三本連突 (Sanbon ren-zuki)

Today I’m going to provide a few notes on 三本連突 (Sanbon ren-zuki): 'Triple combination thrust'. I could have wrote a lot more but decided to write off the top of my head; in particular, ‘focusing on what I’d teach someone in a limited time’. 

So, it should be said that this classic Shotokan renzokuwaza is "...the first kihonwaza examined in the IKS (International Karate Shotokan) Shodan Test"; moreover, it is universally practiced by all other Shotokan groups, and at all levels of training. 

In sum, I hope that this article helps you and that I’m looking forward to receiving some feedback! Osu and greetings from a very hot and muggy Oita City, Japan. — André

 

 

三本連突  

 

From hidari zenkutsu-dachi with hidari gedan-barai advance with SANBON REN-ZUKI. The initial jodan oi-zuki targets the jinchu whist the two consecutive chudan-zuki target the suigetsu (when practicing solo, use your own physique as your 'target references'). The trajectory of each tsuki must be as direct as possible by sliding the forearms and elbows tightly on the sides of the body. Quite simply "...The most direct and speedy line is the key". When extending each tsuki: keep the palm side of the fist facing upwards for as long as possible ‘rotating the forearm as a unit’ at the end of your action. Conversely, keep the back of the fist/forearm facing upwards for as long as possible with the hikite arm, before turning it over to the 'palm upward position'. 

The karada no buki for all three tsukiwaza is seiken, which is the fore-knuckles of the index and middle fingers. Be sure to 'maintain proper alignment of the fist, and both radius and ulna bones': via the correct positioning of the wrists and elbow joints. 

Lock fully into shomen on the completion of fumidashi with oi-zuki; then slightly relax/open to make the gyaku-zuki returning to a precise shomen; for the final tsuki utilize a subtle hip vibration within the shomen position greatly relying on ground power. Make sure that all three waza are full and powerful. I am personally strict on this point. If the two chudan-tsuki are not both effective waza—usually due to being rushed—“…they become highly  counterproductive practice”. So I recommend people are very attentive to this point. To be completely direct, "developing weak actions is literally undermining one's effectiveness and making them vulnerable in the face of a serious attack". Therefore, even in kihon and even if the exercise is not directly applicable, still, ALWAYS TRAIN FOR MAXIMUM CAPACITY.

The unsoku of fumidashi requires that one pulls with the sasae-ashi then thrust with it in a single action; therefore, the height of the hips must not change through the motion to maximize a smooth build up and transition of power—optimizing speed by traveling as directly as possible—and maximizing zenkutsu-dachi as an attack. That is, keeping the sasae-ashi bent until the end of the step in order to get the most from the driving straight of the knee (tai no shinshuku), ankle spring. and kakato-chushin. Try not to turn the lead foot outwards when advancing (yes, we all do it sometimes); and, likewise, avoid pushing up with ball of the foot (of the rear leg) to gain forward momentum. Instead, keep the rear foot in a set position (flat). This will reduce telegraphing your movement and avoid a tilting forward of the johanshin, which particularly endangers oneself to linear jodan attacks. Therefore and accordingly, throughout this process maintain an excellent shisei with the feeling of driving your hips through your opponent.

For beginners a ‘crescent-step’ is learned, by moving through heisoku-dachi for making shime with the legs; however, once this is mastered one must replicate the thigh action whilst moving their feet directly (that is, the knees and thighs squeezed, but the feet in a deep heiko-dachi). In addition to this, by the time one reaches Shodan their oi-zuki should very slightly precede the completion of their fumidashi action; thereby, maximizing their mass (weight transfer into the oi-zuki) and velocity (hand speed). 

The hikite is very important. It must be in perfect harmony with each tsukiwaza and be as large scale as possible without going behind one’s back. TO THE LIMIT! It’s positioning must also be optimal for each individual karateka with the correct use of shime; in particular, that of the wakibara, hiji and fist itself. In basic form, use hikite to help 'fire out your waza'. In application "...use the hikite to pull in, off balance, blindside, and 'set the opponent' for a king hit". If you can use hikite practically, you greatly reduce the fine motor skills needed for accuracy (and, yes, knock out ability) in a street fight. And, yes, I have plenty of actual experience in this regard.

Keep in a state of muscular softness to maximize snap and natural energy. Needless to say, this state of relaxation is even more essential for one’s mind and, ultimately, zanshin. Accordingly, make sure that your kokyu is natural and that you remain lowered down into your seika-tanden.

Lastly, like all other techniques and combinations, it is utterly essential to not just practice Sanbon ren-zuki into the air. Practice with full contact on pads, the sandbag, focus mitts, makiwara, and so on; moreover, practice with partner drills and the various forms of kumite. In this way your form will improve, along with your combative functionality. To wrap up, I like practicing Sanbon ren-zuki with all three tsuki being jodan, and in opposite stance of my opponent. Osae-uke checking the opponents guard with an immediate oi-zuki with the opposite fist is very hard to defend against if the maai is close and one attacks with ferocity. There is no reason for me to address the second and third tsuki, but, rather, "...keep in mind what Kihon is for".

© Andre Bertel. Oita City, Japan (2022).