I’ve also added some supplementary commentary. 押忍 — AB
1. 自由な構え: 追い突き
Jiyu na kamae: oi-zuki
From the freestyle kamae and stance drive forward into zenkutsu-dachi (shomen) with seiken oi-zuki. Practice targeting both the jinchu and suigetsu.
2.自由な構え: 逆突き
Jiyu na kamae: gyaku-zuki
From the freestyle kamae and stance drive forward into zenkutsu-dachi (shomen) with seiken gyaku-zuki. Practice targeting both the jinchu and suigetsu. Initially train the right side the practice on the left. Train weaker twice with twice as many repetitions.
Jiyu na kamae: kizami-zuki kara sanbon ren-zuki.
From the freestyle kamae and stance drive forward into zenkutsu-dachi (hanmi) with jodan kizami-zuki targeting the jinchu. Without any pause flow into fumidashi, stepping through with the rear leg, to execute sanbon ren-zuki. This is the classical jodan oi-zuki attacking the jinchu followed by two consecutive middle level thrusts on the spot (chudan gyaku-zuki and chudan maete-zuki). Open the hips to make jun-kaiten then make gyaku-kaiten to make the final thrust into a locked shomen.
4. 自由な構え: 前蹴り蹴上げから横蹴り蹴込み、回し蹴り、後ろ蹴り蹴込み、裏拳横回し打ちそして中段逆突き
Jiyu na kamae: Mae-geri keage kara yoko-geri kekomi, mawashi-geri, ushiro-geri kekomi, uraken yokomawashi uchi soshite chudan gyaku-zuki.
From the freestyle kamae and stance drive forward with mae-geri keage followed by yoko geri-kekomi, mawashi-geri, ushiro-geri kekomi, uraken yokomawashi uchi and gyaku-zuki. Each time kick with the rear leg and practice various targets gedan, chudan and jodan. In all cases the knee must be raised high and aimed through the respective target. Note that the mawashi-geri is the full contact style when you go through the target; thereby, spinning and flowing naturally into the ushiro-geri. Retract the leg and recover into zenkutsu-dachi with uraken yokomawashi uchi targeting the temple and gyaku-zuki to the jinchu.
The karada no buki (weapons of the body) applied are josokutei, sokuto, josokutei, kakato, uraken and seiken. Rather than thinking of this exercise as a literal renzokuwaza for jiyu-kumite, it is simply refining each of the individual keriwaza and using the body ‘ever-more efficiently’.
5. 前屈立ち、下段払い: 上段揚げ受けから中段逆突き、中段外受け、中段逆突き、中段内受け、中段逆突き、下段払い、中段逆突き、手刀中段受け(後屈立ち)そして中段縦四本貫手逆突き(前屈立ち)
Zenkutsu-dachi, Gedan-barai: Jodan age-uke kara chudan gyaku-zuki, chudan soto-uke kara chudan gyaku-zuki, chudan uchi-uke kara chudan gyaku-zuki, gedan-barai, chudan gyaku-zuki, shuto chudan-uke (kokutsu-dachi) soshite chudan tateshihon-nukite chudan gyaku-zuki (zenkutsu-dachi).
From zenkutsu-dachi with gedan-barai (kamae) advance forward with fumidashi with jodan age-uke rotating into hanmi followed by counter-rotating into shomen with chudan gyaku-zuki. Following this by three more advancing steps with soto-uke, uchi-uke and gedan-barai each having a gyaku-zuki behind them. Conclude by advancing into kokutsu-dachi with shuto-uke followed by transferring into zenkutsu-dachi applying nukite. Also practice this sequence rearward and starting from both hidari and migi zenkutsu-dachi for balanced practice. It is essential to not rush each ukewaza but, rather make sure each has full ‘kime’. In this regard, treat each of the five ‘uke’ as attacks. Also pay special attention to exact fumidashi, drive of the rear to sharply rotate the hips and keeping the sokuto of the rear foot pressed onto the floor. Furthermore, it is critical to maintain perfect shisei (posture) and rotate at the correct axis’s. From hanmi to shomen this is from the lead shoulder straight down through the lead hip. And from shomen to hanmi this is from the rear shoulder straight down through the rear hip.
6. 前屈立ち、下段払い: 上段前猿臂から中段縦手刀、中段前猿臂、上段縦猿臂、中段縦手刀、中段縦猿臂、中段横猿臂 (騎馬立ち)、回転しながら上段後ろ猿臂 (前屈立ち)、回りながら下がって横揚げ猿臂 (前屈立ち) そして落とし猿臂 (不動立ち)
Zenkutsu-dachi, Gedan-barai: Jodan mae-enpi kara tate-shuto, chudan mae-enpi, jodan tate-enpi, tate-shuto, chudan tate-enpi, chudan yoko-enpi (kiba-dachi), kaiten-shinagara jodan ushiro-enpi (zenkutsu-dachi), mawari nagara sagatte yoko age-enpi (zenkutsu-dachi) soshite otoshi-enpi (fudo-dachi).
From zenkutsu-dachi with gedan-barai make fumidashi forward with jodan mae-enpi. On the spot execute tateshuto with the rear opposite arm then deliver chudan mae-enpi. Advance again attacking on the other side with jodan tate-enpi. On the spot, again, make tateshuto with the rear opposite arm the deliver chudan tate-enpi. From this position advance and twist into kiba-dachi executing chudan yoko-enpi. Following up by spinning forwards into zenkutsu-dachi with jodan ushiro-enpi. Reverse spin to make yoko age-enpi. Finally advance dropping into fudo-dachi to conclude with otoshi-enpi.
For all elbow strikes the junansei ‘softness’ of the shoulders in coordination with the correct use of the hips is paramount; furthermore, keeping the striking elbows fist at the optimal position, which is usually close to the body. Common targets are the jaw, temple, chin, sternum, and spinal column; however, impacting the opponent's hands, limbs and feet are also standard applications.
7. 前屈立ち、下段払い: 裏拳上段横回し打ちから拳槌中段内回し打ち (騎馬立ち) 、手刀上段外回し打ち (前屈立ち)、回転しながら手刀上段内回し打ちそして背刀上段外回し打ち
Zenkutsu-dachi, Gedan-barai: Uraken jodan yokomawashi uchi kara kentsui chudan uchimawashi uchi (kiba-dachi), shuto jodan sotomawashi uchi (zenkutsu-dachi), kaiten-shinagara shuto jodan uchimawashi uchi soshite haito jodan sotomawashi uchi.
Foundational attacks with uraken, kentsui, shuto and haito—including tenshin—are practiced in this drill. What matters most is expressing full and proper technique and body mechanics in each action. After a rapid uraken with fumidashi, reserve the hips by remaining as long as possible in shomen, before twisting into kiba-dachi with kentsui. On the spot transfer back into zenkutsu-dachi making a large-scale outside roundhouse strike with shuto. Note that kakato-chushin must be fully applied here. Spin to make an inside outward strike with shuto, immediately flowing into haito.
In sum, aim to make each waza finish the opponent.
8. 直突き
Choku-zuki
From tate shuto kamae (in either heiko-dachi or kiba-dachi) practice any form of linear tsuki, singular or ‘renzokuwaza. Also, stationary and/or with any form of footwork. In particular, as always, I’m constantly referencing Asai Sensei’s personal teachings.
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