga by Darren Levine and John Whitman All books and videos written or produced by Mark Hatmaker or Loren W. Christensen

How to Use This Black Belt Guide

Dissecting the Moving Parts

My other self-defense books, listed at the beginning of this guide, provide a solid platform from which to make the best use of this guide. As I have already indicated, each of the one-hundred and fifty Budoshin Jujitsu forms that we learn on our journey through the student or mudansha belt grades, and the fifty Budoshin Jujitsu forms that we learn on our journey through the teaching or yudansha belt grades, contain five parts, resulting in one thousand total moving components in the Budoshin Jujitsu system. These components operate from sixty categories containing many hundreds of techniques. These sixty categories are what this book is all about. They are listed alphabetically in the Table of Prompts beginning on page 16, and numerically in the Table of Quantities beginning on page 119.

This Black Belt Guide is meant for use by sensei who have accomplished learning, testing, and teaching all two-hundred Budoshin Jujitsu forms. This book will serve to clarify both form and technique quantities, and allow users to better organize not only the forms, but also the techniques within the forms. For example, when a sensei is capable of comparing and contrasting all seven tai otoshi, or the four tomoe nage within the Budoshin Jujitsu system, he solidly demonstrates a thorough command of all information necessary to comprehensively assist students deep in the learning process. Consequently, students develop more confidence in their sensei as an instructor. These students also discover that they are capable of developing the resourcefulness, independence and self-reliance necessary to become capable of wrapping their minds around both the finite numbers of each type of form, and each form’s component parts.

Now, let’s create an example. Assume you are an average, self-respecting black belt who would like to teach a class on Budoshin Jujitsu’s seven koshi nage forms. You know, from experience, that being capable of an automatic, second nature execution of a self- defense form in a real-world situation is a very different art form, compared to being capable of clearly and accurately relating each and every relevant component part of a self-defense form to a dojo full of students. We are talking about the difference between the street application of knowledge, and the pedagogical application of knowledge. Like any intelligent, lesson planning sensei, the day before class, you review all the techniques within each of the koshi nage forms, so that each version of koshi nage is easily distinguished from all the other versions of koshi nage. You know from experience that having the techniques fresh in your mind is absolutely vital for providing your students with an outstanding learning experience. Further, let’s say that the prompts on two of the seven koshi nage forms are not sufficient to clarify in your mind all of the exact techniques within these specific koshi nage forms. You would simply leave this guide for

12 a few moments, and refer back to the Complete Guide to All Budoshin Jujitsu Techniques from White Belt through Tenth-Degree Black Belt, which contains the Quick Cross- Reference Study Guides that fully explain the five parts of each form, further clarifying each technique within each form. In a few moments, you are back on track with your preparation for class. Smoooooth! Do you see how these two books, operating together, can streamline your groundwork for class? Perhaps you want to cover all four uki otoshi forms, or our three osoto gari forms in another class. The process remains the same. These two carefully crafted guides provide extremely expeditious ways of operating during both the fulfilling moments of lesson planning, and subsequent actual dojo instruction.

Finally, always remember to encourage your students, at all belt levels, to develop their own variations of Budoshin Jujitsu techniques and forms, and to use both English and Japanese terminology to name their original techniques. Evolving improvements are extremely important to the continuing development of this great art form.

Explanation of Acronyms

Answers Afore Anyone Asks

FCW Floor Clockwise FCCW Floor Counter-Clockwise WCW Wall Clockwise WCCW Wall Counter-Clockwise LT Left RT Right LH Left Hand RH Right Hand LF Left Foot RF Right Foot C-Grip Thumb and Index Finger Clamp Around Base of Hand T Cross-Body Lunge X Form an X Shape Z-Bar Form a Z Shape Fig-4 Figure-Four TSW Tekubi Shimi Waza BNT Bokken No Tatake – Use of a Hanbo HB George Kirby’s Budoshin Jujitsu Student Handbook – Page 19 and Page 22 CR Dave Clark’s Quick Cross-Reference Study Guides – 1 through 109 PV George Kirby’s Panther Videos – V1 - #1 through V8 - #20 DV George Kirby’s Dan Videos – 180 through 861 BB George Kirby’s Budoshin Jujitsu “Big Book” – 180 through 861

Chicken-Wing is sometimes used in place of rear armlock. Sara is used in place of cupped palm press. Opa is used in place of diagonal upward waist thrust while on ground. Snake is used in place of wrap arm around arm to set an armbar or a shoulderlock. No-Go In Dojo is used in place of FOR SAFETY REASONS, DO NOT COMPLETE IN THE DOJO.

Prompts are extremely brief descriptions of the many hundreds of techniques contained in the two-hundred required Budoshin Jujitsu forms, including each form’s Japanese name, English name, and type of aggression being defended, followed by just enough words to nudge a student’s memory.

Table of Terms

Perceiving Parameters

BODY PARTS: TOES, FOOT, LOWER LEG, KNEE, GROIN, HIP, LOWER BACK, LOWER STOMACH, STOMACH, SOLAR PLEXUS, UPPER BACK, SHOULDER, ARM, ELBOW, WRIST, HAND, THUMB, FINGERS, NECK, THROAT, JAW, CHIN, NOSE, EAR, FACE, HEAD, HAIR, ETC.

CLOTHING PARTS: LAPEL, COLLAR, SLEEVE, BELT, ETC.

TECHNIQUES: READY, VITAL POINT BODY STRIKE, WRIST TWIST RELEASE, REVERSE, INSIDE SWEEP, OUTSIDE SWEEP, PULL, PUSH, ONE POINT, CROSS BLOCK, BODY DROP, GRAPPLE, NERVE, BIG OUTER REAP, INNER REAP, PAIN, STRANGULATION, COUNTER, FORWARD THROW, SIDE THROW, REAR THROW, FALL, FLOAT, REAR OUTSIDE SWEEP, COME-ALONG, ROLL, SACRIFICE, LIFT, SCISSOR, GRAB, SHOUT, ATTACK, BLOCK, STRIKE, THROW, SUBMIT, STOMP, WIND, TURN, SLAP, BEND, SHAKE, LOCK, RUN, TALK, LOOK, FOCUS, CRANK, UNBALANCE, PINCH, LEAN, ETC.

TOOLS: BOKKEN, BELT, ROPE, CLUB, BAT, CHAIN, GUN, KNIFE, HANBO, STAFF, YAWARA, ROLLED UP MAGAZINE, CANNED GOODS, BOX OF KLEENEX, PENCIL, PEN, ETC.

PATHS: LEFT, RIGHT, DIAGONAL, SIDE, FORWARD, BACKWARD, REAR, INSIDE, OUTSIDE, WALL CLOCKWISE, WALL COUNTER-CLOCKWISE, FLOOR CLOCKWISE, FLOOR COUNTER- CLOCKWISE, PIVOT, ETC.

Table of Prompts

Sixty Study Sessions

AGO – CHIN / JAW – 6 FORMS ah’-go ASHI – FOOT / LOWER LEG – 12 FORMS ah’-shee ATAMA – HEAD – 5 FORMS ah-tah’-mah ATEMI – VITAL POINT BODY STRIKE – 2 FORMS ah-tem’-ee BOKKEN – WOODEN SWORD / STICK – 4 FORMS bo’-ken ERI – LAPEL / COLLAR – 3 FORMS eer’-ee GATAME – GRAPPLE – 1 FORM gah’-tah-meh GYAKU – REVERSE – 10 FORMS guy-ah’-koo HANA – NOSE – 2 FORMS hah’-nah HANBO – THREE-FOOT STAFF – 10 FORMS hahn’-bo HANE GOSHI – INSIDE SWEEP – 1 FORM hah’-neh goh’-shee HARAI GOSHI – OUTSIDE SWEEP – 4 FORMS hah-rah’-ee goh’-shee HASAMI – SCISSOR – 5 FORMS hah-sah’-mee HIDARI – LEFT – 3 FORMS hih-dar’-ee HIJI – ELBOW – 19 FORMS hee’-jee HIKI – PULL – 9 FORMS hee’-kee HINERI – WRIST TWIST RELEASE – 2 FORMS hin-air’-ee HIZA – KNEE – 6 FORMS hee’-zah IPPON – ONE POINT – 4 FORMS ee’-pone JUJI – CROSS – 4 FORMS joo’-jee KAESHI – COUNTER – 3 FORMS kah-eh’-shee KAO – FACE – 3 FORMS kay’-oh KARADA – BODY – 10 FORMS kah-rah’-dah KIMI NO KATA – FOCUS TECHNIQUE – 3 FORMS kee’-mee no kah’-tah KINTEKI – GROIN – 21 FORMS kin-tek’-ee KOSHI – HIP / LOWER BACK – 7 FORMS koh’-shee KUBI – NECK – 10 FORMS koo’-bee MAE – FORWARD – 14 FORMS mah’-eh MAKI – WIND / TURN – 11 FORMS mah’-kee MAKIKOMI – WINDING / TURNING – 27 FORMS mah’-kee-koh’-mee MOROTE – DOUBLE / BOTH HANDS – 1 FORM mo-ro’-teh NAKA – INSIDE – 1 FORM nah’-kah NAWA – ROPE – 8 FORMS nah’-wah NODO – THROAT – 4 FORMS no’-dough OBI – BELT – 2 FORMS oh’-bee OSOTO GARI – BIG OUTER REAP – 3 FORMS oh-so’-tow gar’-ee

SENEKA – SHOULDER – 2 FORMS sen’-eh-kah SHIMI – PAIN / STRANGULATION – 36 FORMS shee’-mee SHIOKU – NERVE – 18 FORMS shee-oh’-koo SODE – SLEEVE – 6 FORMS soh’-deh SUTEMI WAZA – SACRIFICE TECHNIQUE – 7 FORMS soo-teh’-mee TACHI WAZA – READY TECHNIQUE – 4 FORMS tah’-chee wah’-zah TAI OTOSHI – BODY DROP – 7 FORMS ty oh-toh’-shee (ty tow-sh) TATAKE – ATTACK / STRIKE – 21 FORMS tah-tah’-keh TE – HAND – 5 FORMS teh TEKUBI – WRIST – 18 FORMS teh-koo’-bee TE NAGE – HAND THROW – 8 FORMS teh nah’-geh TE SHIMI WAZA – HAND PAIN TECHNIQUE – 4 FORMS teh shee’-mee wah’-zah TOMOE NAGE – CIRCLE THROW / STOMACH THROW – 4 FORMS tow-mow’-eh nah’-geh TSURI – LIFT / PULL UPWARD – 7 FORMS tsoo’-ree UBE – THUMB – 10 FORMS oo’-beh UCHI GARI – INNER REAP – 1 FORM oo’-chee gar’-ee UDE – ARM – 8 FORMS oo’-deh UDE GURUMA – ARM WHEEL / CIRCULAR / WRESTLE – 25 FORMS oo’-deh goo-roo’-mah UKEMI – FALLING – 6 FORMS oo-keh’-mee UKI OTOSHI – FLOATING DROP – 4 FORMS oo’-kee oh-toh’-shee URA HARAI – REAR OUTSIDE SWEEP – 2 FORMS ur’-ah hah-rah’-ee URA NAGE – REAR THROW – 7 FORMS ur’-ah nah’-geh USHIRO – BACKWARD / REAR – 9 FORMS oo-sheer’-oh USHIRO NAGE – BACKWARD / REAR THROW – 18 FORMS oo-sheer’-oh nah’-geh YAWARA – KOSHI NO BO / SHORT STICK / KUBITAN – 4 FORMS ya-wahr’-ah YOKO – SIDE – 11 FORMS yo’-ko YUBI – FINGER – 7 FORMS yoo’-bee

ALPHABETIZED

PROMPTS

WHITE BELT – HACHIKYU – NO PROMPTS – NO FORMS

EARNING A WHITE BELT INVOLVES WALKING INTO A DOJO, OBSERVING A CLASS, AND SIGNING WAIVERS. WEARING A WHITE BELT DEMONSTRATES INITIATIVE, AND A WILLINGNESS TO IMPROVE LEVELS OF INTEGRITY, HUMILITY AND RESPECT. BLACK BELTS OCCASIONALLY WEAR A WHITE BELT WITH THESE PURPOSES IN MIND.

THE GIFTS OF TIME AND CONCERTED EFFORT WILL BRING ADVANCEMENT THROUGH THE RANKS. EVERY ACCOMPLISHED BLACK BELT I KNOW WISHES THEY COULD BE BACK WHERE YOU ARE RIGHT NOW, SO THAT THEY COULD ENJOY THE ADVENTURE OF LEARNING ALL OVER AGAIN. YOU DO NOT NEED TO ATTAIN THE NEXT RANK TO ACHIEVE SUCCESS. CLIMBING THE MOUNTAINS TOWARD ACCOMPLISHMENT, YOU ARE ALWAYS WHERE YOU BELONG.

BE CONSIDERATE OF YOUR UKE. DO NOT BE ABUSIVE. DURING THROWS, MITIGATE YOUR TRAINING PARTNER’S IMPACT WITH THE MAT BY SMOOTHLY PULLING UP JUST BEFORE IMPACT. THIS ACTION, TEAMED WITH UKE’S SLAP, WILL KEEP ALL OF YOUR TRAINING PARTNERS HAPPY AND SAFE FOR MANY YEARS OF EFFECTIVE LEARNING. WHEN TORI DOES NOT CATCH YOU, DO NOT SUFFER IN SILENCE. DISCUSS PULLING UP. UNNECESSARY INJURIES ARE GREAT TEACHERS, SO SOME UKES OPT TO USE PROTECTIVE GEAR, SUCH AS A CUP, A WEIGHT LIFTING BELT, AND/OR KNEE SUPPORTS UNDER THEIR GI. IN EVERY ART FORM, SLOW BECOMES SMOOTH, AND SMOOTH BECOMES FAST. REMAIN WILLING TO PRACTICE TECHNIQUES SLOWLY.

SLOW BECOMES SMOOTH, AND SMOOTH BECOMES FAST.

AGO – CHIN / JAW – 6 FORMS

54 SHIMI WAZA WITH HIJI TATAKE – AGO/HANA/ATAMA MAKI V1 - #10 PAIN TECHNIQUE WITH ELBOW STRIKE – CHIN/NOSE/HEAD TURN RT SIDE HEADLOCK

CHIN OR NOSE PRESS BY PUSHING / LT ARM GUILLOTINE / RT ELBOW STRIKE BACK

1 AGO NO MAKI SHIMI WAZA V6 - #6 CHIN WIND REVERSE PIN LYING ON MY BACK, AGGRESSOR HAS A RT ARM HEADLOCK

RT SIDE HEADLOCK REVERSE / LF HOOK LT KNEE AS LH CHIN TURNS HIM OVER ME INTO LT GUILLOTINE

V7 - #12 AGO USHIRO NAGE – HANBO CHINLOCK REAR THROW RT PUNCH

LH PARRY / LT STICK TIP ACROSS NECK / FCCW

V7 - #17 AGO TATAKE – HANBO CHIN LOCK / ELBOW LOCK REAR TAKEDOWN SIDE CLUB

EMPTY LH BLOCK / RH SLIP STICK UP BEHIND HIS RT ARM AND ACROSS THROAT / FCCW

220 & 266 ATEMI WAZA WITH AGO SHIMI WAZA STRIKING TECHNIQUE WITH CHIN STRETCH RT SHOULDER GRAB FROM BEHIND

FCW / RH BACKHAND RIBS / DOWN TO RT KNEE / STRIKE GROIN / STRIKE EAR / ROLL ONTO STOMACH / GRAB BELT TO HOLD ANKLE IN ARMPIT / GRAB CHIN /FT PRESS BACK

826 AGO NO MAKI CHIN-TURN TAKEDOWN FRONT BEAR HUG

DROP IN BASE TO JAMB BOTH THUMBS INTO LATS / RH SARA CHIN AS LH GRAB RT SHOULDER / FCCW TO RT KNEE /SET A FCCW NO-GRIP LT ARMBAR OR FIG-4 ARMBAR

ASHI – FOOT / LOWER LEG – 12 FORMS

52 ASHI TATAKE (ASHI USHIRO NAGE) V1 - #8 LOWER LEG LIFT / GROIN STOMP (FOOT REAR THROW) REAR BEAR HUG PINNING ARMS

STOMP / RT FT SLIDE BACK DIAGONALLY / BEND OVER TO GRAB AND LIFT LEG / STOMP GROIN OR HYPER-EXTEND KNEE

V1 - #7 ASHI NO HIKI SHIMI WAZA – ASHI TATAKE / ASHI USHIRO NAGE VARIATION LOWER LEG LIFT THROW PAIN TECHNIQUE – FT STRIKE / FT REAR THROW REAR BEAR HUG PINNING ARMS

STOMP / RF SLIDE BACK DIAGONALLY / BEND OVER TO GRAB AND LIFT LEG / RT LEG FIG-4

58 SHIOKU ASHI USHIRO NAGE V2 - #5 NERVE ATTACK REAR CIRCLE THROW – REAR LEG LIFT THROW RT SIDE HEADLOCK

LH GRAB BACK OF COLLAR AS RH CUP-CHECK AND GRABS BACK OF RT KNEE / FCCW / RH GROIN GRAB / TWIST / PULL

V2 -#3 ASHI WAZA ANKLE BLOCK REAR WAIST GRAB

SLIDE EITHER FT BACK BETWEEN AGGRESSOR’S FEET AND AROUND TO OUTSIDE OF ANKLE / DIAGONAL GLUTEUS PUNCH

6 ASHI YOKO NAGE / ASHI GURUMA V4 - #7 FOOT SIDE THROW / FOOT WHEEL RT KICK

RT ARM DEFLECT RT KICK TO RT / LH GRAB FT / FCCW / FIG-4 LEG / ROLL LT

5 = 99 ASHI TATAKE / HIJI TATAKE V5 - #8 FOOT GRAB – BODY ROLL – ELBOW STRIKE GROUND – KICK TO RT RIBS OR GUT

ROLL RT / ELBOW STOMACH

15 BOKKEN TOMOE NAGE – ASHI MAE NAGE V5 - #9 STICK STOMACH THROW – LEG LIFT CIRCLE THROW STICK LENGTH PUSHED TOWARD CHEST

TRAP HANDS ON HANBO / FT TO LOWER GUT WHILE FALLING BACKWARD

2 ASHI MAKIKOMI V6 - #4 FOOT WINDING THROW – LEG WINDING THROW GROUND – RT FOOT STOMP TO HEAD FROM RT SIDE

FOREARMS COVER FACE / HANDS GRAB HEEL AND TOE TO ROTATE FT WCCW / ROLL RT

3 ASHI MAKIKOMI ASHI SHIMI WAZA LEG WINDING THROW RT FRONT KICK

RT ARM HOOK RT KICK / LH GRAB MY RH TO HOLD LEG TIGHT / FCCW / DOWN ON RT KNEE / FOREARM ON ACHILLES

99 URA NAGE OR ASHI TATAKE KNEELOCK REAR THROW KICK TO RT SIDE (GROUND)

FOREARMS AND KNEES TO CHEST / RH HOOK FT AT ACHILLES / ROLL RT / RT ELBOW STRIKE TO GROIN OR GUT

V7 - #14 ASHI USHIRO NAGE – HANBO LEG LIFT STERNUM PRESS REAR THROW RT ROUND KICK

LH HOOK LEG / RT STICK TIP TO STERNUM

V7 - #19 ASHI TATAKE – HANBO HEEL STRIKE RT KICK

LT SIDE-STEP OUTSIDE HIS KICK / LH SWING STICK INTO HIS ACHILLES TENDON

ATAMA – HEAD – 5 FORMS

7 ATAMA MAKI HEAD WIND TWO-HAND FRONT CHOKE

CROSS HANDS / BEND OVER / HEAD GOES OUT EITHER SIDE

54 SHIMI WAZA WITH HIJI TATAKE – AGO/HANA/ATAMA MAKI V1 - #10 PAIN TECHNIQUE WITH ELBOW STRIKE – CHIN/NOSE/HEAD TURN RT SIDE HEADLOCK

CHIN OR NOSE PRESS BY PUSHING / LT ARM GUILLOTINE / RT ELBOW STRIKE BACK

8 ATAMA MAKIKOMI V1 - #9 HEAD WINDING THROW – KEY TURN QUICK RT / LT PUNCHES

LH GRAB HAIR ON BACK OF HEAD AS RH CUPS CHIN / FCCW

9 ATAMA OTOSHI V4 - #10 HEAD DROP THROW FULL NELSON ATTEMPT

FROM ATTEMPTED FULL NELSON / HANDS GRAB HIS NECK / DOWN ON RT KNEE

180 KUBI SHIOKU YOKO NAGE – ATAMA SHIOKU WAZA NECK ATTACK SIDE THROW AND HEAD SCISSOR SUBMISSION STRIKE OR LAPEL GRAB

NECK NERVE ATTACK NECK THROW / HEAD NERVE ATTACK HEAD SCISSOR

ATEMI – VITAL POINT BODY STRIKE – 2 FORMS

10 ATEMI SHIOKU WAZA BODY ATTACK LOW OR MID KNIFE THRUST

LH GRAB WRIST / RH CHOP HAND / RT KNEE TO CHEST OR GUT / TE NAGE

220 & 266 ATEMI WAZA WITH AGO SHIMI WAZA STRIKING TECHNIQUE WITH CHIN STRETCH RT SHOULDER GRAB FROM BEHIND

FCW / RH BACKHAND RIBS / DOWN TO RT KNEE / STRIKE GROIN / STRIKE EAR / ROLL ONTO STOMACH / GRAB BELT TO HOLD ANKLE IN ARMPIT / GRAB CHIN /FT PRESS BACK

BOKKEN – WOODEN SWORD / STICK – 4 FORMS

11 & 12 BOKKEN NO TATAKE – MAE NAGE V5 - #10 STICK DEFENSE – FORWARD THROW STICK TIP GUT STAB – LH LEADS

FCW AS RH GRAB DOWN ON STICK FRONT / LH PULL UP STICK BACK / WCW

13 = 46 BOKKEN NO TATAKE – NAKA MAE NAGE V5 -#12 STICK DEFENSE – INSIDE FORWARD THROW STICK TIP GUT STAB – LH LEADS

FCCW AS LH GRABS DOWN ON STICK FRONT / RH WCCW TO WRAP BACK OF STICK AROUND HIS RT WRIST / WCCW

14 BOKKEN NO TATAKE – YOKO NAGE V5 - #11 STICK DEFENSE – SIDE THROW STICK LENGTH PUSHED TOWARD CHEST

RT FOREARM BLOCK PRONE HANBO / WCCW AS LH GRAB DOWN ON STICK

15 BOKKEN TOMOE NAGE – ASHI MAE NAGE V5 - #9 STICK STOMACH THROW – LEG LIFT CIRCLE THROW STICK LENGTH PUSHED TOWARD CHEST

TRAP HANDS ON HANBO / FT TO LOWER GUT WHILE FALLING BACKWARD

ERI – LAPEL / COLLAR – 3 FORMS

16 ERI NAGE – JUJI MAKIKOMI V3 - #14 LAPEL WHEEL THROW – CROSS CHOKE WINDING THROW LH LAPEL GRAB AND RT PUNCH

LH GRAB LT LAPEL VERY HIGH / RH GRAB MID-LAPEL / FCCW / DOWN ON LT KNEE

32 HIKI YOKO NAGE – KATA ERI NAGE V3 - #7 PULLING SIDE THROW – SLEEVE PIVOT THROW – REVERSE FORM THROW DOUBLE RT WRIST GRAB

RT BIG STEP / LH GRAB RT SHOULDER / FCCW / DOWN ON LT KNEE / LT ARMPIT HEADLOCK / LEGS FIG-4 ARMBAR

76 TOMOE NAGE / ERI SHIMI WAZA V2 - #3 STOMACH THROW / LAPEL PAIN TECHNIQUE DOUBLE LAPEL GRAB WITH PUSH

RT FT TO LOWER GUT / PULL LAPELS INTO BACK ROLL FALL / RT THUMB ON NECK AS LH PULLS UP ON LAPEL

GATAME – GRAPPLE – 1 FORM

861 GYAKU SHIOKU GATAME REVERSE HEADLOCK – GUILLOTINE DOUBLE LAPEL GRAB AND PULL

CROSS-LAPEL CHOKE – RH GRAB HIGH AND LH MID /KNEE GROIN / PULL DOWN INTO RT SIDE GUILLOTINE / LIFT UP AND FCCW TO TORQUE

GYAKU – REVERSE – 10 FORMS

V2 - #13 UDE GURUMA MAKIKOMI – GYAKU WAZA MAE MAKIKOMI FORWARD ARMBAR SIDE OR WINDING THROW – TO RT KNEE SIDE CLUB

STANDING FIG-4 ARMBAR / FCCW / DOWN TO RT KNEE

17 GYAKU KARADA JUJI V6 - #5 REVERSE CROSS-BODY PIN LEAP TO LAND ACROSS TORSO

KIAI DURING T / TURN MY HEAD WHILE LIFTING BOTH ARMS DURING OPA

19 GYAKU UDE GURUMA V6 -#7 REVERSE ATTEMPTED FIG-4 ARMBAR GROUND – ARMBAR BEFORE MY ARM IS STRAIGHT – HIS RT ARM OVER MY RT ARM WITH HIS BACK ON MY CHEST

RH TO BACK OF HIS HEAD / MY LH ON MY RH / ROLL RT TO STRADDLE / HALF NELSON

V5 - #3 GYAKU SHIMI WAZA REVERSE PIN TECHNIQUE GROUND – AGGRESSOR ON MY RT SIDE ON HIS RT KNEE – I’M LYING ON MY BACK – FRONT TWO-HAND CHOKE DEFENSE

RH CUP CHECK AS LH TE NAGE / WRIST PRESS

18 GYAKU TOMOE NAGE V5 - #5 REVERSE STOMACH THROW LYING ON MY BACK WHILE BEING DRAGGED BY MY WRISTS

HANDS WRAP INSIDE TO GRAB HIS WRISTS / PULL ARMS DURING FEET TO LOWER GUT

20 GYAKU WAZA MAKIKOMI SENEKA SHIMI WAZA REVERSE WINDING TECHNIQUE LOW OR MID KNIFE THRUST

LH GRAB WRIST INTO OVER-ARM ARMBAR / SHOULDER PIN SUBMISSION

V6 - #1 GYAKU SHIMI WAZA REVERSE PIN TECHNIQUE ON MY BACK – UKE IS ON MY LT – CROSS-CHOKE WITH LH OVER HIS RH

LH TSW AS RH HIJI WAZA / ROLL LT

V8 - #6 GYAKU TEKUBI SHIMI WAZA WITH SHIOKU WAZA WRISTLOCK HAIR-GRAB TURNAROUND RT HANDSHAKE WITH LH LOW KNIFE

LH BLOCK KNIFE AND GRAB TOP OF HAND / RF STOMP HIS LF / LH WCCW TO STANDING WRIST PRESS AS RH GRAB HAIR / FCW TAKEDOWN

759 GYAKU KOSHI NAGE REVERSE HIP THROW – DEFENSE AGAINST BUM’S RUSH RH GRAB LT SHOULDER OR BEHIND LT TRICEP FROM SIDE OR REAR

FCCW OR FCW / RT ARM UP AROUND NECK OR ACROSS HIS CHEST FOR RH GRAB UNDER LT ARMPIT AS LH GRAB BACK OF LT OR RT SHOULDER / HIP THROW TO RT ¼ TURN

861 GYAKU SHIOKU GATAME REVERSE HEADLOCK – GUILLOTINE DOUBLE LAPEL GRAB AND PULL

CROSS-LAPEL CHOKE – RH GRAB HIGH AND LH MID /KNEE GROIN / PULL DOWN INTO RT SIDE GUILLOTINE / LIFT UP AND FCCW TO TORQUE

HANA – NOSE – 2 FORMS

54 SHIMI WAZA WITH HIJI TATAKE – AGO/HANA/ATAMA MAKI V1 - #10 PAIN TECHNIQUE WITH ELBOW STRIKE – CHIN/NOSE/HEAD TURN RT SIDE HEADLOCK

CHIN OR NOSE PRESS BY PUSHING / LT ARM GUILLOTINE / RT ELBOW STRIKE BACK

816 HANA SHIMI WAZA NOSE PRESS CLOSE FOOTBALL TACKLE GRABBING AROUND MY WAIST

NEAR-SIDE HAND HOOK NOSE / ROTATE HIS HEAD AGAINST MY BODY DURING LARGE OPPOSITE-DIRECTION PIVOT TO GET HIM AROUND BEHIND ME

HANBO – THREE-FOOT STAFF – 10 FORMS

V7 - #10 USHIRO NAGE – HANBO REAR THROW SIDE OR OVERHEAD CLUB STRIKE

LH BLOCK / RT TIP OF STICK TO GUT / PUSH TO GROUND

V7 - #11 HIZA TATAKE – HANBO KNEE STRIKE SIDE OR OVERHEAD CLUB STRIKE

LH BLOCK / RF STRIKE KNEE

V7 - #12 AGO USHIRO NAGE – HANBO CHINLOCK REAR THROW RT PUNCH

LH PARRY / LT STICK TIP ACROSS NECK / FCCW

V7 - #13 UDE GURUMA – HANBO ARMLOCK / SHOULDERLOCK TAKEDOWN RT PUNCH

LH PARRY AND RELEASE STICK / RH WRAP ARM / LH GRAB STICK AT HIS RT SHOULDER / FCW

V7 - #14 ASHI USHIRO NAGE – HANBO LEG LIFT STERNUM PRESS REAR THROW RT ROUND KICK

LH HOOK LEG / RT STICK TIP TO STERNUM

V7 - #15 TEKUBI MAKIKOMI – HANBO WRISTLOCK WINDING THROW RT PUNCH

LH BLOCK AS RH REACH UNDER TO GRAB STICK TIP / STICK ACROSS THROAT / FCCW

V7 - #16 UDE GURUMA – HANBO SHOULDERLOCK TAKEDOWN SIDE CLUB

EMPTY LH BLOCK / RH SLIP STICK UP BEHIND HIS RT ARM / RH PULL STICK AS LH PUSH STICK / FCW

V7 - #17 AGO TATAKE – HANBO CHIN LOCK / ELBOW LOCK REAR TAKEDOWN SIDE CLUB

EMPTY LH BLOCK / RH SLIP STICK UP BEHIND HIS RT ARM AND ACROSS THROAT / FCCW

V7 - #18 TAI OTOSHI – HANBO ARMPIT LIFT DROP THROW RT PUNCH

LH BLOCK AS RH STICK TIP INTO RT ARMPIT / DROP THROW

V7 - #19 ASHI TATAKE – HANBO HEEL STRIKE RT KICK

LT SIDE-STEP OUTSIDE HIS KICK / LH SWING STICK INTO HIS ACHILLES TENDON

HANE GOSHI – INSIDE SWEEP – 1 FORM

23 HANE GOSHI / HIZA TATAKE – MAY BE USED FOR FAILED HARAI GOSHI V3 - #12 INNER SWEEPING HIP THROW WITH RT KNEE STRIKE RT PUNCH

LH GRAB AGRESSOR’S RT SLEEVE / RH GRAB RT OR LT SHOULDER WITH ELBOW DOWN / CENTER HIPS ON AGGRESSOR’S TORSO / RT LEG INNER SWEEP / RT KNEE DROP ON ARMPIT

HARAI GOSHI – OUTSIDE SWEEP – 4 FORMS

22 HARAI GOSHI WITH HIZA TATAKE – MAY BE USED FOR FAILED KOSHI NAGE V3 - #1 OUTER SWEEPING HIP THROW WITH RT KNEE STRIKE DOUBLE PUNCH – RT/LT 1 - 2 PUNCH

RT ARM WCW TO X AGGRESSOR’S ARMS / RT SIDE OF HIP ON CENTER OF AGGRESSOR’S TORSO / RT LEG OUTER SWEEP / RT ARM HEADLOCK / LEGS FIG-4 ARM

98 URA HARAI V4 - #21 OUTSIDE REAR SWEEPING THROW WITH STANDING NECK NERVE ATTACK VARIATION COMBINING BLUE BELT 40 AND YELLOW BELT 49 KNIFE STAB TO CHEST OR OVERHEAD KNIFE OR OVERHEAD CLUB

LH PARRY / RH STANDING NECK SUBMISSION / OSOTO GARI

ORIGINAL URA HARAI OUTSIDE REAR SWEEPING THROW DOUBLE LAPEL GRAB

RH HOOK OUTSIDE HIS RT ELBOW AS LH PUSH UP AND BACK ON CHIN / RT STEP PAST HIS RT SIDE TO SWEEP BOTH LEGS

V7 - #25 HIJI HARAI GOSHI – COUNTER ELBOW ROLL SWEEPING HIP THROW RESIST OF TEKUBI SHIMI WAZA

LH BLOCK PUNCH / RH TSW GRAB / RESIST LEADS TO LH SARA RT ELBOW DURING FCCW HARAI GOSHI OR KOSHI NAGE OR TAI OTOSHI

HASAMI – SCISSOR – 5 FORMS

39 KUBI NAGE / HASAMI / KUBI SHIOKU WAZA V2 - #1 NECK THROW RT PUNCH

LH BLOCK / LH GRAB RT SLEEVE AS RH SLAPS NECK / FCCW / LIFT TO KNEE / ARM SCISSOR NECK

87 UDE GURUMA KOSHI NAGE V4 - #16 SHOULDERLOCK HIP THROW RH KNIFE SWIPE

BLOCK KNIFE SWIPES 16” APART / WRAP ARM / RT HIP TO BACK OF HIS RT HIP / WRIST PRESS ON GROUND OR WRISTLOCK LIFT / ROLL BACK INTO WRISTLOCK / LEG SCISSOR NECK

89 UDE GURUMA MAKIKOMI – USHIRO UDE MAKIKOMI / HASAMI V2 - #14 ARMBAR WINDING THROW – SUTEMI WAZA – LT FT BLOCKS RT FT RH GRAB LT SHOULDER FROM REAR OR RT PUNCH W/ OR W/O LH LAPEL GRAB

STANDING FIG-4 ARMBAR / LF BLOCK AGGRESSOR’S RF / FCCW SACRIFICE THROW / MAY BE DONE WITHOUT SUTEMI WAZA / DROP TO MY RT KNEE / LEAN BACK TO NECK SCISSOR USING LEGS

V8 - #5 UDE GURUMA MAKIKOMI ARMBAR WINDING THROW RH GRAB LT SHOULDER FROM REAR AND LT PUNCH AS I FCCW FACE HIM

RH BLOCK PUNCH INTO STANDING ARMBAR / FCW TAKEDOWN / HOLD ARMBAR / RT ACHILLES ON THROAT / OPTION: LEG SCISSOR

180 KUBI SHIOKU YOKO NAGE – ATAMA SHIOKU WAZA NECK ATTACK SIDE THROW AND HEAD SCISSOR SUBMISSION STRIKE OR LAPEL GRAB

NECK NERVE ATTACK NECK THROW / HEAD NERVE ATTACK HEAD SCISSOR

HIDARI – LEFT – 3 FORMS

24 HIDARI TE NAGE V4 - #19 LH LAPEL GRAB WITH LOW KNIFE THREAT LH (AGGRESSOR’S LH) THROW

LH DEFLECT KNIFE AS RH TE NAGE

V7 - #1 HIDARI MAKIKOMI LEFT WINDING – OUTSIDE WINDING TAKEDOWN GUN AT GUT OR CHEST OR FACE

BLADE AS LH GRAB GUN / FCW / OVER-ARM ARMBAR

622 HIDARI NAGE WRIST PRESS OVER-THE-SHOULDER HAIR PULL THROW AGGRESSIVE HANDSHAKE

FCCW UNDER HIS RT ARM / LT ELBOW CHEST / LH GRAB BACK OF NECK WITH HIS RT ARMPIT ON MY LT SHOULDER / KOSHI NAGE

HIJI – ELBOW – 19 FORMS

25 HIJI TATAKE ELBOW (STRIKE) RELEASE RT SIDE HEADLOCK

FEET SHIFT FCCW / CHIN DOWN / BOTH HANDS PUSH ELBOW OFF

54 SHIMI WAZA WITH HIJI TATAKE – AGO/HANA/ATAMA MAKI V1 - #10 PAIN TECHNIQUE WITH ELBOW STRIKE – CHIN/NOSE/HEAD TURN RT SIDE HEADLOCK

CHIN OR NOSE PRESS BY PUSHING / LT ARM GUILLOTINE / RT ELBOW STRIKE BACK

64 TE NAGE / TE HIJI MAKIKOMI V1 - #5 HAND THROW / HAND & ELBOW WIND LAPEL GRAB – V2 -#16 KNIFE / V3 -#4 RH USE OPEN PALM

RT GROIN KICK / PIVOT FCCW AS BOTH THUMBS PRESS BACK OF BENT HAND / SLIDE RF UNDER ARMPIT / RT KNEE PRESS ON ELBOW / FCCW

65 TE NAGE / HIJI NO MAKI HAND THROW / ELBOW SNAP SUBMISSION KNIFE AT THROAT WITH BACK AGAINST A WALL

BLADE AS LH GRAB RT WRIST / BODY SLAM INTO WALL / TE NAGE / SLIDE RF UNDER ARMPIT / RT KNEE PRESS ON ELBOW / FCCW / HYPER-EXTEND OR BREAK ELBOW

29 HIJI WAZA OR HIJI YOKO NAGE V2 - #12 ELBOW ROLL TAKEDOWN OR ELBOW SIDE THROW DOUBLE LAPEL GRAB

LH OVER/UNDER AS RH CUPS AGGRESSOR’S LT ELBOW / FCCW

28 HIJI WAZA V4 - #12 ELBOW LIFT – BUM’S RUSH LH GRAB RT SLEEVE OR SHOULDER FROM BESIDE OR BEHIND

BUM’S RUSH ELBOW LIFT

30 HIJI WAZA – VARIATION OF BLUE BELT 29 HAND WIND ELBOW ROLL TAKEDOWN COLLAR GRAB AND LT WRIST GRAB FROM BEHIND

RF STOMP / FCCW AS MY LH LIFTS HIS LT ARM UP / RH SARA ELBOW / KNEE ON TRICEP

101 URA NAGE – HIJI GURUMA – VARIATION V4 - #6 ELBOW WHEEL THROW RH RT SHOULDER GRAB WITH LT ARMLOCK FROM BEHIND

RH PUSH LT FIST DOWN / FCCW INTO HIJI WAZA / ARM BRACE AGAINST LEG

V5 - #1 HIJI WAZA V5 - #2 BODY ROLL ELBOW STRIKE GROUND – STRADDLE MY BACK WITH REAR CHOKE AND FACE SMASH OR PUSHED FROM MY KNEES TO GROUND WITH BACK STRADDLE AND BOTH WRISTS PRESSED TO GROUND

BRING ELBOW TO KNEE / ROLL HIM OFF ME

26 HIJI WAZA ELBOW ROLL GROUND – RT PUNCH

RH PARRY AS LH SARA ELBOW / ROLL RT

70 TE TATAKE ELBOW TO BACK FIST STRIKE FRONT DOUBLE WRIST GRAB

HE GETS FREE DURING TSW / FCCW LT ELBOW TO CHEST / BACK FIST TO NOSE

5 = 99 ASHI TATAKE / HIJI TATAKE V5 - #8 FOOT GRAB – BODY ROLL – ELBOW STRIKE GROUND – KICK TO RT RIBS OR GUT

ROLL RT / ELBOW STOMACH

106 USHIRO HIJI NAGE ELBOW REAR THROW STRAIGHT KNIFE THRUST

FCW / RH GRABS WITH MY THUMB UP AS LH GRAB SLEEVE / FCCW / SLASH NECK

V7 - #25 HIJI HARAI GOSHI – COUNTER ELBOW ROLL SWEEPING HIP THROW RESIST OF TEKUBI SHIMI WAZA

LH BLOCK PUNCH / RH TSW GRAB / RESIST LEADS TO LH SARA RT ELBOW DURING FCCW HARAI GOSHI OR KOSHI NAGE OR TAI OTOSHI

V8 - #2 TEKUBI SHIMI WAZA WITH HIJI WAZA WRISTLOCK ELBOW ROLL TAKEDOWN RH SHIRT GRAB

RH TSW AS LH HIJI WAZA

V8 – #20 HIJI WAZA KOSHI NAGE ELBOW ROLL / CROSS-BODY HIP THROW MUGGING ATTACK – RH ON MY MOUTH WITH LH SETTING LT CHICKEN-WING

STOMP / PUSH MY LT FIST DOWN / FCCW INTO ½ ELBOW ROLL INTO HIP THROW / STRAIGHT ARM WRIST PRESS

388 HIJI TATAKE KUBI NAGE ELBOW STRIKE NECK THROW RH ATTEMPTED LAPEL GRAB

RH ELBOW HEART / FCCW / RH WRAP NECK / KNEELING NECK THROW

764 HIJI WAZA ELBOW / WRIST BEND HIGH BACKWARD KNIFE STRIKE – BLADE OUT FROM BASE OF HAND

HIGH DOUBLE FOREARM BLOCK / LH CLAMP DOWN ON ELBOW AS RH – THUMB DOWN – GRAB TOP OF KNIFE HAND / LH PUSH UP AS RH KNIFE GUT OR PAST GUT INTO REAR ARMLOCK / STOMP / TAI OTOSHI

780 HIJI MAKIKOMI ELBOW WIND TAKEDOWN OR FORWARD THROW OVERHEAD CLUB

JUJI OR RT FOREARM PARRY / ½ HIJI WAZA / FCCW UNDER RT ARM / BIG CIRCULAR FORWARD THROW – ACTUALLY A HIJI WAZA INSIDE A CORKSCREW 

HIKI – PULL – 9 FORMS

V1 - #7 ASHI NO HIKI SHIMI WAZA – ASHI TATAKE / ASHI USHIRO NAGE VARIATION LOWER LEG LIFT THROW PAIN TECHNIQUE – FT STRIKE / FT REAR THROW REAR BEAR HUG PINNING ARMS

STOMP / RF SLIDE BACK DIAGONALLY / BEND OVER TO GRAB AND LIFT LEG / RT LEG FIG-4

32 HIKI YOKO NAGE – KATA ERI NAGE V3 - #7 PULLING SIDE THROW – SLEEVE PIVOT THROW – REVERSE FORM THROW DOUBLE RT WRIST GRAB

RT BIG STEP / LH GRAB RT SHOULDER / FCCW / DOWN ON LT KNEE / LT ARMPIT HEADLOCK / LEGS FIG-4 ARMBAR

50 SENEKA HIKI NAGE V4 - #14 SHOULDER PULL THROW – REVERSE FOR IPPON SEOL NAGE IPPON SEOL NAGE OFF MY RT PUNCH

LH GRAB RT SHOULDER / RF STEP AROUND HIS RF / LT FT BLOCK RT FOOT / FCCW / SUTEMI WAZA

88 UDE GURUMA – UDE HIKI OTOSHI V5 - #6 SHOULDERLOCK TAKEDOWN – REVERSAL V5 - #7 ATTEMPTED FIG-4 ARMBAR OFF MY RT PUNCH OR MY RH GRAB HIS LT SHOULDER FROM SIDE OR BEHIND

SLIDE MY RT ARM UP UNTIL MY ELBOW IS ABOVE HIS FOREARM / LH GRAB MY RH / DROP THROW OR HIP THROW OR RT LEG STRAIGHT OUT FOR SUTEMI WAZA

31 HIKI WAZA – UDE GURUMA OR UDE GATAME V6 - #8 FIG-4 ARMBAR REVERSE – PULLING TECHNIQUE LT ARM OVER MY RT ARM – BEFORE ARMBAR IS SET

MY LH GRABS MY RT WRIST / ROLL LT / SLIDE MY BODY OVER HIS HEAD / MY RT ARM WRAP HIS LT ARM FOR ARMBAR

476 HIKI GURUMA WITH KARADA TATAKE PULLING WHEEL THROW WITH STERNUM OR CHEST CRUSH DOUBLE LAPEL GRAB

GRAB HIGH LAPELS / PULL TO ME / PULL RT / PULL LT / RT KNEE CRACK STERNUM

584 HIKI GURUMA WITH KARADA TATAKE PULLING WHEEL W/ SMOTHER CHOKE / VERTEBRAE STRETCH ATTEMPTED WIDE DOUBLE LAPEL GRAB

DOUBLE OUTER FOREARM BLOCK / WHEEL THROW INTO NORTH-SOUTH POSITION / HOLD GRIPS TO SMOTHER CHOKE OR SLIDE UP TO MY RT KNEE / PRESS BACK OF HEAD ON MY CHEST

356 JUJI TE HIKI NO NAGE CROSS-BACK HAND PULL SIDE THROW HIT TO STOMACH

JUJI / LH THEN RH C-GRIP WRIST / FCCW TO RT KNEE – LT KNEE OK – TO BRING HIM PAST MY RT SHOULDER / RELEASE MY RH / LH C-GRIP MOVES WCW TO Z-BAR

386 UDE HIKI OTOSHI ARM PULL THROW REVERSE FOR STANDING FIGURE-FOUR ARMBAR ON RT ARM

RT ARM SLIDE FORWARD / LH GRAB RT HIGH SLEEVE / FCCW TO KOSHI NAGE OR TAI OTOSHI

HINERI – WRIST TWIST RELEASE – 2 FORMS

PAGE 19 TEKUBI HINERI OR MOROTE HINERI / UBE HINERI WRIST TWIST OR DOUBLE WRIST TWIST RELEASE / FINGER PEEL RELEASE WRIST GRAB OR DOUBLE WRIST GRAB / LAPEL GRAB OR FRONT CHOKE

ROLL HAND OR HANDS AGAINST AGGRESSOR’S THUMBS DURING STEP FORWARD / GRAB ONE DIGIT TO PULL

HIZA – KNEE – 6 FORMS

22 HARAI GOSHI WITH HIZA TATAKE – MAY BE USED FOR FAILED KOSHI NAGE V3 - #1 OUTER SWEEPING HIP THROW WITH RT KNEE STRIKE DOUBLE PUNCH – RT/LT 1 - 2 PUNCH

RT ARM WCW TO X AGGRESSOR’S ARMS / RT SIDE OF HIP ON CENTER OF AGGRESSOR’S TORSO / RT LEG OUTER SWEEP / RT ARM HEADLOCK / LEGS FIG-4 ARM

23 HANE GOSHI / HIZA TATAKE – MAY BE USED FOR FAILED HARAI GOSHI V3 - #12 INNER SWEEPING HIP THROW WITH RT KNEE STRIKE RT PUNCH

LH GRAB AGRESSOR’S RT SLEEVE / RH GRAB RT OR LT SHOULDER WITH ELBOW DOWN / CENTER HIPS ON AGGRESSOR’S TORSO / RT LEG INNER SWEEP / RT KNEE DROP ON ARMPIT

V4 - #22 HIZA USHIRO NAGE – SUTEMI WAZA KNEELOCK REAR THROW HAIR GRAB OR TWO-HAND REAR NECK CHOKE

FALL TO LT / LF BEHIND HIS LF / RF PRESS UP UNDER HIS LT KNEECAP

V7 - #6 HIZA TATAKE KNEE STRIKE ROPE CHOKE FROM BEHIND

FALL TO LT / LF BEHIND HIS LT ANKLE / RF PRESS UP UNDER HIS KNEECAP / AXE KICK GROIN STRIKE

V7 - #11 HIZA TATAKE – HANBO KNEE STRIKE SIDE OR OVERHEAD CLUB STRIKE – ( HE SWINGS HIGH / I STRIKE LOW )

LH BLOCK / RF STRIKE KNEE

723 HIZA MAKIKOMI KNEECAP WINDING THROW FRONT KICK OR ROUND KICK

LT ARM HOOK LEG / RH STRIKE GUT / RT ELBOW TO INSIDE THIGH / FCCW / TAI OTOSHI / GROIN ATTACK

IPPON – ONE POINT – 4 FORMS

34 IPPON SEOL NAGE V1 - #1 ONE-ARM HIP THROW RT PUNCH

FCCW STEP BETWEEN FEET AS RH REACHES UNDER RT ARM TO GRAB RT SHOULDER / BEND AT WAIST WHILE LOOKING LT

33 IPPON OTOSHI – VARIATION OF SODE OTOSHI V2 - #9 ONE-ARM DROP THROW REAR BEAR HUG PINNING ARMS

STOMP / RH GRAB RT SHOULDER / DROP TO RT KNEE / LAPEL CHOKE

34 IPPON SEOL NAGE – VARIATION ONE-ARM HIP THROW – WITH TE NAGE RH CLOTHING GRAB

FCCW STEP BETWEEN FEET AS RH REACHES UNDER RT ARM TO GRAB RT SHOULDER / BEND AT WAIST WHILE LOOKING LT

61 SODE OTOSHI – VARIATION OF IPPON OTOSHI V2 - #9 TWO-ARM SLEEVE HOLD KNEE DROP THROW LOW REAR BEAR HUG PINNING ELBOWS

DROP IN BASE SO LH CAN GRAB RT SLEEVE / FCCW / DOWN ON RT KNEE / RH TSW AS LH BREAK ELBOW BACKWARDS

JUJI – CROSS – 4 FORMS

35 JUJI CROSS-BLOCK (X BLOCK) HIGH OR LOW KNIFE OR CLUB

RH OVER LH / FISTED FOR KICKS / OPEN FOR STRIKES

16 ERI NAGE – JUJI MAKIKOMI V3 - #14 LAPEL WHEEL THROW – CROSS CHOKE WINDING THROW LH LAPEL GRAB AND RT PUNCH

LH GRAB LT LAPEL VERY HIGH / RH GRAB MID-LAPEL / FCCW / DOWN ON LT KNEE

17 GYAKU KARADA JUJI V6 - #5 REVERSE CROSS-BODY PIN LEAP TO LAND ACROSS TORSO

KIAI DURING T / TURN MY HEAD WHILE LIFTING BOTH ARMS DURING OPA

356 JUJI TE HIKI NO NAGE CROSS-BACK HAND PULL SIDE THROW HIT TO STOMACH

JUJI / LH THEN RH C-GRIP WRIST / FCCW TO RT KNEE – LT KNEE OK – TO BRING HIM PAST MY RT SHOULDER / RELEASE MY RH / LH C-GRIP MOVES WCW TO Z-BAR

KAESHI – COUNTER – 3 FORMS

V7 - #24 TE NO MAKI – COUNTER WRIST SNAP WINDING THROW RESIST OF TE NAGE

LH PARRY AND GRAB FOR HAND THROW / RESIST LEADS TO SANKA JO SHOULDERLOCK TAKEDOWN / LH NEVER LETS GO

V7 - #25 HIJI HARAI GOSHI – COUNTER ELBOW ROLL SWEEPING HIP THROW RESIST OF TEKUBI SHIMI WAZA

LH BLOCK PUNCH / RH TSW GRAB / RESIST LEADS TO LH SARA RT ELBOW DURING FCCW HARAI GOSHI OR KOSHI NAGE OR TAI OTOSHI

V7 - #26 OSOTO GARI – COUNTER OUTSIDE SWEEPING THROW RESIST OF KOSHI NAGE

LH BLOCK PUNCH / HEADLOCK KOSHI NAGE RESIST LEADS TO FCW OSOTO GARI / LEGS FIG-4 ARMBAR HIS RT ARM

KAO – FACE – 3 FORMS

36 KAO TATAKE V4 - #18 FACE STRIKE BACK AGAINST WALL WITH LH ON CHEST AND RH KNIFE AT THROAT

HIJI WAZA INTO WALL / PULL HAIR TO GROUND

706 KAO TATAKE USHIRO NAGE FACE ATTACK REAR CHOKING THROW RT PUNCH

LT BLOCK INTO LT FOREARM FACE STRIKE INTO LT SHOULDER GRAB / LT LEG BLOCK HIS LT LEG / FCCW RT HEEL-PALM JAW INTO RH GRAB RT SHOULDER / PULL OUTWARD

63 TAI OTOSHI / KAO TATAKE KNEE DROP THROW REAR RT FOREARM CHOKE WITH BACK ARCHED

LT ELBOW TO SOLAR PLEXUS / RH GRAB RT SHOULDER AS LH GRAB RT SLEEVE / FCCW / RF BLOCK HIS RF AS DOWN ON RT KNEE TO THROW / HEEL PALM CHEEK

KARADA – BODY – 10 FORMS

37 = 45 KARADA YOKO MAKIKOMI / UDE GURUMA V3 - #9 BASIC BODY SIDE WINDING THROW / ARM WRESTLE SIDE CLUB

LH BLOCK AND GRAB SLEEVE / FCCW / RT ARM OVER HIS RT ARM AS RT LEG BLOCKS HIS RT LEG / LEAN FORWARD / KEEP BODY STRAIGHT WHILE TURNING LEFT / ARMBAR WHEN HIS PALM IS UP / SHOULDERLOCK WHEN HIS PALM IS DOWN

49 OSOTO GARI / KARADA TATAKE OUTER REAR SWEEPING THROW / BODY STRIKE RT PUNCH

RT LEG OUTSIDE SWEEP / KNEE DROP ON RIBS

57 SHIOKU WAZA – KARADA MAKIKOMI V2 - #11 NERVE WHEEL THROW – BODY WINDING THROW FRONT BEAR HUG PINNING ARMS

GRAB FLESH AT SIDES OF RIBS / RT STEP / FCCW

37 = 45 KARADA MAKIKOMI – VARIATION V3 - #10 BODY WINDING THROW DOUBLE LAPEL GRAB WITH PUSH AND PULL

RT ARM AROUND AGGRESSOR’S NECK / RT FT BLOCK HIS RT FT / FCCW / LH SHOVE RT ARM TO RT

17 GYAKU KARADA JUJI V6 - #5 REVERSE CROSS-BODY PIN LEAP TO LAND ACROSS TORSO

KIAI DURING T / TURN MY HEAD WHILE LIFTING BOTH ARMS DURING OPA

V8 - #19 KARADA MAKIKOMI BODY WINDING THROW SIDE BASEBALL BAT USING BOTH HANDS

CLOSE QUICKLY / DOUBLE FOREARM BLOCK / RT ARM OVER HIS ARMS AS RF BLOCK HIS RF / FCCW TAKEDOWN

476 HIKI GURUMA WITH KARADA TATAKE PULLING WHEEL THROW WITH STERNUM OR CHEST CRUSH DOUBLE LAPEL GRAB

GRAB HIGH LAPELS / PULL TO ME / PULL RT / PULL LT / RT KNEE CRACK STERNUM

584 HIKI GURUMA WITH KARADA TATAKE PULLING WHEEL W/ SMOTHER CHOKE / VERTEBRAE STRETCH ATTEMPTED WIDE DOUBLE LAPEL GRAB

DOUBLE OUTER FOREARM BLOCK / WHEEL THROW INTO NORTH-SOUTH POSITION / HOLD GRIPS TO SMOTHER CHOKE OR SLIDE UP TO MY RT KNEE / PRESS BACK OF HEAD ON MY CHEST

636 KARADA TATAKE USHIRO NAGE BODY STRIKES INTO REAR THROW ATTEMPTED STRIKE OR CLUB

LT PARRY / RT PUNCH RIBS / RT ELBOW KIDNEY / FISTED ELBOW TO BASE OF SKULL / LH GRAB LT SHOULDER AS RF STRIKE BACK OF KNEE / FCCW

767 KARADA MAKIKOMI WRISTLOCK BODY WINDING THROW KNIFE THRUST

LT STEP FORWARD DURING BLADE AS LH GRAB TOP OF KNIFE HAND / FCCW TE NAGE INTO MAKIKOMI / NO-GO IN DOJO

KIMI NO KATA – FOCUS TECHNIQUE – 3 FORMS

THIS TERM REFERS TO PRACTICING WITHOUT AN UKE, OR AIR JUJITSU. HOWEVER, THROUGH THE YEARS, IT HAS ALSO BEEN USED TO DESCRIBE FAVORITE TECHNIQUES THAT STUDENTS LIKE TO INCLUDE IN BELT LEVEL TESTS.

KIMI NO KATA FOCUS TECHNIQUE – THUMB TIP PRESS VARIATIONS / INDEX KNUCKLE PRESS METACARPAL / WRIST PRESS TAKEDOWN AGGRESSIVE HANDSHAKE

THUMB TIP PRESS INTO TE NAGE, OR LH INDEX FINGER MIDDLE JOINT UNDER MY RH THUMB ON METACARPAL, OR LH C-GRIP RT WRIST / PRESS HAND STRAIGHT DOWN

KINTEKI – GROIN – 21 FORMS

V1 - #2 TE WAZA – TEKUBI SHIMI WAZA – VARIATION HAND TECHNIQUE – WRISTLOCK TAKEDOWN LAPEL GRAB

GROIN KICK / PIVOT FCW AS BOTH THUMBS PRESS BACK OF BENT HAND

52 ASHI TATAKE (ASHI USHIRO NAGE) V1 - #8 LOWER LEG LIFT / GROIN STOMP (FOOT REAR THROW) REAR BEAR HUG PINNING ARMS

STOMP / RT FT SLIDE BACK DIAGONALLY / BEND OVER TO GRAB AND LIFT LEG / STOMP GROIN OR HYPER-EXTEND KNEE

58 SHIOKU ASHI USHIRO NAGE V2 - #5 NERVE ATTACK REAR CIRCLE THROW – REAR LEG LIFT THROW RT SIDE HEADLOCK

LH GRAB BACK OF COLLAR AS RH CUP-CHECK AND GRABS BACK OF RT KNEE / FCCW / RH GROIN GRAB / TWIST / PULL

64 TE NAGE / TE HIJI MAKI V1 - #5 HAND THROW / HAND & ELBOW WIND LAPEL GRAB – V2 -#16 KNIFE / V3 -#4 RH USE OPEN PALM

RT GROIN KICK / PIVOT FCCW AS BOTH THUMBS PRESS BACK OF BENT HAND / RT KNEE PRESS ON ELBOW

68 TE SHIMI WAZA KNUCKLE PRESS TAKEDOWN RH HAIR GRAB FACING AGGRESSOR

INTERLOCKED FINGERS CLAMP AGGRESSOR’S HAND ON MY HEAD / KICK GROIN / STEP BACK

70 TE TATAKE ELBOW TO BACK FIST STRIKE FRONT DOUBLE WRIST GRAB

HE GETS FREE DURING TSW / FCCW LT ELBOW TO CHEST / BACK FIST TO NOSE / RH GROIN GRAB OR STEP AWAY

82 UCHI GARI / KINTEKI TATAKE V4 - #4 INNER REAR SWEEPING THROW RT FRONT KICK

LT ARM HOOK RT LEG / RH GRAB LT SHOULDER / RF INNER SWEEP LT LEG / RT KNEE TO GROIN

94 UDE SHIOKU WAZA ARM NERVE TECHNIQUE DOUBLE LAPEL GRAB / TWO-HAND FRONT CHOKE

FINGER TIPS TO RADIAL NERVES / PULL DOWN / HEAD BUTT OR GROIN KICK OR KNEE TO FACE

99 URA NAGE OR ASHI TATAKE KNEELOCK REAR THROW KICK TO RT SIDE (GROUND)

FOREARMS AND KNEES TO CHEST / RH HOOK FT AT ACHILLES / ROLL RT / RT ELBOW STRIKE TO GROIN OR GUT

103 & 104 URA NAGE KNEELOCK REAR THROW WITH GROIN STRIKES GROUND – STANDING STRADDLE

GRAB ANKLES / ONE OR BOTH LEGS UP AND THROUGH / OR BOTH LEGS MAY COME UP AND AROUND FROM OUTSIDE / HEELS TO GUT / LEGS DOWN / GROIN STRIKES

105 URA NAGE V5 - #4 ANKLE GRAB KNEELOCK REAR THROW WITH GROIN STRIKES V6 - #2 DRAGGED BY ANKLES V6 - #3

SLIDE UP TO GRAB HIS ANKLES / HIS FALL BACKWARD WILL BRING ME UP / GROIN STRIKES

V5 - #3 GYAKU SHIMI WAZA REVERSE PIN TECHNIQUE GROUND – AGGRESSOR ON MY RT SIDE ON HIS RT KNEE – I’M LYING ON MY BACK – FRONT TWO-HAND CHOKE DEFENSE

RH CUP CHECK AS LH TE NAGE / WRIST PRESS

V7 - #6 HIZA TATAKE KNEE STRIKE ROPE CHOKE FROM BEHIND

FALL TO LT / LF BEHIND HIS LT ANKLE / RF PRESS UP UNDER HIS KNEECAP / AXE KICK GROIN STRIKE

V7 - #7 USHIRO NAGE LEG BLOCK REAR THROW ROPE CHOKE WITH LT KNEE IN MY BACK

FCW / RT ARM HOOK LT LEG / HIP THROW / GROIN STRIKE OR KNEE DROP

V7 - #8 USHIRO NAGE LEG LIFT REAR THROW ROPE CHOKE WITH RT KNEE IN MY BACK

FCW / RT ARM HOOK RT LEG / HIP THROW / GROIN GRAB OR GROIN STRIKE OR KNEE DROP

V8 - #9 SHIOKU WAZA CROTCH-LIFT COME-ALONG – DRUNK COME-ALONG RT PUNCH

RH PARRY THROUGH CROTCH / LH GRAB HIS RH FROM BEHIND /RH GRAB HAIR /FCW

747 USHIRO NAGE LEG BLOCK REAR THROW GARROTE REAR CHOKE WITH RIGHT KNEE IN BACK

FCW AS RT ARM HOOK RT LEG AND LH GRAB RT SHOULDER / FCCW / TO RT KNEE / LT FIST STRIKE TO GROIN

748 USHIRO NAGE LEG BLOCK REAR THROW REAR ROPE CHOKE WITH LEFT KNEE IN BACK

FCW AS RT ARM HOOK LT LEG / UCHI GARI / LT FIST STRIKE TO GROIN

723 HIZA MAKIKOMI KNEECAP WINDING THROW FRONT KICK OR ROUND KICK

LT ARM HOOK LEG / RH STRIKE GUT / RT ELBOW TO INSIDE THIGH / FCCW / TAI OTOSHI / GROIN ATTACK

822 UDE SHIOKU WAZA FOREARM NERVE ATTACK LAPEL GRAB AND PULL

TWO-HAND RADIAL NERVE ATTACK PULLING DOWN / STEP FORWARD UNTIL DOWN / KNEE DROP TO GROIN

861 GYAKU SHIOKU GATAME REVERSE HEADLOCK – GUILLOTINE DOUBLE LAPEL GRAB AND PULL

CROSS-LAPEL CHOKE – RH GRAB HIGH AND LH MID /KNEE GROIN / PULL DOWN INTO RT SIDE GUILLOTINE / LIFT UP AND FCCW TO TORK

KOSHI – HIP / LOWER BACK – 7 FORMS

38 KOSHI NAGE / TEKUBI SHIMI WAZA HIP THROW RT PUNCH

FCCW STEP BETWEEN FEET AS RT ARM SLIDES AROUND WAIST TO GRAB BELT / BEND AT WAIST WHILE LOOKING LT / WRISTLOCK LIFT / LT KNEE ON NECK OR HEAD

87 UDE GURUMA KOSHI NAGE V4 - #16 SHOULDERLOCK HIP THROW RH KNIFE SWIPE

BLOCK KNIFE SWIPES 16” APART / WRAP ARM / RT HIP TO BACK OF HIS RT HIP / WRIST PRESS ON GROUND OR WRISTLOCK LIFT / ROLL BACK INTO WRISTLOCK / LEG SCISSOR NECK

102 URA NAGE – USHIRO KOSHI NAGE V4 - #20 DOUBLE SHOULDER GRAB REAR THROW SIDE STEP RT PUNCH DURING PARRY

LH PARRY DURING BIG STEP FORWARD / RH GRAB RT SHOULDER / LH GRAB LT SHOULDER / KOSHI NAGE

88 UDE GURUMA – UDE HIKI OTOSHI V5 - #6 SHOULDERLOCK TAKEDOWN – REVERSAL V5 - #7 ATTEMPTED FIG-4 ARMBAR OFF MY RT PUNCH OR MY RH GRAB HIS LT SHOULDER FROM SIDE OR BEHIND

SLIDE MY RT ARM UP UNTIL MY ELBOW IS ABOVE HIS FOREARM / LH GRAB MY RH / DROP THROW OR HIP THROW OR RT LEG STRAIGHT OUT FOR SUTEMI WAZA

V8 – #20 HIJI WAZA KOSHI NAGE ELBOW ROLL / CROSS-BODY HIP THROW MUGGING ATTACK – RH ON MY MOUTH WITH LH SETTING LT CHICKEN-WING

STOMP / PUSH MY LT FIST DOWN / FCCW INTO ½ ELBOW ROLL INTO HIP THROW / STRAIGHT ARM WRIST PRESS

754 KOSHI NAGE ARMLOCK HIP THROW / DROP THROW RT PUNCH

LH BLOCK OUT AND DOWN OR LH PARRY AND DOWN FOR RH TO GRAB BACK OF RH – THUMB UP / ARMLOCK PROPER HOLD / HIP THROW OR TAI OTOSHI / NO-GO IN DOJO

759 GYAKU KOSHI NAGE REVERSE HIP THROW – DEFENSE AGAINST BUM’S RUSH RH GRAB LT SHOULDER OR BEHIND LT TRICEP FROM SIDE OR REAR

FCCW OR FCW / RT ARM UP AROUND NECK OR ACROSS HIS CHEST FOR RH GRAB UNDER LT ARMPIT AS LH GRAB BACK OF LT OR RT SHOULDER / HIP THROW TO RT ¼ TURN

KUBI – NECK – 10 FORMS

39 KUBI NAGE / HASAMI / KUBI SHIOKU WAZA V2 - #1 NECK THROW RT PUNCH

LH BLOCK / LH GRAB RT SLEEVE AS RH SLAPS NECK / FCCW / LIFT TO KNEE / ARM SCISSOR NECK

40 KUBI SHIOKU WAZA V2 - #2 NECK NERVE ATTACK KNIFE STAB TO CHEST / OVERHEAD KNIFE OR CLUB

LT PARRY / RT ARM UNDER AGGRESSOR’S RT ARM / LH GRAB MY RT FIST / ROLL RT FOREARM ON NECK

98 URA HARAI V4 - #21 OUTSIDE REAR SWEEPING THROW WITH STANDING NECK NERVE ATTACK VARIATION COMBINING BLUE BELT 40 AND YELLOW BELT 49 KNIFE STAB TO CHEST OR OVERHEAD KNIFE OR OVERHEAD CLUB

LH PARRY / RH STANDING NECK SUBMISSION / OSOTO GARI

V7 - #20 KUBI NAGE – YAWARA NECK ATTACK THROW RT PUNCH

SHORT STICK NECK THROW

V8 - #3 KUBI SHIMI WAZA WITH UDE GURUMA HEADLOCK ARMBRACE COME-ALONG – ( COMPARE TO YODAN 795 ) LH GRAB THROAT WITH RT PUNCH

RH PARRY AND GRAB WRIST / LT KNIFE HAND THROAT / LT ARM AROUND FRONT OF NECK / RH STRAIGHT ARM BRACE ACROSS MY CHEST

180 KUBI SHIOKU YOKO NAGE – ATAMA SHIOKU WAZA NECK ATTACK SIDE THROW AND HEAD SCISSOR SUBMISSION STRIKE OR LAPEL GRAB

NECK NERVE ATTACK NECK THROW / HEAD NERVE ATTACK HEAD SCISSOR

388 HIJI TATAKE KUBI NAGE ELBOW STRIKE NECK THROW RH ATTEMPTED LAPEL GRAB

RH ELBOW HEART / FCCW / RH WRAP NECK / KNEELING NECK THROW

758 KUBI SHIMI WAZA NECK CHOKE THROW STRIKE OR HIT

LH BLOCK AS RH GRAB HIGH RT LAPEL / LT FOREARM STRIKE NECK / FCCW

799 KUBI SHIOKU WAZA NECK ATTACK REAR THROW DOUBLE HIT

DOUBLE OUTER FOREARM BLOCK / DOUBLE NECK STRIKE / INDEX AND MIDDLE FINGERS PRESS SIDE NECK NERVES DURING PUSH BACK HARD INTO REAR THROW

733 KUBI SHIMI WAZA HEADLOCK CHOKE WITH OPTIONAL KNEE DROP RT PUNCH

LH BLOCK TO GRAB OR LH PARRY INTO LH SARA RT ARMPIT / KNEE TO GROIN / RT ARM GUILLOTINE / RH GRAB MY LAPEL OR OBI NAGE OR KNEE DROP

MAE – FORWARD – 14 FORMS

PAGE 19 UKEMI – MAE / YOKO / USHIRO FALLS – FORWARD / SIDE / BACK AGGRESSSOR UNBALANCE / TAKEDOWN / THROW

CROUCH WITH PALMS ON MAT / CROUCH WITH ONE LEG STRAIGHT / CROUCH

PAGE 22 UKEMI – MAE / YOKO / USHIRO FALLS – DIVING SHOULDER ROLL / ASSISTED SWEEP SIDE FALL / BRIDGING BACK FALL AGGRESSOR UNBALANCE / TAKEDOWN / THROW

JUMP FORWARD TO ROLL UP ARM AND DIAGONALLY ACROSS BACK / SWEEP STRAIGHT LEG DIAGONALLY IN FRONT OF OTHER LEG TO FALL SIDEWAYS / LAND ON SHOULDERS WITH DOUBLE SLAP AND LOWER BACK RAISED OFF FLOOR

42 MAE YUBI NAGE / YUBI SHIMI WAZA OUTSIDE FORWARD FINGER THROW / FINGER PAIN TECHNIQUE RH HAIR GRAB FROM BEHIND

HANDS CLAMP AGGRESSOR’S HAND TO MY HEAD / FCW / LH GRAB THREE FINGERS / DOWN TO RT KNEE / PRESS PALM TO GROUND TO BEND FINGERS BACK / EXTEND INDEX FINGER TO EXTEND KI

V2 -#15 MAE YUBI NAGE / YUBI SHIMI WAZA INSIDE FORWARD FINGER THROW / FINGER PAIN TECHNIQUE RH HAIR GRAB FROM BEHIND

CLAMP HAND TO MY HEAD / FCCW / RH GRAB THREE FINGERS / LT ELBOW RIBS / DOWN TO RT KNEE / PRESS PALM TO GROUND TO BEND FINGERS BACK / EXTEND INDEX FINGER TO EXTEND KI

V2 - #13 UDE GURUMA MAKIKOMI – GYAKU WAZA MAE MAKIKOMI FORWARD ARMBAR SIDE OR WINDING THROW – TO RT KNEE SIDE CLUB

STANDING FIG-4 ARMBAR / FCCW / DOWN TO RT KNEE

41 MAE USHIRO NAGE V4 - #1 FORWARD REAR THROW LOW PUNCH OR LOW KNIFE

LOW JUJI / PULL ARM UP AS FCW / LH C-GRIP WRIST / REVERSE GOOSENECK INTO BIG CIRCULAR PUSH / DOWN ON RT KNEE

44 MAE YUBI NAGE / V4 - #9 FORWARD FINGER THROW – OUTSIDE FULL NELSON

RH GRAB FINGERS / FCW / LH FINGER THROW

11 & 12 BOKKEN NO TATAKE – MAE NAGE V5 - #10 STICK DEFENSE – FORWARD THROW STICK TIP GUT STAB – LH LEADS

FCW AS RH GRAB DOWN ON STICK FRONT / LH PULL UP STICK BACK / WCW

13 = 46 BOKKEN NO TATAKE – NAKA MAE NAGE V5 -#12 STICK DEFENSE – INSIDE FORWARD THROW STICK TIP GUT STAB – LH LEADS

FCCW AS LH GRABS DOWN ON STICK FRONT / RH WCCW TO WRAP BACK OF STICK AROUND HIS RT WRIST / WCCW

15 BOKKEN TOMOE NAGE – ASHI MAE NAGE V5 - #9 STICK STOMACH THROW – LEG LIFT CIRCLE THROW STICK LENGTH PUSHED TOWARD CHEST

TRAP HANDS ON HANBO / FT TO LOWER GUT WHILE FALLING BACKWARD

43 MAE YUBI NAGE FORWARD FINGER THROW – INSIDE RH GRABS MY LT WRIST

LH WCW AS RH GRAB THREE FINGERS / FCCW / FINGER BRACE SUBMISSION

77 MAE UDE MAKI – SUTEMI WAZA V6 - #12 FORWARD ARM WIND – SACRIFICE TECHNIQUE DOUBLE SHOULDER GRAB FROM BEHIND TO LIFT ME UP

GRAB BOTH WRISTS / FCW / X LT ARM DOWN OVER RT ARM AT ELBOWS / SPLAY WRISTS WITH PALMS DOWN INTO INDEX FINGER BRACE TO EXTEND KI

685 MAE UBE NAGE FORWARD THUMBLOCK THROW AGGRESSIVE HANDSHAKE

THUMB TIP PRESS / KICK GROIN / FCCW UNDER HIS RT ARM

833 UDE TATAKE MAE UBE MAKI ARM STRIKE FORWARD THUMB THROW AGGRESSIVE HANDSHAKE

LH C-GRIP AS RH SLIDE FORWARD TO BRACE HIS THUMB USING THE V BETWEEN MY THUMB AND INDEX FINGER TO DIRECT KI / FCCW UNDER HIS RT ARM / MAE NAGE

MAKI – WIND / TURN – 11 FORMS

7 ATAMA MAKI HEAD WIND TWO-HAND FRONT CHOKE

CROSS HANDS / BEND OVER / HEAD GOES OUT EITHER SIDE

64 TE NAGE / TE HIJI MAKI V1 - #5 HAND THROW / HAND & ELBOW WIND LAPEL GRAB – V2 -#16 KNIFE / V3 -#4 RH USE OPEN PALM

RT GROIN KICK / PIVOT FCCW AS BOTH THUMBS PRESS BACK OF BENT HAND / SLIDE RF UNDER ARMPIT / RT KNEE PRESS ON ELBOW / FCCW

65 TE NAGE / HIJI NO MAKI HAND THROW / ELBOW SNAP SUBMISSION KNIFE AT THROAT WITH BACK AGAINST A WALL

BLADE AS LH GRAB RT WRIST / BODY SLAM INTO WALL / TE NAGE / SLIDE RF UNDER ARMPIT / RT KNEE PRESS ON ELBOW / FCCW / HYPER-EXTEND OR BREAK ELBOW

72 TEKUBI MAKI WITH TEKUBI SHIMI WAZA V4 - #5 WRIST WIND WITH WRIST PAIN TECHNIQUE – WRISTLOCK LIFT COME-ALONG HANDSHAKE BEFORE LT PUNCH

LH C-GRIP / FCCW UNDER HIS ARM / TSW INTO YUBI SHIMI WAZA

1 AGO NO MAKI SHIMI WAZA V6 - #6 CHIN WIND REVERSE PIN LYING ON MY BACK, AGGRESSOR HAS A RT ARM HEADLOCK

RT SIDE HEADLOCK REVERSE / LF HOOK LT KNEE AS LH CHIN TURNS HIM OVER ME INTO LT GUILLOTINE

77 MAE UDE MAKI – SUTEMI WAZA V6 - #12 FORWARD ARM WIND – SACRIFICE TECHNIQUE DOUBLE SHOULDER GRAB FROM BEHIND TO LIFT ME UP

GRAB BOTH WRISTS / FCW / X LT ARM DOWN OVER RT ARM AT ELBOWS / SPLAY WRISTS WITH PALMS DOWN INTO INDEX FINGER BRACE TO EXTEND KI

V7 - #24 TE NO MAKI – COUNTER WRIST SNAP WINDING THROW RESIST OF TE NAGE

LH PARRY AND GRAB FOR HAND THROW / RESIST LEADS TO SANKA JO SHOULDERLOCK TAKEDOWN / LH NEVER LETS GO

491 UDE MAKI ARM WIND LAPEL GRAB

LH GRIP RT WRIST AS RH PULL ELBOW / HIS RT ELBOW ACROSS MY HIGH RT SHIN

806 TEKUBI MAKI WRIST-TURN REVERSE – GROUND DEFENSE KNIFE AT THROAT WITH BLADE TO MY RT – HIS LH PRESS MY RT WRIST

RH SLIDE UP DIAGONALLY AS LH GRAB HIS RT WRIST / ROLL RT / OVER-ARM ARMBAR

826 AGO NO MAKI CHIN-TURN TAKEDOWN FRONT BEAR HUG

DROP IN BASE TO JAMB BOTH THUMBS INTO LATS / RH SARA CHIN AS LH GRAB RT SHOULDER / FCCW TO RT KNEE /SET A FCCW NO-GRIP LT ARMBAR OR FIG-4 ARMBAR

833 UDE TATAKE MAE UBE MAKI ARM STRIKE FORWARD THUMB THROW AGGRESSIVE HANDSHAKE

LH C-GRIP AS RH SLIDE FORWARD TO BRACE HIS THUMB USING THE V BETWEEN MY THUMB AND INDEX FINGER TO DIRECT KI / FCCW UNDER HIS RT ARM / MAE NAGE

MAKIKOMI – WINDING / TURNING– 27 FORMS

8 ATAMA MAKIKOMI V1 - #9 HEAD WINDING THROW – KEY TURN QUICK RT / LT PUNCHES

LH GRAB HAIR ON BACK OF HEAD AS RH CUPS CHIN / FCCW

57 SHIOKU WAZA – KARADA MAKIKOMI V2 - #11 NERVE WHEEL THROW – BODY WINDING THROW FRONT BEAR HUG PINNING ARMS

GRAB FLESH AT SIDES OF RIBS / RT STEP / FCCW

64 TE NAGE / TE HIJI MAKIKOMI V1 - #5 HAND THROW / HAND & ELBOW WIND LAPEL GRAB – V2 -#16 KNIFE / V3 -#4 RH USE OPEN PALM

RT GROIN KICK / PIVOT FCCW AS BOTH THUMBS PRESS BACK OF BENT HAND / SLIDE RF UNDER ARMPIT / RT KNEE PRESS ON ELBOW / FCCW

85 UDE GURUMA MAKIKOMI V2 - #7 ARM WRESTLE WINDING – CORKSCREW OVERHEAD CLUB OR KNIFE

JUJI / WCW ARMS / FCCW

89 UDE GURUMA MAKIKOMI – USHIRO UDE MAKIKOMI / HASAMI V2 - #14 ARMBAR WINDING THROW – SUTEMI WAZA – LT FT BLOCKS RT FT RH GRAB LT SHOULDER FROM REAR OR RT PUNCH W/ OR W/O LH LAPEL GRAB

STANDING FIG-4 ARMBAR / LF BLOCK AGGRESSOR’S RF / FCCW SACRIFICE THROW / MAY BE DONE WITHOUT SUTEMI WAZA / DROP TO MY RT KNEE / LEAN BACK TO NECK SCISSOR USING LEGS

V2 - #13 UDE GURUMA MAKIKOMI – GYAKU WAZA MAE MAKIKOMI FORWARD ARMBAR SIDE OR WINDING THROW – TO RT KNEE SIDE CLUB

STANDING FIG-4 ARMBAR / FCCW / DOWN TO RT KNEE

16 ERI NAGE – JUJI MAKIKOMI V3 - #14 LAPEL WHEEL THROW – CROSS CHOKE WINDING THROW LH LAPEL GRAB AND RT PUNCH

LH GRAB LT LAPEL VERY HIGH / RH GRAB MID-LAPEL / FCCW / DOWN ON LT KNEE

37 = 45 KARADA YOKO MAKIKOMI / UDE GURUMA V3 - #9 BASIC BODY SIDE WINDING THROW / ARM WRESTLE SIDE CLUB

37 = 45 KARADA MAKIKOMI – VARIATION V3 - #10 BODY WINDING THROW DOUBLE LAPEL GRAB WITH PUSH AND PULL

RT ARM AROUND AGGRESSOR’S NECK / RT FT BLOCK HIS RT FT / FCCW / LH SHOVE RT ARM TO RT

77 UBE NAGE MAKIKOMI V3 - #11 THUMB THROW WINDING TWO-HAND CHOKE FROM BEHIND

REACH BACK TO GRAB THUMBS / FCW / CROSS AGGRESSOR’S ARMS AT ELBOWS / FCCW / STOMP HEAD

92 UDE MAKIKOMI V4 - #3 ARM WINDING LOW KNIFE

LT FOREARM BLOCK KNIFE AS RH PRESS DOWN ON RT SHOULDER / WRAP HIS RT ARM BEHIND HIS BACK / TAKE KNIFE / TO GROUND FOR LT KNEE STRIKE

2 ASHI MAKIKOMI V6 - #4 FOOT WINDING THROW – LEG WINDING THROW GROUND – RT FOOT STOMP TO HEAD FROM RT SIDE

FOREARMS COVER FACE / HANDS GRAB HEEL AND TOE TO ROTATE FT WCCW / ROLL RT

3 ASHI MAKIKOMI LEG WINDING THROW RT FRONT KICK

RT ARM HOOK RT KICK / LH GRAB MY RH TO HOLD LEG TIGHT / FCCW / DOWN ON RT KNEE / FOREARM ON ACHILLES

20 GYAKU WAZA MAKIKOMI SENEKA SHIMI WAZA REVERSE WINDING TECHNIQUE LOW OR MID KNIFE THRUST

LH GRAB WRIST INTO OVER-ARM ARMBAR / SHOULDER PIN SUBMISSION

85 UDE GURUMA MAKIKOMI – SUTEMI WAZA V6 - #11 ARMBAR WINDING THROW – SACRIFICE TECHNIQUE – CORKSCREW OVERHEAD CLUB

BRING RT KNEE UP / JUJI / WCW ARMS / FCCW UNDER HIS ARMS / PULL FORWARD

108 YOKO MAKIKOMI SIDE WINDING THROW GRAB BOTH WRISTS

BRING HANDS UP INSIDE INTO C-GRIPS / ROTATE UNDER EITHER ARM TO X

109 YOKO MAKIKOMI SIDE WINDING THROW LAPEL CROSS-CHOKE – RH OVER LH

LH GRAB RT SLEEVE / FCCW WITH MY RT ARM DOWN / TAI OTOSHI / HIJI WAZA TO STOMACH

V7 - #1 HIDARI MAKIKOMI LEFT WINDING – OUTSIDE WINDING TAKEDOWN GUN AT GUT OR CHEST OR FACE

BLADE AS LH GRAB GUN / FCW / OVER-ARM ARMBAR

V7 - #15 TEKUBI MAKIKOMI – HANBO WRISTLOCK WINDING THROW RT PUNCH

LH BLOCK AS RH REACH UNDER TO GRAB STICK TIP / STICK ACROSS THROAT / FCCW

V7 - #23 UDE GURUMA MAKIKOMI – YAWARA FIG-4 ARMBAR WITH NERVE ATTACK RT PUNCH

LH EMPTY BLOCK INTO STANDING ARMBAR DURING NECK THROW

V8 - #5 UDE GURUMA MAKIKOMI ARMBAR WINDING THROW RH GRAB LT SHOULDER FROM REAR AND LT PUNCH AS I FCCW FACE HIM

RH BLOCK PUNCH INTO STANDING ARMBAR / FCW TAKEDOWN / HOLD ARMBAR / RT ACHILLES ON THROAT / OPTION: LEG SCISSOR

V8 - #7 SHIOKU MAKIKOMI HAIR-GRAB WINDING THROW REAR RT FOREARM CHOKE

LT ELBOW TO GUT / RH GRAB HAIR AND LH SARA RT ARMPIT / FCW TAKEDOWN

V8 - #19 KARADA MAKIKOMI BODY WINDING THROW SIDE BASEBALL BAT USING BOTH HANDS

CLOSE QUICKLY / DOUBLE FOREARM BLOCK / RT ARM OVER HIS ARMS AS RF BLOCK HIS RF / FCCW TAKEDOWN

56 NAWA NO UDE MAKIKOMI WINDING ARM THROW WITH ROPE BIND KNIFE THRUST TO STOMACH

RH GRAB KNIFE THRUST HAND WITH MY THUMB DOWN / LT KNIFE HAND SHOULDER / TO GROUND / GRAB LH FINGERS TO SLIP ROPE ON WRIST / ROPE AROUND NECK AND TWICE AROUND RT WRIST / TIE KNOT

723 HIZA MAKIKOMI KNEECAP WINDING THROW FRONT KICK OR ROUND KICK

LT ARM HOOK LEG / RH STRIKE GUT / RT ELBOW TO INSIDE THIGH / FCCW / TAI OTOSHI

767 KARADA MAKIKOMI WRISTLOCK BODY WINDING THROW KNIFE THRUST

LT STEP FORWARD DURING BLADE AS LH GRAB TOP OF KNIFE HAND / FCCW TE NAGE INTO MAKIKOMI / NO-GO IN DOJO

780 HIJI MAKIKOMI ELBOW WIND TAKEDOWN OR FORWARD THROW OVERHEAD CLUB

JUJI OR RT FOREARM PARRY / ½ HIJI WAZA / FCCW UNDER RT ARM / BIG CIRCULAR FORWARD THROW – ACTUALLY A HIJI WAZA INSIDE A CORKSCREW 

MOROTE – DOUBLE / BOTH HANDS – 1 FORM

PAGE 19 TEKUBI HINERI OR MOROTE HINERI / UBE HINERI WRIST TWIST OR DOUBLE WRIST TWIST RELEASE / FINGER PEEL RELEASE WRIST GRAB OR DOUBLE WRIST GRAB / LAPEL GRAB OR FRONT CHOKE

ROLL HAND OR HANDS AGAINST AGGRESSOR’S THUMBS DURING STEP FORWARD / GRAB ONE DIGIT TO PULL

NAKA – INSIDE – 1 FORM

13 = 46 BOKKEN NO TATAKE – NAKA MAE NAGE V5 -#12 STICK DEFENSE – INSIDE FORWARD THROW STICK TIP GUT STAB – LH LEADS

FCCW AS LH GRABS DOWN ON STICK FRONT / RH WCCW TO WRAP BACK OF STICK AROUND HIS RT WRIST / WCCW

NAWA – ROPE – 8 FORMS

V7 - #6 HIZA TATAKE KNEE STRIKE ROPE CHOKE FROM BEHIND

FALL TO LT / LF BEHIND HIS LT ANKLE / RF PRESS UP UNDER HIS KNEECAP

V7 - #7 USHIRO NAGE LEG BLOCK REAR THROW ROPE CHOKE WITH LT KNEE IN MY BACK

FCW / RT ARM HOOK LT LEG / HIP THROW

V7 - #8 USHIRO NAGE LEG LIFT REAR THROW ROPE CHOKE WITH RT KNEE IN MY BACK

FCW / RT ARM HOOK RT LEG / HIP THROW

V7 - #9 TOMOE NAGE STOMACH THROW ROPE CHOKE FROM BEHIND

FCW / BACKHAND RIBS / STOMACH THROW

56 NAWA NO UDE MAKIKOMI WINDING ARM THROW WITH ROPE BIND KNIFE THRUST TO STOMACH

RH GRAB KNIFE THRUST HAND WITH MY THUMB DOWN / LT KNIFE HAND SHOULDER / TO GROUND / GRAB LH FINGERS TO SLIP ROPE ON WRIST / ROPE AROUND NECK AND TWICE AROUND RT WRIST / TIE KNOT

747 USHIRO NAGE LEG BLOCK REAR THROW GARROTE REAR CHOKE WITH RIGHT KNEE IN BACK

FCW AS RT ARM HOOK RT LEG AND LH GRAB RT SHOULDER / FCCW / TO RT KNEE

748 USHIRO NAGE LEG BLOCK REAR THROW REAR ROPE CHOKE WITH LEFT KNEE IN BACK

FCW AS RT ARM HOOK LT LEG / UCHI GARI

746 UDE GURUMA REAR THROW ARMBAR REAR ROPE CHOKE

FCW / BOTH ARMS OVER HIS ARMS / LT FOREARM TO THROAT / FCCW TO RT KNEE TO SET MY RT ARMBAR ON HIS RT ARM / LT ACHILLES PRESS THROAT

NODO – THROAT – 4 FORMS

56 SHIOKU WAZA – NODO NO USHIRO NAGE V1 - #6 NERVE TECHNIQUE – THROAT ATTACK REAR THROW – LARYNX PRESS TWO-HAND FRONT CHOKE

FINGER PRESS JUGULAR NOTCH

V8 - #3 KUBI SHIMI WAZA WITH UDE GURUMA HEADLOCK ARMBRACE COME-ALONG – ( COMPARE TO YODAN 795 ) LH GRAB THROAT WITH RT PUNCH

RH PARRY AND GRAB WRIST / LT KNIFE HAND THROAT / LT ARM AROUND FRONT OF NECK / RH STRAIGHT ARM BRACE ACROSS MY CHEST

758 KUBI SHIMI WAZA NECK CHOKE THROW STRIKE OR HIT

LH BLOCK AS RH GRAB HIGH RT LAPEL / LT FOREARM STRIKE NECK / FCCW

795 SHIMI WAZA HEADLOCK STANDING SUBMISSION – ( COMPARE TO NIDAN V8 -#3 ) HIT OR CLUB OR OVERHEAD KNIFE

RH PARRY AND GRAB /FCW AS LT FOREARM TO THROAT AND AROUND NECK FOR REVERSE GUILLOTINE / RT ARM BRACE ON MY CHEST / LT KNEE BACK STRIKE / RELEASE LT ARM FOR ELBOW STERNUM STRIKE OR RELEASE RT ARM BRACE FOR ELBOW STERNUM STRIKE

OBI – BELT – 2 FORMS

48 OBI NAGE V4 - #8 BELT THROW RT PUNCH

LT BLOCK / RT ELBOW TO HEAD TWICE / GUILLOTINE / BELT THROW

733 KUBI SHIMI WAZA HEADLOCK CHOKE WITH OPTIONAL KNEE DROP RT PUNCH

LH BLOCK TO GRAB OR LH PARRY INTO LH SARA RT ARMPIT / KNEE TO GROIN / RT ARM GUILLOTINE / RH GRAB MY LAPEL OR OBI NAGE OR KNEE DROP

OSOTO GARI – BIG OUTER REAP – 3 FORMS

49 OSOTO GARI / KARADA TATAKE OUTER REAR SWEEPING THROW / BODY STRIKE RT PUNCH

RT LEG OUTSIDE SWEEP / KNEE DROP ON RIBS

V2 - #4 OSOTO GARI – VARIATION OUTER REAP – OUTER REAR SWEEPING THROW LAPEL GRAB AND PULL

LH PULL INNER ELBOW DOWN AS RH PUSH CHIN UP AND BACK / OUTER REAR SWEEP

V7 - #26 OSOTO GARI – COUNTER OUTSIDE SWEEPING THROW RESIST OF KOSHI NAGE

LH BLOCK PUNCH / HEADLOCK KOSHI NAGE RESIST LEADS TO FCW OSOTO GARI / LEGS FIG-4 ARMBAR HIS RT ARM

SENEKA – SHOULDER – 2 FORMS

50 SENEKA HIKI NAGE V4 - #14 SHOULDER PULL THROW – REVERSE FOR IPPON SEOL NAGE IPPON SEOL NAGE OFF MY RT PUNCH

LH GRAB LT SHOULDER / RF STEP AROUND HIS RF / LT FT BLOCK RT FOOT / FCCW / SUTEMI WAZA

20 GYAKU WAZA MAKIKOMI SENEKA SHIMI WAZA REVERSE WINDING TECHNIQUE LOW OR MID KNIFE THRUST

LH GRAB WRIST INTO OVER-ARM ARMBAR / SHOULDER PIN SUBMISSION

SHIMI – PAIN / STRANGULATION – 36 FORMS

38 KOSHI NAGE / TEKUBI SHIMI WAZA HIP THROW RT PUNCH

FCCW STEP BETWEEN FEET AS RT ARM SLIDES AROUND WAIST TO GRAB BELT / BEND AT WAIST WHILE LOOKING LT / WRISTLOCK LIFT / LT KNEE ON NECK OR HEAD

74 TEKUBI SHIMI WAZA V2 -#6 WRISTLOCK PAIN TECHNIQUE / TAKEDOWN LOW KNIFE THRUST

LOW JUJI / PIVOT FCW AS BOTH THUMBS PRESS BACK OF BENT HAND

V1 - #2 TE WAZA – TEKUBI SHIMI WAZA – VARIATION HAND TECHNIQUE – WRISTLOCK TAKEDOWN LAPEL GRAB

GROIN KICK / PIVOT FCW AS BOTH THUMBS PRESS BACK OF BENT HAND

62 TAI OTOSHI / TEKUBI SHIMI WAZA / SHIOKU WAZA V1 - #3 BODY DROP THROW – RH GRAB RT SHOULDER WITH ELBOW DOWN / LT KNEE ON RT BICEP WITH WRIST PRESS RT PUNCH

LT STEP TO AGGRESSOR’S LT AS FCCW RF MOVES IN FRONT OF AGGRESSOR TO STEP OUTSIDE AGGRESSOR’S RT SIDE

V1 - #7 ASHI NO HIKI SHIMI WAZA – ASHI TATAKE / ASHI USHIRO NAGE VARIATION LOWER LEG LIFT THROW PAIN TECHNIQUE – FT STRIKE / FT REAR THROW REAR BEAR HUG PINNING ARMS

STOMP / RF SLIDE BACK DIAGONALLY / BEND OVER TO GRAB AND LIFT LEG / RT LEG FIG-4

54 SHIMI WAZA WITH HIJI TATAKE – AGO/HANA/ATAMA MAKI V1 - #10 PAIN TECHNIQUE WITH ELBOW STRIKE – CHIN/NOSE/HEAD TURN RT SIDE HEADLOCK

CHIN OR NOSE PRESS BY PUSHING / LT ARM GUILLOTINE / RT ELBOW STRIKE BACK

68 TE SHIMI WAZA KNUCKLE PRESS TAKEDOWN RH HAIR GRAB FACING AGGRESSOR

INTERLOCKED FINGERS CLAMP AGGRESSOR’S HAND ON MY HEAD / KICK GROIN / STEP BACK

74 TEKUBI SHIMI WAZA – VARIATION V2 - #6 WRIST PAIN TECHNIQUE – FCW LT STEP OVER ARM FOR ARMBREAK LOW KNIFE THRUST

LOW JUJI / THUMBS TO BACK OF BENT WRIST / FCW / LT STEP OVER ARM

86 UDE GURUMA WITH TEKUBI SHIMI WAZA V2 -#8 SHOULDERLOCK COME-ALONG WITH WRIST PAIN TECHNIQUE AGGRESSIVE HANDSHAKE

LH C-GRIP / FCW 540 DEGREES / LH GRAB AGGRESSOR’S RT ELBOW

84 = 53 UDE GURUMA WITH SHIMI WAZA V3 - #13 ARMLOCK TAKEDOWN WITH NERVE ATTACK LT SIDE HEADLOCK

LH C-GRIP WRIST / RH YANK FINGER(S) / LH CHICKEN WING AS RH PULL COLLAR / RF STRIKE BACK OF KNEE

42 MAE YUBI NAGE / YUBI SHIMI WAZA OUTSIDE FORWARD FINGER THROW / FINGER PAIN TECHNIQUE RH HAIR GRAB FROM BEHIND

HANDS CLAMP AGGRESSOR’S HAND TO MY HEAD / FCW / LH GRAB THREE FINGERS / DOWN TO RT KNEE / PRESS PALM TO GROUND TO BEND FINGERS BACK / EXTEND INDEX FINGER TO EXTEND KI

V2 -#15 MAE YUBI NAGE / YUBI SHIMI WAZA INSIDE FORWARD FINGER THROW / FINGER PAIN TECHNIQUE RH HAIR GRAB FROM BEHIND

CLAMP HAND TO MY HEAD / FCCW / RH GRAB THREE FINGERS / LT ELBOW RIBS / DOWN TO RT KNEE / PRESS PALM TO GROUND TO BEND FINGERS BACK / EXTEND INDEX FINGER TO EXTEND KI

72 TEKUBI MAKI WITH TEKUBI SHIMI WAZA V4 - #5 WRIST WIND WITH WRIST PAIN TECHNIQUE – WRISTLOCK LIFT COME-ALONG HANDSHAKE BEFORE LT PUNCH

LH C-GRIP / FCCW UNDER HIS ARM / TSW INTO YUBI SHIMI WAZA

1 AGO NO MAKI SHIMI WAZA V6 - #6 CHIN WIND REVERSE PIN LYING ON MY BACK, AGGRESSOR HAS A RT ARM HEADLOCK

RT SIDE HEADLOCK REVERSE / LF HOOK LT KNEE AS LH CHIN TURNS HIM OVER ME INTO LT GUILLOTINE

V5 - #3 GYAKU SHIMI WAZA REVERSE PIN TECHNIQUE GROUND – AGGRESSOR ON MY RT SIDE ON HIS RT KNEE – I’M LYING ON MY BACK – FRONT TWO-HAND CHOKE DEFENSE

RH CUP CHECK AS LH TE NAGE / WRIST PRESS

71 TEKUBI SHIMI WAZA WRISTLOCK TECHNIQUE AGGRESSOR SITS ON OR STRADDLES ME / RH OVER LH FRONT CHOKE

LH BEGIN TE NAGE / RH TSW / ROLL RT ONTO HIS ARM

73 TEKUBI SHIMI WAZA – SUTEMI WAZA V6 - #9 WRISTLOCK TAKEDOWN – SACRIFICE TECHNIQUE KNEELING – LH GRABS MY LT WRIST OR BOTH HANDS GRAB MY LT WRIST

WCCW TO OUTSIDE HIS LT WRIST AS RH CLAMPS HIS LH TO MY WRIST / PRESS DOWN / OR BOTH HANDS GRAB MY LT WRIST / WCW TO OUTSIDE HIS RT WRIST AS RH CLAMPS HIS RH TO MY WRIST / PRESS DOWN ( V6 - #9 DEMONSTRATES RH GRABS MY RT WRIST / WCW TO OUTSIDE HIS RT WRIST AS LH CLAMPS HIS RH TO MY WRIST / PRESS DOWN ) THIS TECHNIQUE EASILY BREAKS THE WRIST / MOVE SLOWLY IN DOJO

78 UBE SHIMI WAZA BUTT THRUST – THUMB PAIN TECHNIQUE GROUND – STRADDLES MY GUT WITH BOTH ARMS PINNED ABOVE MY HEAD

SLIDE HANDS DOWN / OPA AS BOTH ARMS SHOVE HIM AWAY

V6 - #1 GYAKU SHIMI WAZA REVERSE PIN TECHNIQUE ON MY BACK – UKE IS ON MY LT – CROSS-CHOKE WITH LH OVER HIS RH

LH TSW AS RH HIJI WAZA / ROLL LT

3 ASHI MAKIKOMI ASHI SHIMI WAZA LEG WINDING THROW RT FRONT KICK

RT ARM HOOK RT KICK / LH GRAB MY RH TO HOLD LEG TIGHT / FCCW / DOWN ON RT KNEE / FOREARM ON ACHILLES

79 UBE SHIMI WAZA THUMBLOCK TAKEDOWN PRONE STICK PUSH

MY THUMBS CLAMP HIS THUMBS TO STICK / BEND WRISTS BACK AND DOWN

80 UBE SHIMI WAZA THUMB ATTACK RT SIDE HEADLOCK

RH GRAB HIS RT THUMB / CHICKEN-WING AND HAIR-GRAB

20 GYAKU WAZA MAKIKOMI SENEKA SHIMI WAZA REVERSE WINDING TECHNIQUE LOW OR MID KNIFE THRUST

LH GRAB WRIST INTO OVER-ARM ARMBAR / SHOULDER PIN SUBMISSION

V7 - #2 YUBI SHIMI WAZA FINGER BRACE TAKEDOWN GUN AT GUT

BLADE AS RH GRAB GUN AS LH ROTATE AIM TOWARD HIM

V7 - #21 TEKUBI SHIMI WAZA – YAWARA WRISTLOCK TAKEDOWN RT PUNCH

LH BLOCK AS RH REACH UNDER TO GRAB STICK TIP / FCCW

V8 - #1 UBE SHIMI WAZA THUMB PRESS TAKEDOWN RH SHIRT GRAB

RH MILK THE RAT – PRESS THUMB TIP TOWARD BASE OF THUMB

V8 - #2 TEKUBI SHIMI WAZA WITH HIJI WAZA WRISTLOCK ELBOW ROLL TAKEDOWN RH SHIRT GRAB

RH TSW AS LH HIJI WAZA

V8 - #3 KUBI SHIMI WAZA WITH UDE GURUMA HEADLOCK ARMBRACE COME-ALONG – ( COMPARE TO YODAN 795 ) LH GRAB THROAT WITH RT PUNCH

RH PARRY AND GRAB WRIST / LT KNIFE HAND THROAT / LT ARM AROUND FRONT OF NECK / RH STRAIGHT ARM BRACE ACROSS MY CHEST

V8 - #6 GYAKU TEKUBI SHIMI WAZA WITH SHIOKU WAZA WRISTLOCK HAIR-GRAB TURNAROUND RT HANDSHAKE WITH LH LOW KNIFE

LH BLOCK KNIFE AND GRAB TOP OF HAND / RF STOMP HIS LF / LH WCCW TO STANDING WRIST PRESS AS RH GRAB HAIR / FCW TAKEDOWN

220 & 266 ATEMI WAZA WITH AGO SHIMI WAZA STRIKING TECHNIQUE WITH CHIN STRETCH RT SHOULDER GRAB FROM BEHIND

FCW / RH BACKHAND RIBS / DOWN TO RT KNEE / STRIKE GROIN / STRIKE EAR / ROLL ONTO STOMACH / GRAB BELT TO HOLD ANKLE IN ARMPIT / GRAB CHIN /FT PRESS BACK

758 KUBI SHIMI WAZA NECK CHOKE THROW STRIKE OR HIT

LH BLOCK AS RH GRAB HIGH RT LAPEL / LT FOREARM STRIKE NECK / FCCW

721 TEKUBI SHIMI WAZA WRISTLOCK / ARMLOCK COME-ALONG AGGRESSIVE HANDSHAKE

LT KNIFE-HAND INNER RT ELBOW / FCCW UNDER HIS RT ARM / PULL HIS TWISTED ARM BACK TO THROW OR CHICKEN-WING – PROPER HOLD

733 KUBI SHIMI WAZA HEADLOCK CHOKE WITH OPTIONAL KNEE DROP RT PUNCH

LH BLOCK TO GRAB OR LH PARRY INTO LH SARA RT ARMPIT / KNEE TO GROIN / RT ARM GUILLOTINE / RH GRAB MY LAPEL OR OBI NAGE OR KNEE DROP

752 YUBI SHIMI WAZA FINGER-BRACE TAKEDOWN DOUBLE WRIST GRAB FROM BEHIND

STEP BACK AND TO HIS LT TO ARC HIS LH OVER MY HEAD / ROLL MY LT WRIST OUTWARD FOR RH TO GRAB HIS LH FINGERS / COME-ALONG OR TAKEDOWN

795 SHIMI WAZA HEADLOCK STANDING SUBMISSION – ( COMPARE TO NIDAN V8 -#3 ) HIT OR CLUB OR OVERHEAD KNIFE

816 HANA SHIMI WAZA NOSE PRESS CLOSE FOOTBALL TACKLE GRABBING AROUND MY WAIST

NEAR-SIDE HAND HOOK NOSE / ROTATE HIS HEAD AGAINST MY BODY DURING LARGE OPPOSITE-DIRECTION PIVOT TO GET HIM AROUND BEHIND ME

SHIOKU – NERVE – 18 FORMS

94 UDE SHIOKU WAZA ARM NERVE TECHNIQUE DOUBLE LAPEL GRAB / TWO-HAND FRONT CHOKE

FINGER TIPS TO RADIAL NERVES / PULL DOWN / HEAD BUTT OR GROIN KICK OR KNEE TO FACE

62 TAI OTOSHI / TEKUBI SHIMI WAZA / SHIOKU WAZA V1 - #3 BODY DROP THROW – RH GRAB RT SHOULDER WITH ELBOW DOWN / LT KNEE ON RT BICEP WITH WRIST PRESS RT PUNCH

LT STEP TO AGGRESSOR’S LT AS FCCW RF MOVES IN FRONT OF AGGRESSOR TO STEP OUTSIDE AGGRESSOR’S RT SIDE

56 SHIOKU WAZA – NODO NO USHIRO NAGE V1 - #6 NERVE TECHNIQUE – THROAT ATTACK REAR THROW – LARYNX PRESS TWO-HAND FRONT CHOKE

FINGER PRESS JUGULAR NOTCH

81 UBE SHIOKU WAZA V1 - #12 THUMB NERVE TECHNIQUE – THUMB TIP PRESS AGGRESSIVE HANDSHAKE

THREE-FER / PRESS DOWN / BACK / OUT

39 KUBI NAGE / HASAMI / KUBI SHIOKU WAZA V2 - #1 NECK THROW RT PUNCH

LH BLOCK / LH GRAB RT SLEEVE AS RH SLAPS NECK / FCCW / LIFT TO KNEE / ARM SCISSOR NECK

40 KUBI SHIOKU WAZA V2 - #2 NECK NERVE ATTACK KNIFE STAB TO CHEST / OVERHEAD KNIFE OR CLUB

LT PARRY / RT ARM UNDER AGGRESSOR’S RT ARM / LH GRAB MY RT FIST / ROLL RT FOREARM ON NECK

57 SHIOKU WAZA – KARADA MAKIKOMI V2 - #11 NERVE WHEEL THROW – BODY WINDING THROW FRONT BEAR HUG PINNING ARMS

GRAB FLESH AT SIDES OF RIBS / RT STEP / FCCW

58 SHIOKU ASHI USHIRO NAGE V2 - #5 NERVE ATTACK REAR CIRCLE THROW – REAR LEG LIFT THROW RT SIDE HEADLOCK

LH GRAB BACK OF COLLAR AS RH CUP-CHECK AND GRABS BACK OF RT KNEE / FCCW / RH GROIN GRAB / TWIST / PULL

98 URA HARAI V4 - #21 OUTSIDE REAR SWEEPING THROW WITH STANDING NECK NERVE ATTACK VARIATION COMBINING BLUE BELT 40 AND YELLOW BELT 49 KNIFE STAB TO CHEST OR OVERHEAD KNIFE OR OVERHEAD CLUB

LH PARRY / RH STANDING NECK SUBMISSION / OSOTO GARI

10 ATEMI SHIOKU WAZA BODY ATTACK LOW OR MID KNIFE THRUST

LH GRAB WRIST / RH CHOP HAND / RT KNEE TO CHEST OR GUT / TE NAGE

V7 - #22 UDE SHIOKU WAZA – YAWARA WRISTLOCK NERVE ATTACK DOUBLE FRONT CHOKE

RH TSW AS LH ARM NERVE ATTACK

V8 - #6 GYAKU TEKUBI SHIMI WAZA WITH SHIOKU WAZA WRISTLOCK HAIR-GRAB TURNAROUND RT HANDSHAKE WITH LH LOW KNIFE

LH BLOCK KNIFE AND GRAB TOP OF HAND / RF STOMP HIS LF / LH WCCW TO STANDING WRIST PRESS AS RH GRAB HAIR / FCW TAKEDOWN

V8 - #7 SHIOKU MAKIKOMI HAIR-GRAB WINDING THROW REAR RT FOREARM CHOKE

LT ELBOW TO GUT / RH GRAB HAIR AND LH SARA RT ARMPIT / FCW TAKEDOWN

V8 - #9 SHIOKU WAZA CROTCH-LIFT COME-ALONG – DRUNK COME-ALONG RT PUNCH

RH PARRY THROUGH CROTCH / LH GRAB HIS RH FROM “BEHIND” /RH GRAB HAIR /FCW

180 KUBI SHIOKU YOKO NAGE – ATAMA SHIOKU WAZA NECK ATTACK SIDE THROW AND HEAD SCISSOR SUBMISSION STRIKE OR LAPEL GRAB

NECK NERVE ATTACK NECK THROW / HEAD NERVE ATTACK HEAD SCISSOR

799 KUBI SHIOKU WAZA NECK ATTACK REAR THROW DOUBLE HIT

DOUBLE OUTER FOREARM BLOCK / DOUBLE NECK STRIKE / INDEX AND MIDDLE FINGERS PRESS SIDE NECK NERVES DURING PUSH BACK HARD INTO REAR THROW

822 UDE SHIOKU WAZA FOREARM NERVE ATTACK LAPEL GRAB AND PULL

TWO-HAND RADIAL NERVE ATTACK PULLING DOWN / STEP FORWARD UNTIL DOWN / KNEE DROP TO GROIN

861 GYAKU SHIOKU GATAME REVERSE HEADLOCK – GUILLOTINE DOUBLE LAPEL GRAB AND PULL

CROSS-LAPEL CHOKE – RH GRAB HIGH AND LH MID /KNEE GROIN / PULL DOWN INTO RT SIDE GUILLOTINE / LIFT UP AND FCCW TO TORQUE

SODE – SLEEVE – 6 FORMS

33 IPPON OTOSHI – VARIATION OF SODE OTOSHI V2 - #9 ONE-ARM DROP THROW REAR BEAR HUG PINNING ARMS

STOMP / RH GRAB RT SHOULDER / DROP TO RT KNEE / LAPEL CHOKE

61 SODE OTOSHI – VARIATION OF IPPON OTOSHI V2 - #9 TWO-ARM SLEEVE HOLD KNEE DROP THROW LOW REAR BEAR HUG PINNING ELBOWS

DROP IN BASE SO LH CAN GRAB RT SLEEVE / FCCW / DOWN ON RT KNEE / RH TSW AS LH BREAK ELBOW BACKWARDS

32 HIKI YOKO NAGE – KATA ERI NAGE V3 - #7 PULLING SIDE THROW – SLEEVE PIVOT THROW – REVERSE FORM THROW DOUBLE RT WRIST GRAB

RT BIG STEP / LH GRAB RT SHOULDER / FCCW / DOWN ON LT KNEE / LT ARMPIT HEADLOCK / LEGS FIG-4 ARMBAR

59 SODE NAGE SLEEVE PULL THROW REVERSAL OF TE NAGE OFF MY LAPEL GRAB

LH GRAB RT SLEEVE / LF BLOCK HIS RT LEG / LF LIFT HIS RT LEG DURING SUTEMI WAZA

60 SODE OTOSHI SLEEVE BODY DROP THROW LAPEL CROSS-CHOKE – LT OVER RT

LH GRAB RT SLEEVE AS RH SARA / TAI OTOSHI / LH BRING HIS RT ARM UNDER HIS CHIN TO CHOKE

787 SODE NAGE SLEEVE PULL THROW / REVERSE FOR A TE NAGE TE NAGE

LH GRAB RT SLEEVE / SUTEMI WAZA / UP TO RT KNEE / LH CHEEK STRIKE / RT ARM SNAKE HIS RT ARM FOR SHOULDERLOCK / LT ACHILLES PRESS THROAT / WET WILLIE?

SUTEMI WAZA – SACRIFICE TECHNIQUE – 12 FORMS