To Ya Ma

Wearing a Katana (Taitō) 帯刀
The katana goes between the first and second layer of the obi. The left thumb is
used to open up the obi. The katana is slipped into and obi and goes above one of
the front straps of the hakama. This is the strap that was tied in the back. The ha
(edge) should be up. The sageo is looped up under the hakama straps on the right
side. The loose end then goes through the first loop forming a second loop. The
second loop is pulled to tighten the knot. It is important to face forward and keep
alert when putting the katana and tying the sageo. The student should be mentally
preparing for class and looking down would invite attack.
* One layer of obi is left between the keikogi and katana. The katana goes
between the first and second layer of the obi. The left thumb is used to open up the
obi.
* The katana goes above one of the front straps of the hakama. This is the strap
that was tied in the back.
* If the front straps were too short to be tied correctly, the katana goes under all
the straps.
* The edge of the katana should be up.
* The saya kurikata (knob on the saya where the sageo is tied) should be just
above the obi.
* The sageo is looped up under the hakama straps on the right side.
* The loose end then goes through the first loop forming a second loop.
* The second loop is pulled to tighten the knot.
Wearing Daishō (Taidaishō) 帯大小
How the katana and wakizashi are worn varies depending on the style of
swordsmanship practiced. The following defines the proper way they should be worn
in the Konjaku Kioi Toyama Ryu Dojo. The obi should be long enough to wrap around
three times. Both the wakizashi and katana are put in the obi on the left side.
* The wakizashi is slipped in under all three layers of the obi.

* The tsuba of the wakizashi should be in front of the navel.
* The edge should be up.
* No sageo cord is used on the wakizashi. A sageo may be tied onto the saya.
* One layer of obi is left between the wakizashi and katana. The katana goes
between the first and second layer of the obi. The left thumb is used to open up the
obi.
* The katana goes above one of the front straps of the hakama. This is the strap
that was tied in the back. If the front straps were too short to be tied correctly, the
katana goes under all the straps.
* The edge of the katana should be up. The saya kurikata (knob on the saya where
the sageo is tied) should be just above the obi.
* The sageo is looped up under the hakama straps on the right side.
* The loose end then goes through the first loop forming a second loop.
* The second loop is pulled to tighten the knot.
* The katana is held by the saya (scabbard) with the left hand and the thumb holds
the tsuba (guard) in place.
Drawing / Guard (Battō / Seigan) 抜刀 / 青眼
The katana should be drawn with a consistent and smooth motion while stepping into
a guard stance. The drawing the sword (Battō) should be a fluid motion that will
allow it's immediate use. The standard guard stance (Seigan) is a versatile position
suitable for both attack and defense.
* Push the katana out with the left thumb

* Do not let the fingers of the right hand go too far around the tsuka
* Make sure you can clear obi
* Make sure you perform sayabiki (drawing saya from sword)
* Kissaki should go up and forward in a cutting arch after leaving saya
* Left hand should meet the katana as it reaches Seigan (guard position)
* Kissaki should be level with throat (pointed towards opponents eyes)
* Hands should be still and not adjusting grip after reaching seigon
Griping the Katana (Chakin Shibori) 茶巾絞り
Proper grip is essential for good swordsmanship. Toyama Ryu uses a very strong grip
that keeps control of the katana even when doing tameshigiri (test cutting) of hard
targets. The student should strive to get a proper grip every time the katana is
drawn.
* Right hand should touch tsuba

* Left hand should be even with kashira (end-cap)
* Last two fingers on left hand should straddle the knot in the tsuka ito (handle
wrap).
* The two bones in the wrist should be parallel to the tsuka and pointing towards
the top of the tsuka
* Pinch with the thumbs and grip with the fingers
* Longer handles are easier to control – but harder to use, especially if you carry a
wakizashi
* Handle size should be – 1/3 of sword from habaki
Stance (Iaigoshi) 居合い腰
A solid low stance is important to stability. If the stance is too low, it is not mobile
enough. If the stance is too high it becomes unstable. Every step should end in the
proper stance.
* Feet shoulder width apart

* Step forward with right foot and backwards with left foot to keep position
* Keep the front and back feet about one foot (your foot) apart
* Flat straight back
* Stomach not out (do not arch back)
* Keep the shoulders down and back
* Balance on toes
* 70% of weight on forward leg
* Forward knee bent until toes not visible
* Rear leg straight but not locked
* Heal not locked on floor
* Heals not pointed in (feet pointed forward)
Sheathing (Chiburi / Nōtō) 血振り /納刀
Chiburi (flinging blood from the blade) and Nōtō (sheathing the sword)
must be performed while keeping focusing attention on one's
surroundings. This must be done with focus and control.
* Start in Seigan no Kamae (standard guard stance)

* While performing the Chiburi, the left hand is simultaneously
dropped to the saya under the obi.
* The kissaki is rotated counter-clockwise until horizontal and a
sharp cutting motion is made to the right. This motion is intended to
shake and blood or debris from the blade.
* The kissaki should end directly in front of the right knee at a
height of mid thigh.
* The katana and right arm should be at the same angle.
* The right arm should be bent slightly.
* The left hand is slid up the saya making sure the kurikata (sageo
hook on saya) is outward.
* The left hand grasps saya a finger width above the koiguchi (saya
mouth).
* The katana is brought up to a horizontal position and rotated
around the body.
* The blade should be edge up when it is placed on the left hand
near the tsuba.
* The tsuka (handle) is pushed forward sliding the mune (back of
blade) on the left hand.
* The saya should be pulled back with the left hand while the right
hand pushes the katana forward.
* The saya is rotated to match the blade when the kissaki (sword
tip) reaches the koiguchi (saya mouth).
* The blade should be slid into the saya on the mune without
scraping the sides of the saya.
* When 3 ½ to 4 inches left of blade, the left foot should come up
at the same time to finish together.
* The thumb of the left hand is used to hold the tsuba to keep the
katana secure.
* The right hand should check the integrity of the tsuka by moving
to the kashira (pommel cap).
Footwork (Ashisabaki) 足捌き
An important aspects of Japanese swordsmanship is proper footwork

(Ashisabaki). Stability and mobility are the key to proper footwork.
A stance that is too low and wide is stable but lacks mobility. A
stance that is too high is mobile but very unstable. Each step should
begin and end with a good stance.
Sliding Step (Suriashi) 摺足
Almost all footwork makes use of the sliding step (Suriashi). The toes
of the feet always slide on the floor without lifting up. This is done
to keep stability and provides and allows any obstacles to be felt
without looking down.
Walking Step (Ayumiashi) 歩み足
The walking step (Ayumiashi) is the most common step in Toyama Ryu. It
is similar to normal walking but uses the Sliding Step (Suriashi) and
the feet move in parallel tracks. Each step blends with the next
providing steady movement either forward and backwards.
* Each step should end in a proper stance with either the right or
left foot forward
* 70% to 80% of weight on the forward foot
* Shift weight off of foot that will move
* Keep feet moving in straight line (no crescent stepping)
* Keep head at same level (height above ground)
* Keep the back straight
* Keep the shoulders back
* Keep heels from raising too far
* Keep heels from thumping down on the floor
* Keep the head and shoulders from weaving back and forth
* Slide feet with toes never leaving the floor
Shuffle Step (Okuriashi) 送り足
The shuffle step (Okuriashi) is used in some kata and kumitachi. Each
step ends with the right foot forward and the feet in the same relative
position. The normal stance is shortened to allow larger movement. It
is used for going forward, backwards, and to either side. It is used
extensively in kendo and less in iaido / battodo.
* Each step should end in a proper stance with the right foot
forward
* Weight balanced between feet
* Shift weight off of foot that will move
* Keep feet moving in straight line (no crescent stepping)
* Keep head at same level (height above ground)
* Keep the back straight
* Keep the shoulders back
* Keep heels from raising too far
* Keep heels from thumping down on the floor
* Keep the head and shoulders from weaving back and forth
* Slide feet with toes never leaving the floor
Following Step (Tsugiashi) 継ぎ足
The following step (Tsugiashi) is a longer shuffle step (Okuriashi)

used for extended attacking / evading movements. The back foot can be
brought forward to narrow the initial stance to allow a longer step.
The forward foot is pushed forward to make an extra long step and the
rear foot slides forward immediately afterwards to get back into a
normal stance.
Sidestep (Hirakiashi) 開き足
The sidestep (Hirakiashi) is a diagonal step allowing you to move out

of the path of an attack and change direction. Two different versions
are used for Toyama Ryu Yohon Me (step to the right) and Rappon Me
(step to the left).
Stomping Step (Fumikomiashi) 踏み込み足
The Stomping Step (Fumikomiashi) is often used when making a lunging

attack (Tsuki). It is used for Toyama Ryu Nanahon Me for the third
attack.
Postures (Kamae) 構え
Kamae are standard guard positions / stances. It is important to keep

proper attitude and focus while practicing kamae. They are constantly
used in the Toyama Ryu kata and kumitachi.
Chūdan no Kamae 中段の構え
Chudan no Kamae is the middle guard posture with kissaki level with
throat. Arms are held forward with a slight bend at the elbow. This
is the most common kamae (posture). It is a balance of attack and
defense and the most versatile of the kamae.
* Balance of attack and defense

* Right foot is forward
* Katana held directly in-front of the body
* Kissaki at throat level
* Left hand level with the navel
* Arms held forward
* Katana pushed out to maximize reach
* Slight bend in elbows without locking joints
* Balance on toes
Seigan no Kamae 正眼の構え
Seigan Kamae is a middle guard with point of sword pointed at the

opponent’s eyes. The arms are held forward with only a slight bend at
the elbow. This is a variation of Chudan no Kamae.
* Balance of attack and defense

* Katana held directly in-front of the body
* Kissaki pointed at opponents eyes
* Left hand level with the navel
* Arms held forward
* Katana pushed out to maximize reach
* Slight bend in elbows without locking joints
* Balance on toes
Jōdan no Kamae 上段の構え

Jōdan no Kamae is a upper guard posture with point of sword pointed up
and back. The hands are over the head with the Kashira in the edge of
the peripheral vision. This is a very aggressive offensive posture
designed to intimidate. It is used in Toyama kata nanahon me and
kumitachi happon me.
* Aggressive attack posture

* Katana angled back with monouchi at 45 degrees
* Hands above head
* Kashira about 4 to 6 inches above forehead
* Elbows rotated out
* Balance on toes
Migi Jōdan no kamae 右上段の構え
Overhead kamae, right foot forward, sword at 45 degree angle, left hand
one fist from the forehead. This is a very aggressive offensive
posture designed to intimidate.

* Left foot is forward
* Hands above head
* Balance on toes
Hidari Jōdan no kamae 左上段の構え
Overhead kamae, left foot forward, sword at 45 degree angle, left hand
one fist from the forehead. The left hand is positioned above the left
eye, so the tip is slightly to the right, behind the head. This is a
very aggressive offensive posture designed to intimidate.
* Left hand positioned above the left eye
* Right hand positioned directly above the head
* Balance on toes
Wakigamae 脇構え
Waki no Kamae is a side guard posture with the katana held low at the
side with the edge forward. The body is turned at about 45 degrees and
the left hand should be in-front of the navel. The length and edge
orientation of the katana is hidden from the opponent.
Gedan no Kamae 下段の構え
Gedan no Kamae is a low guard posture with point of sword held at about
knee level. It is a defensive position good for deflecting attacks and
creating openings. The focus should be on creating a counter-attack.
Hassō no Kamae 八双の構え
Hasso no Kamae is a high guard posture with the katana pointed upwards,
the edge forward, and the guard level with the ear. The body is turned
at about 45 degrees and the arms should be held in a relaxed position
with the elbows pointed slightly downward. This is an offensive
position good for a quick attack. Used in Toyama Ryu Kumitachi Gohon
Me.
Kamae Toku 構え解く
Kamae with lowered, slightly turned sword (of conquered opponent).

Similar to Gedan no Kamae. Used at the end of Toyama Ryu Kumitachi.
Basic Cuts
The 8 basics cuts are performed as part of the warm-up exercises at the
beginning of each class. Each cut is repeated ten times. Maintaining
proper form is very important. You can find details on the basic cuts
at Toyama Ryu Kihongiri.
1.
Jōdan: High vertical cut - right hand ends level with shoulder
2.
Chudan: Middle vertical cut - kissaki ends level with throat
3.
Gedon: Low vertical cut - kissaki ends level with knee
4.
Hidari Kesa: Falling diagonal cut to the left
5.
Migi Kesa: Falling diagonal cut to the right
6.
Migi Kesa Gyaku Kesa: Falling diagonal cut to the right followed
by reverse diagonal cut
7.
Hidari Kesa Gyaku Kesa: Falling diagonal cut to the left

followed by reverse diagonal cut
8.
Suihei: Level horizontal cut going from left to right and then
reversing and cutting from right to left.
Toyama Ryu Kata 戸山流形
The eight Toyama Ryu kata were adapted from the original training kata from the
Toyama Military Academy. Kata teach the student how to move, draw, defend, and
attack efficiently. They present scenarios where the enemy attacks from different
directions and instructs the student how to deal with the situation. They are the
main training tool for Japanese Swordsmanship. You can find details of the kata at
Toyama Ryu Kata.
Each of the kata teaches different lessons. It is important to know the purpose of
each detailed movement, but it may take the student time to understand the
nuances. Basic movement must be learned first. It is through the understanding of
the subtle details that we reach a true understanding of our art. There are lessons to
be learned the first time a kata is done, and still lessons to be learned after doing
that kata hundreds or even thousands of times. It is not about the memorization of
many kata, it is about the true understanding of a few.
1. Ippon Me (一本目) Mea No Teki (前の敵) Enemy to the front

Toyama Ryu Kata - Ippon Me (#1)
Ippon Me (一本目) Mea No Teki (前の敵)
#1 Enemy to the front

Stand with both feet even and the hands down at the sides and slightly
forward. The knees should be slightly bent, the back straight, and the
body relaxed. As the right foot comes forward, the right hand should
move the grasp the tsuka (handle) and the left hand should move to the
top of the saya. The katana should be loosened from the saya by
pushing on the tsuba with the thumb of the left hand. At the end of
the first step the katana should be about halfway from the saya. Step
forward with the left foot while performing Batto Gyaku Kesa Giri
(upward diagonal cut to the right made as the katana leaves the
scabbard). Make sure to Saya Biki (draw scabbard from sword) and fully
draw the katana before making the cut. Step forward with the right
foot while stepping under the katana as it rotates to the rear. Hidari
Kesa Giri (downward diagonal cut to the left) to the neck. Shuffle
step forward as the katana is raised into Chudan no Kamae (middle guard
with point of sword level with throat).
Chuburi (fling blood off of sword) finishing with kissaki (sword point)
in front of right knee and the left hand at the obi over the saya. The
kissaki should be at a height between the knee and the waist. Bring
the left hand to the koiguchi (mouth of scabbard) and position the saya
(scabbard) for the noto. Begin the noto by bringing the habaki (blade
collar) to the koiguchi (mouth of scabbard) with the blade held
horizontal. Push the katana forward running the mune (back of sword)
on the left hand at the koiguchi (mouth of scabbard). Let the kissaki
(sword point) drop in the saya (scabbard) and snap the saya forward to
align it to the mune (back) of the katana. The katana is slipped
slowly into the saya keeping the mune pressed against the saya. Bring
the left foot forward making it even with the right foot as the katana
is seated in the saya. The left hand is left at the top of the saya
(scabbard) with the thumb holding the tsuba (guard) to keep the katana
in place. Run the right hand along the top of the tsuka (sword handle)
and then place it back on the right thigh. Take five steps back to the
starting position. Move the left hand back down to the original
position.
* Basic-pull back saya

* Make sure you put hand on obi-kurikata check (on chiburi)
* You are cutting back of arm
* Make sure cuts are nice and big (don’t just place sword where it
is going)
* Final kesa ends at knee
* No load for cuts
2. Nihon Me (二本目) Migi No Teki (右の敵) Enemy to the right

Toyama Ryu Kata - Nihon Me (#2)
Nihon Me (二本目) Migi No Teki (右の敵)
#2 Enemy to the right
Change to starting position of kata by turning and stepping backwards

to the right with the right foot. Take two more steps ending with both
feet together. When moving, the left hand should move to the top of
the saya (scabbard) with the thumb holding the tsuba (guard) to keep
the katana in place. The thumb should be offset from the ha (edge).
Stand relaxed with both feet even and the hands down at the sides and
slightly forward. The knees should be slightly bent.
The enemy is to the right. As the right foot comes forward, the right
hand should move the grasp the tsuka (handle) and the left hand should
move to the top of the saya. The katana should be loosened from the
saya by pushing on the tsuba with the thumb of the left hand, but the
katana should not be drawn. The head should turn to track the opponent
at the end of the first step. The second step with the left leg should
cross to the right and the foot should be at 45 degrees. The sword and
hands should not change for this step. A Batto Suihei (horizontal cut
to the right made as the katana leaves the saya) is executed on the
third step as the body is turned towards the opponent. The katana is
raised overhead on the fourth step and a Migi kesa (downward diagonal
cut to the right) is made. The right foot is brought forward as the
katana is raised into Chudan no Kamae (middle guard with point of sword
level with throat).
position.
* Always stop in front of belly button
3. Sambon Me (三本目) Hidari No Teki (左の敵) Enemy to the left

Toyama Ryu Kata - Sambon Me (#3)
Sambon Me (三本目) Hidari No Teki (左の敵)
#3 Enemy to the left
Change to starting position of kata by turning and stepping backwards to the left with
the left foot. Take two more steps ending with both feet together. When moving, the
left hand should move to the top of the saya (scabbard) with the thumb holding the
tsuba (guard) to keep the katana in place. The thumb should be offset from the ha
(edge). Stand relaxed with both feet even and the hands down at the sides and
slightly forward. The knees should be slightly bent.
The enemy is to the left. As the right foot comes forward for the first step, the right
hand should move the grasp the tsuka (handle) and the left hand should move to the
top of the saya. The katana should be loosened from the saya by pushing on the
tsuba with the thumb of the left hand, but the katana should not be drawn. The head
should turn to track the opponent at the end of the first step. The second step is
taken without performing any other action. The katana is drawn on the third step as
the body is rotated 45 degrees towards the opponent. During this step it is
important to place the right foot so the proper stance will be achieved after the turn.
The right hand should be at the hip and the katana should be inclined upwards with
the blade horizontal and the edge to the right. A tsuki (thrust) is executed with the
katana left horizontal so it will slip between the ribs. The target of the tsuki is the
heart and the body is rotated at the beginning of the tsuki to provide more energy.
The katana is pulled back out following the same angle of the tsuki. An overhead
block is then performed. The kissaki (sword tip) is rotated up at the beginning of the
block. The block should be performed so that the katana is left above and slightly
forward of the head with the right hand to the right of the head. Step back with the
left foot while bringing the katana into an overhead position. Execute a Hidari Kesa
Giri (downward diagonal cut to the left). Shuffle step forward as the katana is raised
into Chudan no Kamae (middle guard with point of sword level with throat).
Chuburi (fling blood off of sword) finishing with kissaki (sword point) in front of right
knee and the left hand at the obi over the saya. The kissaki should be at a height
between the knee and the waist. Bring the left hand to the koiguchi (mouth of
scabbard) and position the saya (scabbard) for the noto. Begin the noto by bringing
the habaki (blade collar) to the koiguchi (mouth of scabbard) with the blade held
horizontal. Push the katana forward running the mune (back of sword) on the left
hand at the koiguchi (mouth of scabbard). Let the kissaki (sword point) drop in the
saya (scabbard) and snap the saya forward to align it to the mune (back) of the
katana. The katana is slipped slowly into the saya keeping the mune pressed against
the saya. Bring the left foot forward making it even with the right foot as the katana
is seated in the saya. The left hand is left at the top of the saya (scabbard) with the
thumb holding the tsuba (guard) to keep the katana in place. Run the right hand
along the top of the tsuka (sword handle) and then place both hands to the original
starting position.
* IMPORTANT stabbing into solar plexus (heart)

* Opponent if always same height as you
* Target is the heart
* Make sure hibaki is overhead – no enough power to hold block – block right
above hibaki.
* Block is always nice and strong
* Blade is always flat on stab (to go between rib cage)
* Make sure blade is up-away from head-use side of blade to block
* Don’t drop back leg too far back-always check for proper stance
* Back leg should be 1 ½ foot back (the size of your own foot) and same distance
apart as shoulders
4. Yonhon Me (四本目) Ushiro No Teki (後の敵) Enemy to the rear
Toyama Ryu Kata - Yonhon Me (#4)
Yonhon Me (四本目) Ushiro No Teki (後の敵)
#4 Enemy to the rear
Change to starting position of kata by stepping forward four steps

ending with the feet together. Move the right foot back and to the
left. Rotate to the rear on the balls feet and pull the right foot
back to be even with the left. When moving, the left hand should move
to the top of the saya (scabbard) with the thumb holding the tsuba
(guard) to keep the katana in place. The thumb should be offset from
the ha (edge). Stand relaxed with both feet even and the hands down at
the sides and slightly forward. The knees should be slightly bent.
The enemy is behind you. As the right foot comes forward for the first
step, the right hand should move the grasp the tsuka (handle) and the
left hand should move to the top of the saya. The katana should be
loosened from the saya by pushing on the tsuba with the thumb of the
left hand, but the katana should not be drawn. The head should rotate
to the right to see the enemy. Turn to face the opponent on the second
step. The katana is drawn to an overhead position while turning. The
left hand is left on the saya. Execute a one handed Migi Kesa
(downward diagonal cut to the right) while stepping backwards with the
right foot. Bring the sword overhead with a large circular motion
while stepping backwards with the left foot and execute a Hidari Kesa
(downward diagonal cut to the left). Shuffle step forward as the
katana is raised into Chudan no Kamae (middle guard with point of sword
level with throat).
and then place it back on the right thigh. Take three steps back to
the starting position. Move the left hand back down to the original
position.
* Batto, turn, cut

* Kisaki not beyond outside of foot or inside of foot (always stop
over big toe)
* Cut to knee height
* Cut inside frame of body
5. Gohon Me (五本目) Chokuzen No Teki (直前の敵) Enemies just in

front
Toyama Ryu Kata - Gohon Me (#5)
Gohon Me (五本目) Chokuzen No Teki (直前の敵)
#5 Enemies just in front

body relaxed. The katana should be loosened from the saya by pushing
on the tsuba with the thumb of the left hand. The sword is drawn and
placed in Jōdan no Kamae (Upper guard with point of sword pointed up
and slightly back). The left hand is left on the saya.
Three steps are made with a Hidari Kesa (downward diagonal cut to the
left) being executed on the third. The left hand is raised to grasp
the tsuka (handle) as the steps are being made. The kissaki should not
drop down before the cut is executed. The katana is raised back
overhead and a Migi Kesa (downward diagonal cut to the right) is
executed on the fourth step. The katana is raised back overhead and a
Hidari Kesa (downward diagonal cut to the left) is executed on the
fifth step. Shuffle step forward as the katana is raised into Chudan
no Kamae (middle guard with point of sword level with throat).
and then place it back on the right thigh. Take seven steps back to
the starting position. Move the left hand back down to the original
position.
* Different rhythm (for higher rank)

* 1-2-3
* 1,2-3
* 1,2,3
6. Roppon Me (六本目) Ushiro Mae No Teki (後前の敵) Enemies to

rear and front
Toyama Ryu Kata - Roppon Me (#6)
Roppon Me (六本目) Ushiro Mae No Teki (後前の敵)
#6 Enemies to rear and front
Stand with both feet even and the hands down at the sides and slightly forward. The
knees should be slightly bent, the back straight, and the body relaxed. There are
enemies to the front and rear. As the right foot comes forward for the first step, the
right hand should move the grasp the tsuka (handle) and the left hand should move
to the top of the saya. The katana should be loosened from the saya by pushing on
the tsuba with the thumb of the left hand, but the katana should not be drawn. The
head is rotated to left to see the enemy to the rear on the second step. The right
foot crosses to the left on the third step. The katana is drawn while turning to the
rear and an overhead block is performed. The kissaki (sword tip) is rotated up at the
beginning of the block. The block should be performed so that the katana is left
above and slightly forward of the head with the right hand to the right of the head. A
step to the rear with the left foot is made while bringing the left hand to the tsuka
(handle) and rotating the kissaki (sword tip) to the rear. The left foot should be
placed to the right with the legs crossed. A Hidari Kesa (downward diagonal cut to
the left) is then performed. The body is rotated around to face the other opponent
while bringing the katana back to an overhead position. A Gedon Giri (Low vertical
cut with the kissaki ending level with knee) is then performed. The right foot is
brought forward as the katana is raised into Chudan no Kamae (middle guard with
point of sword level with throat).
along the top of the tsuka (sword handle) and then place it back on the right thigh.
Take six steps back to the starting position. Move the left hand back down to the
original position.
* Make proper step over-far enough to have right foot back in correct place without
needing to correct
* One enemy in front and back – make sure you stay in proper space.
* If offline OK-opponent will still go for head
* Make sure you make block and cut-not just place sword
* The 2nd step is half way back
* The 3rd step is ¾ back for proper stance in cut
7. Nanahon Me (七本目) Hidari Migi Mae No Teki (左右前の敵)

Enemies left, right, and front
Toyama Ryu Kata - Nanahon Me (#7)
Nanahon Me (七本目) Hidari Migi Mae No Teki (左右前の敵)
#7 Enemies left, right, and front
body relaxed. There are three enemies to the front. One is on the
right, one on the left, and one in the center. As the right foot comes
forward for the first step, the right hand should move the grasp the
tsuka (handle) and the left hand should move to the top of the saya.
The katana should be loosened from the saya by pushing on the tsuba
with the thumb of the left hand. The katana should be drawn to an
overhead position by the end of the second step. The left hand is left
on the saya. The first opponent is 45 degrees to the right. The body
is turn to that opponent and a one handed Migi Kesa (downward diagonal
cut to the right) is performed. The next opponent is now directly to
the left. A step is made in the original direction of the kata while
bringing the katana to an overhead position. The body should now be
turned towards the second opponent 45 degrees to the left of the
original path. A Hidari Kesa (downward diagonal cut to the left) is
then performed. The body is rotated back to the original direction as
the katana is raised into Chudan no Kamae (middle guard with point of
sword level with throat). A Tsuki (thrust) is performed while stepping
with the right foot. The right foot was already forward and this is a
longer shuffle step with the left foot being dragged forward after the
right foot is planted to regain proper stance. The katana is pulled
back and down while shuffle stepping back with the left foot. Step
forward with the left foot while raising the katana to Jōdan no Kamae
(Upper guard with point of sword pointed up and slightly back). Step
back with the left foot while lowering the katana to Chudan no Kamae
(middle guard with point of sword level with throat).
position.
* Feet face forward-cuts at 45* (body changes direction)

* Stab is to your V (top of breast bone-base of throat)
* Kesa to knee
* Pull straight out (no down)
* After 1st cut-shortest distance to top of head (you move forward,
blade stays still and comes up)
* 45* right-cut to knee
* 45* left
* Straight ahead (no block before) shortest and most efficient
distance
* Only body changes direction-feet stay forward (always)
* Ski- 40% in and 60% out (same distance with foot movement)
* Always make big cuts
* Make sure you always make big cuts-don’t just place the sword-no
matter what speed you do kata
* After 2-3 dan you can create your own spee
8. Happon Me (八本目) Itto Dodan (一刀土壇) Single stoke
execution
Toyama Ryu Kata - Happon Me (#8)
Happon Me (八本目) Itto Dodan (一刀土壇)
#8 Single stoke execution
body relaxed. There is one enemy kneeling on the ground to the front.
The right foot is slid to the right to achieve a wide stance. As the
right foot begins to slide to the right, the right hand should move the
grasp the tsuka (handle) and the left hand should move to the top of
the saya. The katana should be loosened from the saya by pushing on
the tsuba with the thumb of the left hand. The katana should be drawn
horizontally with the edge forward. At the beginning of the draw the
saya is shifted forward and rotated. The katana should be completely
out of the saya when a wide stance is achieved. The katana is moved to
an overhead position as the left hand moves to the tsuka (handle) and
the body is raised up. A Gedon Giri (Low vertical cut with the kissaki
ending level with knee) is then performed as the body is dropped down
into a squatting position. The back should be kept straight and cut
should end with the monouchi (last foot of the blade) horizontal. The
kissaki should be raised to throat level as the body is raised back up.
slowly into the saya keeping the mune pressed against the saya. Drag
the right foot back to the left starting when the blade is about 1/3 in
the saya and finishing as the katana is seated in the saya. Run the
right hand along the top of the tsuka (sword handle) and then place
both hands down at the sides in their original position.
* Not around back-over left shoulder

* Always cut fast!!!!
* Do not open space-don’t give opponent time to do anything
* Sword back like you are stabbing someone behind you and cut fast
Kumitachi
Kumitachi are two person kata. Each Kumitachi presents the student with a different
attack and potential defense. There are two roles in each Kumitachi. The Uchidachi
is the attacker who initiates the confrontation. The Shidachi is the defender who
must react with a defensive action followed by a counter-attack. They teach the
student how to gauge distance, predict an opponents movement, and react to
different attacks. You can find details on the kumitachi at Toyama Ryu Kumitachi.
A set of Kumitachi begins and ends with a bow to your training partner. In general all
forward steps start with the right foot and all backwards steps start with the left.
Every attack should also have a Kiai. The Uchidachi (Attacker) leads all movement up
to the point they would be struck down. The Shidachi (Defender) leads all movement
after that. The person leading movement defines positions and form. The person
following adjusts to those positions. For instance – the Shidachi might place their
sword into a Chudan Kamae position at the end of a Kumitachi and the Uchidachi
would make sure the kissaki were level and overlapping the proper amount.
Kumitachi end with five short steps back to their original starting position.
1. Ippon Me (一本目) Mamuka Giri (真向斬り) Kill opponent straight ahead

Toyama Kumitachi Ippon Me (#1)
(Suihei - Hidari Kesa)
Uchidachi (Attacker): With sword sheathed in saya, begin kumitachi with a bow in
unison to the Shidachi. Initiating the action, the Uchidachi takes three steps forward
starting with the right foot. On the third step, pause momentarily as the feet become
parallel and perform a horizontal batto cut at the Shidachi on the second half of that
step (Suihei). The sword cut should end with the sword still pointing forward and not
too far to the side. Remember saya-biki on the horizontal cut. As the Shidachi steps
back dodging the attack, the Uchidachi freezes, as he is defeated. As the Shidachi
lowers his sword to the Uchidachi's throat, the Uchidachi lowers his sword to his right
hand side no lower than his knee. The sword is kept pointing forward as it is lowered.
Shidachi (Defender): Walking in sequence with the Uchidachi, the Shidachi should
attempt to gauge the Uchidachi’s speed & footwork, closely match it. The third step
should not be completed since it would put the Shidachi well within the range of the
attack. Pause with your feet roughly parallel and anticipate your opponent’s attack,
but do not move until the attack starts. Step backwards with the left foot while
drawing from the saya vertically. The right foot should follow and the feet should be
roughly parallel. Quickly follow up and step forward with the right foot while striking
to the neck simultaneously (Hidari Kesa). This should be a long step with the left foot
sliding into the proper stance. Slowly draw a line with the Kissaki from the top right of
the neck towards the throat (symbolizing continuation of the cut through the neck)
while the opponent lowers his sword, at a similar speed (symbolizing dying).
The Shidachi (Defender) leads the end of the Kumitachi, Uchidachi (Attacker) &
Shidachi stepping backwards one step, crossing swords at the Kissaki. Perform
Chiburi Noto at an equal rate, carefully not to come in contact with your opponents
sword (do not allow the kissaki to move to the left of center).
From this point, all other Kumitachi are begun with swords drawn, fully extended
forward, and ending without Chiburi Noto-unless otherwise noted. Ending with five
small steps back, stepping at the same speed Uchidachi and the Shidachi should end
in unison.
2. Nihon Me (二本目) Morote Tsuki (諸手突き) Kill with two handed thrust
Toyama Kumitachi Nihon Me (#2)
Gedan – Tsuki
This Kumitachi starts with the Uchidachi (Attacker) and the Shidachi (defender)
drawing swords and moving into Chuden Kamae (Middle guard position). Uchidachi
leads but should move slow enough to easily follow. This only needs to be performed
once since all the following Kumitachi will end in this position.
Uchidachi (Attacker): Step forward three steps beginning with your right foot. On the
third step raise your sword high over your head into an attack stance (that would
become Gedon Giri if continued), while the Shidachi should Skee to the throat. The
sword should be slightly inclined with the kissaki about six inches above the tsuka.
The Shidachi will draw back from the skee, while you remain motionless. The
Shidachi will step forward three steps allowing you to lower your sword to Gedan
Kamae, while stepping back three steps (beginning with your left foot). Sword and
foot movement should end at the same time. When the Shidachi steps backwards
again, step forward three steps (starting with your right foot) while raise your sword
so your Kissaki crosses with your opponent’s. Sword and foot movement should end
at the same time. Maintain equal height to the Shidachi’s sword while you both lower
your swords to knee height. As the sword reaches below your waist, it should be
turned clock-wise at 45 degrees.
Shidachi (Defender): Matching the steps of the Uchidachi, wait for the Uchidachi to
raise his sword into a high attack stance, then Skee to the throat. Draw back the
Skee in a downwards cutting motion, as if making sure that the sword is no longer
lodged in the opponent’s body. While taking three steps forward (starting with your
right foot) raise your sword into Jōdan Kamae (high defensive stance). Pause
and then take three steps back (starting with your left foot) while
lowering your sword into Chudan Kamae. Swords should cross in the
center of the room. Pause, and then lower your sword slowly (count to
three) allowing the Uchidachi to match your movement. As the sword
reaches below your waist, it should be turned clock-wise at 45 degrees.
3. Sambon Me (三本目) Hidari Kesagiri (左袈裟斬り) Kill with diagonal cut to the
left
Toyama Kumitachi Sambon Me (#3)
Tsuki - Hidari Kesa
Uchidachi (Attacker): Take three steps forwards (starting with your right foot)
approaching the Shidachi then Skee forward towards your opponent’s stomach on
the last step. Lower your sword to Gedan Kamae as the Shidachi lowers their kissaki
to your throat. Take two small steps backwards starting with your left foot when the
Shidachi move back to the center while raising your kissaki to cross your opponent’s
sword. Maintain equal height to the Shidachi’s sword while you both lower your
swords to knee height. As the sword reaches below your waist, it should be turned
clock-wise at 45 degrees.
Shidachi (Defender): Gauge the Uchidachi’s speed and approach at an equal speed
three steps forward. On the third step as the Uchidachi Skees, raise your sword to
your left in a motion that would deflect if connected (carefully making sure not to
make contact with your opponents Iaito) while stepping to the right hand side.
Continue the motion of your sword and make a downward Hidari Kesa strike to your
opponent’s neck. The Uchidachi should lower his sword slightly as you draw a line
from the neck to the throat. The Shidachi should take three steps to the left and back
to center themselves starting with the left foot. The legs should never cross during
these steps. As these steps are taken the kissaki should remain at the height of your
opponent’s throat and you should finish in Chudan Kamae. Pause and then lower your
sword slowly (count to six) allowing the Uchidachi to match your movement. As the
sword reaches below your waist, it should be turned clock-wise at 45 degrees
4. Yonhon Me (四本目) Suihei Giri (水平斬り) Kill with a horizontal cut

Toyama Kumitachi Yonhon Me (#4)
Gedan - Suihei
Uchidachi (Attacker): Before you begin this Kumitachi, raise your sword to Jōdan
Kamae while stepping forwards on your left foot. Be sure you’re making
these moves in a single simultaneous motion. The sword should be
tilted slightly to the right to begin the Kumitachi. Make three steps
forward starting with your right foot, and make a gedon cut on the
third step. Wait for the Shidachi to bring their sword to your neck
and take three small steps backwards starting with your left foot, then
when the Shidachi moves back to the center while raise your kissaki to
cross your opponent’s sword. Maintain equal height to the Shidachi’s
sword while you both lower your swords to knee height. As the sword
reaches below your waist, it should be turned clock-wise at 45 degrees.
Shidachi (Defender): Before you begin this Kumitachi, allow the

Uchidachi to prepare, then when he has brought his left foot forwards
and his stance is ready, slightly tilt your sword at point it at their
right wrist. Approach the Uchidachi at a similar rate, and just before
the downwards Gedan cut is made Suihei to the right hand side, making
sure to move enough to evade your opponents downwards Gedan. Draw your
sword’s Kissaki upwards slowly to your opponent’s throat, while taking
a step back on the left foot to regain a proper stance. The Shidachi
should take three steps to the left and back to center themselves
starting with the left foot. The legs should never cross during these
steps. As these steps are taken the kissaki should remain at the
height of your opponent’s throat and you should finish in Chudan Kamae.
Pause and then lower your sword slowly (count to three) allowing the
Uchidachi to match your movement. As the sword reaches below your
waist, it should be turned clock-wise at 45 degrees.
5. Gohon Me (五本目) Migi Kesagiri (右袈裟斬り) Kill with diagonal cut to the right
Toyama Kumitachi Gohon Me (#5)
Hidari Hasso Kesa - Migi Kesa
Uchidachi (Attacker): The Uchidachi sets up by stepping forward with the left foot and
raising the sword into Hasso no Kamae (bring the tsuba of his sword equal height to
your ear, with a semi-relaxed grip, keep the sword’s Kissaki not pointing straight up
but leaning backwards slightly at an angle). Pause before beginning Kumitachi. Take
three steps (right foot first) and continue to kesa giri to the left on the last step. Now
the Shidachi should have already stepped backwards and counter attacked on your
exposed right hand side. As the Shidachi steps towards his right hand side to re-
center his or herself, take two small steps backwards starting with your left foot as
the Shidachi moves back to the center meanwhile raising your kissaki to cross your
opponent’s sword (carefully raise your sword from underneath the Shidachi’s own to
avoid any contact with your Sword). Maintain equal height to the Shidachi’s sword
while you both lower your swords to knee height. As the sword reaches below your
waist, it should be turned clock-wise at 45 degrees.
Shidachi (Defender): The Shidachi begins this in a regular Chudan Kamae or forward
stance, as the Uchidachi begins to come forward, take two steps forward, right, and
left. Then on the third step on the right only proceed half way, in preparations to
counterattack. As the Attack comes down towards you, step back on your left foot
while sliding your right foot along in front of you (toes down without raising your feet
off of the ground) so that you remained balanced. As you’re stepping back, raise your
sword overhead in a straight line. Step forward and to the left with your left foot
while cutting in a Kesa from the left hand side. While you’re simultaneously stepping
forward on the left foot, you should be sliding your right foot behind you to maintain
a strong stance. Follow through with your cut drawing a line from the throat to the
neck. The Shidachi should take a half step back with the left foot and a half step
forward with the right foot so the forward foot is switched but your position remains
unchanged. As these steps are taken the kissaki should remain at the height of your
opponent’s throat and you should finish in Chudan Kamae. Pause and then lower your
sword slowly (count to three) allowing the Uchidachi to match your movement. As the
sword reaches below your waist, it should be turned clock-wise at 45 degrees.
6. Roppon Me (六本目) Hidari Kesagiri (左袈裟斬り) Kill with diagonal cut to the
left
Toyama Kumitachi Roppon Me (#6)
Gedan - Hidari Kesa
Uchidachi (Attacker): The Uchidachi prepares to begin this Kumitachi by raising his
sword over his head to Jōdan Kamae, right foot remaining forwards. Stepping
with the right foot first the Uchidachi makes three steps, ending the
third step with a simultaneous downwards cut. From here the Shidachi
should have stepped to the Uchidachi’s left and Kesa cut to the neck.
Take three steps backwards beginning with the left foot and to the
right away from the Shidachi when the Shidachi steps forward. The
kissaki is kept lowered for these steps. Make three steps forward as
the Shidachi steps back, while raising your sword to Chudan Kamae.
Maintain equal height to the Shidachi’s sword while you both lower your
swords to knee height. As the sword reaches below your waist, it should
be turned clock-wise at 45 degrees.
Shidachi (Defender): As the Shidachi, begin stepping forward along with

the pace of the Uchidachi and as the Uchidachi cuts downwards sidestep
to the right. Following a deflecting motion, (again no contact with
Iaito, deflecting with Bokken drills) hidari kesa to the neck. Pause
briefly and raise your sword to Jōdan Kamae while making one step
forward with the left foot. Pause and then take two steps back
(starting with your right foot) while lowering your sword into Chudan
Kamae. Swords should cross in the center of the room. Pause and then
lower your sword slowly (count to three) allowing the Uchidachi to
match your movement. As the sword reaches below your waist, it should
be turned clock-wise at 45 degrees.
Shoden Seitei Kata 初伝制定形
The Shoden Seitei Kata are the beginning kata of the Zen Nihon Batto Do
Renmei. They are oriented towards teaching basic techniques and are
used for tameshigiri. These are the first kata most students learn,
but the fundamentals they represent are good for all students. If you
feel you have mastered these kata, then your attitude has put you at
the limit of what you can learn. Face each kata with the heart of a
novice, and there will always be something to learn.
1. Ippon Me (一本目) Hidari Kesa / Migi Kesa (左袈裟 /右袈裟)

Diagonal downward cut to the left / Diagonal downward cut to the right
Shoden Seitei Kata - Ippon Me (#1)
Ippon Me (一本目)
Hidari Kesa / Migi Kesa (左袈裟 /右袈裟)
#1 - Diagonal downward cut to the left / Diagonal downward cut to the right
Take three steps forward while drawing the katana overhead. The first step is made
with the right foot. Perform Hidari Kesa (downward diagonal cut to the left). Step up
with the left foot and then back with the right foot. Perform Migi Kesa (downward
diagonal cut to the right). Step back with the left foot while raising the kissaki (sword
tip) into Chudan no Kamae (middle guard with point of sword level with throat).
along the top of the tsuka (sword handle) and then place it back on the right thigh.
Take three steps back to the starting position starting with the left foot. Move the
left hand back down to the original position.
Basic Movements
* Three steps forward while drawing sword to overhead position

* Hidari Kesa
* Step up with left foot / step back with right foot
* Migi Kesa
* Step Back with left foot and go into Chudan Kamae (middle guard)
* Chuburi / noto – step up as sword is seated
* Three steps back
2. Nihon Me (二本目) Hidari Kesa / Gyaku Kesa (左袈裟 /逆袈裟)

Diagonal downward cut to the left / Reverse upward cut
Shoden Seitei Kata - Nihon Me (#2)
Nihon Me (二本目)
Hidari Kesa / Gyaku Kesa (左袈裟 /逆袈裟)
#2 - Diagonal downward cut to the left / Reverse upward cut

Take three steps forward while drawing the katana overhead. The first
step is made with the right foot. Perform Hidari Kesa (downward
diagonal cut to the left) and Gyaku Kesa (reverse upward diagonal cut
to the right). Step back with the right foot and raise the katana into
Jōdan no Kamae (upper guard with point of sword pointed up and slightly
back). Pause 2 to 3 seconds and step back with the left foot and lower
the katana into Chudan no Kamae (middle guard with point of sword level
with throat).
the starting position starting with the left foot. Move the left hand
back down to the original position.
Basic Movements

* Hidari Kesa
* Gyaku Kesa
* Step Back with right foot and go into Jodan Kamae (high guard)
* Pause 2-3 seconds
* Three steps back
3. Sambon Me (三本目) Hidari Kesa / Suihei (左袈裟 /水平) Diagonal

downward cut to the left / Horizontal cut
Shoden Seitei Kata - Sambon Me (#3)
Sambon Me (三本目)
Hidari Kesa / Suihei (左袈裟 /水平)
#3 - Diagonal downward cut to the left / Horizontal cut
diagonal cut to the left). Step back with the right foot and Suihei
(horizontal cut) to the right. Step back with the right foot and raise
the katana into Jōdan no Kamae (Upper guard with point of sword pointed
up and slightly back). Pause 2 to 3 seconds and step back with the
left foot and lower the katana into Chudan no Kamae (middle guard with
point of sword level with throat).
Basic Movements

* Hidari Kesa
* Step back with right foot (the left foot is not moved)
* Suihei to the right
* Three steps back
4. Yonhon Me (四本目) Hidari Kesa / Migi Kesa / Gyaku Kesa (左袈裟 /右袈裟
/逆袈裟) Diagonal downward cut to the left / Diagonal downward
cut to the right / Reverse upwards cut
Shoden Seitei Kata - Yonhon Me (#4)
Yonhon Me (四本目)
Hidari Kesa / Migi Kesa / Gyaku Kesa (左袈裟 /右袈裟 /逆袈裟)
#4 - Diagonal downward cut to the left / Diagonal downward cut to the

right / Reverse upwards cut
diagonal cut to the left). Step up with the left foot and then back
with the right foot. Perform Migi Kesa (downward diagonal cut to the
right) and Gyaku Kesa (reverse upward diagonal cut to the left). Step
back with the left foot while raising the katana into Jōdan no Kamae
(Upper guard with point of sword pointed up and slightly back). Pause
2 to 3 seconds and lower the katana into Chudan no Kamae (middle guard
with point of sword level with throat).
Basic Movements

* Hidari Kesa
* Migi Kesa
* Gyaku Kesa
* After executing the kiri age (upward cut) you take one step back
into Jodan Kamae (high guard) with right foot forward (left foot step
back) and pause for 2-3 seconds in jodan kamae.
* Slowly lower your sword into Chudan Kamae (middle guard) without
taking an additional step.
* Three steps back
5. Gohon Me (五本目) Rokudan Giri (六段斬) Six Cut Pattern

Shoden Seitei Kata - Gohon Me (#5)
Gohon Me (五本目)
Rokudan Giri (六段斬)
#5 – Six Cut Pattern
Take two steps forward while drawing the katana overhead. The first step is made
with the right foot. Perform Migi Kesa (downward diagonal cut to the right). Step up
with the right foot and then back with the left foot. Perform Hidari Kesa (downward
diagonal cut to the left). Perform Hidari Kesa (downward diagonal cut to the left) and
Gyaku Kesa (reverse upward diagonal cut to the right). Perform Hidari Kesa
(downward diagonal cut to the left). Step back with the right foot and Suihei
(horizontal cut) to the right. Step back with the right foot and raise the katana into
Jōdan no Kamae (Upper guard with point of sword pointed up and slightly
back). Pause 2 to 3 seconds and step back with the left foot and lower
the katana into Chudan no Kamae (middle guard with point of sword level
with throat).
Basic Movements
* Two steps forward while drawing sword to overhead position

* Migi Kesa
* Hidari Kesa
* Hidari Kesa
* Gyaku Kesa
* Hidari Kesa
* Step back with right foot (the left foot is not moved)
* Suihei to the right
* Three steps back

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Wearing a Katana (Taitō) 帯刀

Wearing Daishō (Taidaishō) 帯大小

* The wakizashi is slipped in under all three layers of the obi.

Drawing / Guard (Battō / Seigan) 抜刀 / 青眼

* Push the katana out with the left thumb

Griping the Katana (Chakin Shibori) 茶巾絞り

* Right hand should touch tsuba

Stance (Iaigoshi) 居合い腰

* Feet shoulder width apart

Sheathing (Chiburi / Nōtō) 血振り /納刀

* Start in Seigan no Kamae (standard guard stance)

Footwork (Ashisabaki) 足捌き

An important aspects of Japanese swordsmanship is proper footwork

Shuffle Step (Okuriashi) 送り足

Following Step (Tsugiashi) 継ぎ足

The following step (Tsugiashi) is a longer shuffle step (Okuriashi)

The sidestep (Hirakiashi) is a diagonal step allowing you to move out

The Stomping Step (Fumikomiashi) is often used when making a lunging

Kamae are standard guard positions / stances. It is important to keep

* Balance of attack and defense

Seigan no Kamae 正眼の構え

Seigan Kamae is a middle guard with point of sword pointed at the

* Balance of attack and defense

Jōdan no Kamae 上段の構え

* Aggressive attack posture

Migi Jōdan no kamae 右上段の構え

* Aggressive attack posture

Hidari Jōdan no kamae 左上段の構え

Kamae with lowered, slightly turned sword (of conquered opponent).

Chudan: Middle vertical cut - kissaki ends level with throat

Gedon: Low vertical cut - kissaki ends level with knee

Hidari Kesa: Falling diagonal cut to the left

Migi Kesa: Falling diagonal cut to the right

Hidari Kesa Gyaku Kesa: Falling diagonal cut to the left

Toyama Ryu Kata 戸山流 形

1. Ippon Me (一本目) Mea No Teki (前の敵) Enemy to the front

Ippon Me (一本目) Mea No Teki (前の敵)

#1 Enemy to the front

* Basic-pull back saya

2. Nihon Me (二本目) Migi No Teki (右の敵) Enemy to the right

Nihon Me (二本目) Migi No Teki (右の敵)

#2 Enemy to the right

Change to starting position of kata by turning and stepping backwards

* Always stop in front of belly button

3. Sambon Me (三本目) Hidari No Teki (左の敵) Enemy to the left

Sambon Me (三本目) Hidari No Teki (左の敵)

#3 Enemy to the left

* IMPORTANT stabbing into solar plexus (heart)

4. Yonhon Me (四本目) Ushiro No Teki (後の敵) Enemy to the rear

Toyama Ryu Kata - Yonhon Me (#4)

Yonhon Me (四本目) Ushiro No Teki (後の敵)

#4 Enemy to the rear

Change to starting position of kata by stepping forward four steps

* Batto, turn, cut

5. Gohon Me (五本目) Chokuzen No Teki (直前の敵) Enemies just in

Gohon Me (五本目) Chokuzen No Teki (直前の敵)

#5 Enemies just in front

* Different rhythm (for higher rank)

6. Roppon Me (六本目) Ushiro Mae No Teki (後前の敵) Enemies to

Roppon Me (六本目) Ushiro Mae No Teki (後前の敵)

#6 Enemies to rear and front

7. Nanahon Me (七本目) Hidari Migi Mae No Teki (左右前の敵)

Toyama Ryu Kata - Nanahon Me (#7)

Toyama Ryu Kata 戸山流形

Shoden Seitei Kata 初伝制定形