Muso Shinden Ryu Chuden - Hasagawa Eishin Ryu
| Number | Title | Old Name |
|---|---|---|
| 1 | YOKOGUMO | CLOUD BANK |
| 2 | TORA ISSOKU | TIGERS FIRST STEP |
| 3 | INAZUMA | LIGHTNING FLASH |
| 4 | UKIGUMO | DRIFTING CLOUD |
| 5 | YAMA OROSHI | MOUNTAIN WIND |
| 6 | IWANAMI | WAVES AGAINST THE CLIFF U |
| 7 | UROKO GAESHI | TURNING THE SCALES |
| 8 | NAMI GAESHI | RETURNING WAVE |
| 9 | TAKI OTOSHI | DOWN THE WATERFALL |
| 10 | NUKI UCHI | HEAD ON |
IPPON ME
YOKOGUMO
Scenario: One opponent facing you in Tate hiza, you react to a threat. You are sitting in Tate hiza.
The left hand rises from the left thigh and takes hold of the tsuka, at the same time the right hand slides down the length of the tsuka and grips, keeping the cutting edge pointing up, the left thumb breaks the grip of the koiguchi on the habaki. As you start to draw allow the sword to pull you up, and extend the right foot forward towards your opponent. At the point of saya binari turn the sword over horizontally so that the cutting edge is facing away from you and complete the draw so that the kissaki stops at your opponents facial area, at the same time slide the left knee forward so that the right knee ends up at a 90 degree angle, your kissaki should be pointed at your opponents face, the right arm should be extended but not locked out, holding your kissaki in place, forcing your opponent backwards, extend the right foot again, as if you were stepping on to your opponents hakama, at the last second perform furi kaburi but with a feeling of uke nagashi and cut kiritsuki, at the same time
Slide forward again so that the right knee is at a 90-degree angle, the kissaki should end up below the horizontal, as you have cut through your opponent, down to his naval area, at this point maintain zanshin. Perform Yoko chiburi, and then noto.
Common mistakes that are made during this form are as follows, when extending the right foot, there is a tendency to overstretch oneself, this is unnecessary as your opponent is right in front of you, do not go hunting for him. Also the kissaki after nukitsuki is taken to far to the right and no longer poses a threat, and allows your opponent to slip away. The action of furi kaburi should be done so that the right hand does not cross the centre line of the body, but the sword should be in a position to deflect a cut from you opponent if needed. After kiritsuki the chiburi and noto should be carried out without pauses but do not hurry, you must maintain zanshin. The noto for Chuden Hasagawa Eishin ryu changes slightly from Shoden Omori ryu, the blade of the sword is picked further down the blade and once the sword enters the saya, for at least two thirds of its length before being turned cutting edge up, at the same time the right foot slides backwards and slightly to the right to facilitate good posture.
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NIHON ME
TORAISSOKU
Scenario: You are in Tate hiza and you are defending a cut to your right leg
Your hands take hold of the sword in the same manner as for YOKOGUMO, but as you draw the sword slightly down and to your right, you must start to stand and slide your left foot to the rear complete the draw down and to the right until the sword is outside and forward of your right leg, thereby blocking a cut to your right shin. The kissaki should be at ankle height.
Do not pose in this position, but immediately start to slide forward and down. Perform furi kaburi and cut kiritsuki, Yoko chiburi, and noto.
Common mistakes made in this form are as follows, when starting to draw the sword, the sword is drawn too far forward and not enough down, also the fulcrum of the draw should be about four to six inches from the habaki, if too far down the blade you may hit the floor. Once the initial draw and block has been made the posture should be upright and not crouched over. The forward and downward slide during furi kaburi should as for Inyoshintai
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SANBON ME
INAZUMA
Scenario : One opponent advances towards you from the front.
From Tate hiza, your hands take hold of the sword as for previous forms, but looking up at your opponent, when you perceive the moment is right to strike, draw the sword up and to the front, at the same time stand and step forward with the right foot, stamp and cut across both of your opponent wrists. Do not pose in this position, but immediately step forward with your left foot. Perform furi kaburi with a feeling of uke nagashi, cut kiritsuki, Yoko chiburi and noto.
Common errors with this form are as follows, when the opponent is approaching you, sometimes, there is a tendency to look forward but not up, you must at all times and in all forms look your opponents in the eye. This is very important. When performing furi kaburi do not allow your right hand to cross the centre line of your body, there is a feeling of uke nagashi, do not exaggerate this.
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YOHON ME
UKIGUMO
Scenario: One opponent to your right in Tate Hiza, the opponent attempts to grab your tsuka.
To start this form you must turn to your left and take up Tate hiza. An opponent on your right also seated in Tate hiza reaches across you to take hold of your tsuka. At this point you take hold of your tsuka with your left hand and start to move it to your left side away from your opponent, at the same time start to rise and step to your left. Thereby denying your opponent of your sword, the right hand should be placed on your right hip to maintain good posture and balance. Looking down at your opponent, bring your sword tsuka up to head height and turn towards your opponent, by sliding the left leg to the right until your ankles are crossed, turn your left foot over, so that your instep is on the floor. Take hold of the tsuka with the right hand and draw the sword down and to your right rear, until the tsuka is behind your opponent's head and out of his reach. Turn your body to the front and complete the draw. In one movement bring the sword to your right side and drop your weight onto your opponent trapping his arms with your sword. At this point holding your sword on your opponent turn to your right and place your left hand on the back of your blade. Your feet now uncross themselves and as you start to push your opponent down and to the right, slide your right foot rearwards, maintaining good posture. Drop gently on to your right knee and at the same time, take the sword off of and away from your opponent until the kissaki is facing completely to your left hand side, blade horizontal and cutting edge facing forwards. Your left hand should still be on the back of the blade. Move the sword through a 180 degree arc, so that the kissaki is now in a similar position as before but kissaki to your right, during this movement the left hand should leave the back of the blade and take hold of your tsuka. Once in this position start to slide your right knee forward and perform furikaburi, cut kiritsuki, outside of the left leg and as low as you are able without hitting the floor. Yoko chiburi, and noto.
Common errors in this form are, After taking your sword away from your opponent, you must ensure that you do not give him the opportunity to make a further grab for your tsuka, so as you draw and lower your sword to the right, make sure that the tsuka is taken far enough to the rear so that if an opponent tried to grab your sword he would only be able to take hold of the cutting edge. Once your sword is placed across your opponent's arms you must not move the sword away from his body, this is important. Although seemingly a contradiction of the previous remark, after pushing the opponent down and into a vulnerable position, the action of taking your sword away to the left and then in a 180-degree arc to the right should be done quickly but without rushing. Do not forget that at this point your opponent is still alive, although he should be severely injured. Once you have performed furi kaburi you may wish to change your position slightly to enable you to finish off your opponent, by either sliding back or stepping forward a bit. This is perfectly acceptable.
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GOHON ME
YAMA OROSHI
Scenario: One opponent to your right in Tate hiza, who attempts to draw his sword.
To start this form you must turn to your left and take up the Tate hiza position. An opponent seated on your right moves as if to draw his sword. Your left hand takes hold of your sword at the koiguchi with your left thumb on the tsuba, Rising on the left knee turn towards the opponent on your right side and drawing and turning both sword and saya until they are in a vertical position level with your left facial area, the left hand is turned so that the back of the hand is facing your opponent, your right leg is at a 90 degree angle and you have an upright posture. Using the tsuka strike down on to your opponent's wrists. Thereby stopping him from drawing his sword. After this strike, quickly remove the sword to a left diagonal position away from your opponent, Immediately using a circular motion bring the sword into a position where the right hand takes hold of the sword and with a downward and rearward draw trap the opponents arms. At the same time turn the body towards the front but with a feeling of all your weight falling on your opponent? Place your left hand onto the back of your blade, turn on your left knee towards your opponent and Push him down. Once he is in this position, continue as for UKIGUMO, until the kiritsuki, which is to finish, just below horizontal and in front of the body, Yoko chiburi, noto.
Common errors made in this form are as follows, After striking the opponent on the wrists the following draw of the sword is done in such a fashion that if an opponent was really in place he would be able to stop your attack, ensure that when you draw the sword the tsuka is taken behind your opponent and then the completed draw is brought forward and down onto your opponent. Ensure that the sword is not moved off of the opponent until after he has been pushed down and you are ready to complete the
Kiritsuki. As for UKIGUMO you may move back or forward to complete the kiritsuki.
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ROPPON ME
IWANAMI
Scenario: One opponent in Tate hiza, to your left
To start this form you must first turn to your right and take up the Tate Hiza position.
Look left at your opponent, both hands come on to the sword, start to rise up onto your left knee and turn to your left by sliding your left knee backwards. At the same time draw the saya off of the sword so that the tsuka stays near to the right knee. At saya binari bring your right leg close to your left and completely turn to your left, at this point the left hand leaves the saya and moves onto the back of the blade. With a stamp of the right foot, thrust the sword in a slightly upward motion into the side of your opponent. Quickly pull the sword back out and turn it over so that the cutting edge is facing the opponent. The left hand is still on the back of the blade, fingers facing towards the ground to support, as your opponent slumps towards you. Catch your opponent on your sword and with a pushing motion to the right push him onto the ground. Complete this form as for Yama Oroshi.
Common errors are, you must draw the saya off of the sword not the other way round, as you turn to the left and thrust, ensure that your posture is upright and on balance.
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NANAHON ME
UROKO GAESHI
Scenario : One opponent in Tate Hiza to your left
To start this form you must first turn to your right and take up the Tate Hiza position. Look to your left as your hands come onto the sword and you prepare to draw. Rising up, turn to your left and at the same time, drop your left leg behind you, and draw nukitsuki. At this point slide forward and down as for Toraissoku, perform furi kaburi, with a feeling of Uke Nagashi, and cut kiritsuki. Yoko chiburi, noto.
Common errors in this form are cutting nukitsuki too high, do not just drop down when preparing to cut Kiritsuki but rather try to glide forwards and down.
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Hachihon me
NAMI GAESHI
Scenario: One opponent in Tate Hiza behind
To start this form you must first turn to your right 180 degrees and take up the Tate Hiza position. Look to your rear as your hands come onto the sword and you prepare to draw. Rising up, turn to your left 180 degrees and at the same time, drop your left leg behind you, and draw nukitsuki. At this point slide forward and down as for Toraaissoku, perform furi kaburi, with a feeling of Uke Nagashi, and cut kiritsuki. Yoko Chiburi, noto
Common errors for this form are the same as Urokogaeshi
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KYUHON ME
TAKIOTOSHI
Scenario: One opponent from behind, who attempts to grab your saya,
To start this form, you must first turn to your right 180 degrees and take up the Tate Hiza position.
As your opponent grabs your saya, rise up and pull your saya forwards to loosen your opponents grip, Move the sword and saya quickly to your left, possibly striking your opponents face. In a circular, down and up manner bring the sword Tsuba and Tsuka Kashira in line with the right side of your mouth, at the same time raise your left leg up as if to evade a cut to your ankle. At this time take hold of the Tsuka with the right hand, draw the sword using lots of saya biki, ensure that the Kissaki of the sword is facing towards the sky, at the same time place the left leg on the floor, making sure that you are now in a Kiba Dachi (horse stance). Look to your left and start to push the sword up and over your head, swivel your hips so that you are now facing 90 degrees to your left. Allowing your right leg to leave the floor stab down into the top of your opponent's head. Continuing a natural movement, drop down on to your left knee and perform kiritsuki. Yoko Chiburi, noto.
Common errors in this form are that, when taking the saya away from your opponent you may pull too hard and the sword may come out of your obi, also when trying to stab your opponent in the top of the head you may over balance because you are on one leg, be aware of this. Do not try to perform this form too quickly.
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JUHON ME
NUKI UCHI
Scenario: One opponent facing you in Tate Hiza, you are in seiza
The left hand rises from the left thigh and takes hold of the tsuka, at the same time the right hand slides down the length of the tsuka and grips, keeping the cutting edge pointing up, the left thumb breaks the grip of the koiguchi on the habaki. As you start to rise you draw the sword upwards, with a feeling of uke Nagashi, once the sword has cleared the saya, cut kiritsuki immediately to chudan, yoko Chiburi, noto
Common errors with this form are, when drawing the sword, the right hand extends forward too much, and the sword should cover the head and left shoulder. Just before kiritsuki do not take the sword behind your head but rather allow your left hand to meet your right above and in front.
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