Komei Jyuku - Muso Jikiden Eishin Ryu

In most schools the techniques are learned roughly in the order below, however Sekiguchi Sensei believes in teaching a greater proportion of the forms as soon as possible. This is a great advantage to his international students since we can learn a great deal of the syllabus from him and then practice it diligently until the next time we are able to train with him. Students should endeavour to learn as much of the syllabus as possible so that, when the opportunity to train with Sensei arrives, they can make the most of it. It's much easier to learn from Sensei if you already have a handle on the general outline of the form rather than having to pick it all up on the spot. Regards grades, I asked Sekiguchi Sensei about the granting of Dan grades, and his reply was "If you feel it in your heart that someone deserves a Dan grade then you can grant it." The impression I get is that Sensei really couldn't be bothered with fancy titles, and is more interested in serious training. Accordingly, Dan grades will be issued not in accordance with any number of techniques learned or other criteria, but rather on the student's overall performance and personal integrity. And accordingly, little weight is placed on grades what counts is your swordwork. Phil Davison, Shibucho New Zealand Komei Jyuku

Syllabus
Note: all seated techniques may be performed standing, and Sekiguchi Sensei often likes to perform them in Hayanuki (fast draw) style, where all the techniques are performed rapidly, one after the other, as if one long pattern.

Shoden: Seiza No Bu (Omori Ryu) First Transmission: Formal Sitting Set (Omori Ryu)
This set was created by Omori Rokuzaemon in the early eighteenth century, and studied by practitioners of the ryu until it was formally included in the style by Oe Sensei. As the name suggests, the forms all begin in seiza. 1. Mae (Front) 2. Migi (Right turn to the right before you start) 3. 4. 5. 6. 7. 8. 9. 10. 11. Hidari (Left) Ushiro (From Behind) Yaegaki (Barriers Within Barriers) Ukenagashi (Flowing Parry) Kaishaku (The Helper at Seppuku) Tsukekomi (Persuit) Tsukikage (Shadow of the Moon) Oikaze (Tail Wind) Nukiuchi (Draw and Strike)

Chuden: Tate Hiza No Bu Middle Transmission: Standing Knee Set

Created by Hasagawa Eishin in the early eighteenth century these forms are performed from a kneeling position with one knee raised. This set includes some of the most difficult techniques. 1. 2. 3. 4. 5. 6. 7. 8. Yokogumo (Cloud Side) Tora No Issoku (The Tiger's Step) Inazuma (Lightning) Ukigumo (Floating Cloud) Yama Oroshi (Mountain Storm) Iwanami (Waves on the Rocks) Urokogaeshi (Flashing [fish] Scale) Namigaeshi (Wave Turns Over)

9. 10.

Takiotoshi (Waterfall) Makko (Finish Cut)

Okuden: Tachi Waza No Bu Secret Transmission: Standing Set

This standing or walking set is from the earliest techniques created by Hayashizaki Jinsuke in the late sixteenth century. Originally conceived for tachi (the slung Japanese cavalry long sword) these were later adapted for katana worn through the obi by Hasagawa Eishin. 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. Yukizure (Escorted) Tsuredachi (Companions) Somakuri (All Around) Sodome (Everything Stops) Shinobu (Stealthy) Yukichigai (Passing By) Sode Surigaeshi (Brushing Sleeves) Moniri (Entering the Gate) Kabezoe (Against Walls) Ukenagashi (Flowing Parry)

Okuden: Ittomagoi Secret Transmission: Farewell visit

These three techniques (really three variations on the same technique) are often considered to be part of the Okuden Tachiwaza set. 1. 2. 3. Ittomagoi Sono Ichi (Farewell Visit One) Ittomagoi Sono Ni (Farewell Visit Two) Ittomagoi Sono San (Farewell Visit Three)

Okuden: Suwari Waza No Bu Secret Transmission: Seated Techniques Set

This set is the companion set to the Okuden Tachiwaza set, and is performed from tatehiza. 1. 2. 3. 4. 5. 6. 7. 8. Kasumi (Haze) Sunegakoi (Shin Protection) Shihogiri (Four Direction Cuts) Tozume (Boxed In by the Door) Towaki (Beside the Door) Tanashita (Under the Shelf) Ryozume (Boxed In on Both Sides) Torabashiri (Running Tiger)

Extra Forms Eishin Ryu Bangai no Bu Eishin Style Compilation Set

Bangai means 'not numbered' or 'out of sequence', so my translation of it as 'compilation' may be pushing things a little, however that would seem to be the sense in which Sensei uses the term. It will be noted that each of these forms represents two or more of the techniques from the main sets. Sensei usually likes to perform this set in hayanuki (run-together) style. 1. 2. 3. Hayanami (Fast Wave) Raiden (Thunder and Lightning) Jinrai (Thunderclap)

To Ryu Bangai No Bu To Style Compilation Set

This set is a compilation set unique to Komei Jyuku. The first is normally performed from seiza, the second from tatehiza, and the remainder standing. When perfomed hayainuki the order may be changed and all the techniques are done from a standing position. 1. 2. 3. 4. 5. Mae (Fornt) Aranami (Stormy Seas) Kesa Guruma (Priest's Robe [cut] Wheel) Tachi Guruma (Standing Wheel) Tatsumaki (Cyclone)

Toho Waza Sword Method Techniques

This set was created by the All Japan Iaido Federation as representative of various iai styles, as a sort of common ground between styles. They are performed with audible kiai. The first two are from seiza, the remainder, standing. The name after the colon in the bracket is the parent style the technique is drawn from. 1. 2. 3. 4. Mae (Front: Muso Jikiden Eishin Ryu) Zengo Giri (Front and Rear Cuts: Mugai Ryu) Kiriage (Rising Cut: Shindo Munen Ryu) Shihogiri (Four Direction Cuts: Suio Ryu)

5. Kisaki Gaeshi (Flip the Sword's Tip: Hoki Ryu)

Tachiuchi No Kurai Two Person Forms Nanahonme Me No Kata The Seven Kata
When Oe Sensei reformed the style there were many two person kata, but most of the techniques were the same basic ones repeated. By removing repetitions Oe Sensei compiled this two person set from the original forms. 1. Deai (First Meeting) 2. Tsukikomi or Kobushi Dori (Take Advantage or Grabbing the Fist) 3. 4. 5. 6. 7. Zetsumyoken (Unbeatable Sword) Dokumyoken (Miraculous Sword) Tsubadome (Sword Guards Stop) Ukenagashi (Flowing Parry) Mappo (Finish Cut)

Tsume-Iai Squeezed-In Sword Drawing

'Tsume' is 'to squeeze in' When I asked Sensei about this name he pointed out that the sequence is much about distance, and that the distance is often too close for comfort. Often these were performed only by very experienced practitioners using live blades. 1. 2. Hasso (Early Beginning) Kobushidori (Grabbing the Fist)

3. Nami Gaeshi or Iwanami (Wave Turns Over or Waves on the Rocks) 4. Yaegaki (Multiple Barriers) 5. Urokugaeshi (Flashing [fish] Scale) Also known as Urokogatta

6. Kuraiyurumi (Loosening the Ranks, or A Situation of Inequality) 7. 8. 9. 10. 11. ++ Tsubame Gaeshi (Swallow Flip) Ganseki Otoshi (Dropping Vision) Suigetsuto (Solar Plexus Sword) Kazumiken (Haze Sword) Uchikomi (Clashing Together)

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