As in Ippon-me the opponent is sitting in front. When feeling the opponent’s intention one takes Nukitsuke, but falls short of the target because the opponent has moved backward. Therefore step forward immediately with Kirioroshi. The result of this second dispatching cut is not instantaneous. The fallen opponent tries to cut your right leg. Finish him with another Kirioroshi.


The conditions are the same as Ippon-me. From this position start the next action.

a] As in Ippon-me-Mae, face the the opponent in the Seiza posture.

b] As in Mae, Nukitsuke against the opponent with the right foot moving forward.

c] As the opponent moves backward, immediately take one more step forward with Kirioroshi to the opponents forehead.

d] The opponent falls down forward. Horizontal Chiburui and begin Noto bringing the left foot forward to meet the right one.

e] Almost at the moment Noto is being completed the surviving opponent attacks ones right foot with a sweeping action.

f] Immediately pull the left foot backwards. At the same time draw the sword to cover ones own right foot with the blade. To emphasise this action the body is twisted to the left to increase the power of the protective movement and catch the opponent’s strike with blade.

g] Then bring the left foot forward a little. Swing the sword up to take Morote Jodan (both hands) and take Kirioroshi.

h] Maintain full Zanshin spirit and finish with Chiburui and Noto in the Ippon-me manner.



Nukitsuke in Yaegaki seems to be rather contrived. Perhaps because a chasing Kirioroshi comes right after it. However this attitude is practically or logically correct. It is essential to draw the sword exactly the same as in Ippon-me, with full power and intention. Except is this particular case Nukitsuke is not good enough. As a result the second movement Kirioroshi becomes warranted. This is the reason one takes Kirioroshi from a standing position.

Logically the second movement (Kirioroshi) must not be contemplated from the outset. Otherwise the first movement will look rather artificial.


The difference in speed of the Kirioroshi movement from the half standing posture is dependent upon the result of the Nukitsuke action. If Nukitsuke was extensive a few moments can elapse between the first and second actions. Also it will not be necessary to maintain the half standing posture. If there was a long time lapse between moves a full standing posture could be feasible to complete ones intention. Unfortunately emergency situations like this and Gohon-me arise. If it was necessary to take the second action immediately there would be no time to raise the body to have to take the next inevitable action.

Taking Kirioroshi from a full or half standing posture depends upon the result of Nukitsuke and is the choice and decision of the practitioner. From a fundamental point of view beginners should take enough time to stand up properly before taking Kirioroshi action.


This Chiburui taken after the first Kirioroshi is mainly used in the Tatehiza forms. The fact that it is used in Seiza Yaegaki is exceptional.


It is a Chiburui in which the fist is twisted horizontally towards the right. It should be kept at the same height and a little outside the right knee. The blade should point slightly outside the centre line with the Kissaki lower than the Tsuba.

From the Kirioroshi finishing position this Chiburui must be done very sharply. The significant point is do not allow the Kissaki to move to the left when shaking to the right.

There are two different ways to do this Chiburui;

Push the right hand adequately forward in Chiburui action.

Pull the right hand a little backward.

The first one of these could induce the body lean forward and the second one could cause the body to twist to the right. An important detail is maintain a correct body posture.


The technique of doing Chiburui to the right side without the Kissaki moving to the left is very difficult. The main function is a combination of twisting, squeezing and shaking of the right hand. It could be beneficial to experiment by applying a liquid on the blade and shaking it of to observe the practical results.

In Muso Jikiden Eishin Ryu the blade must move horizontally to the right and the edge must point to the right. However Master Nakayama Hakudo of Muso Shinden Ryu used to instruct that the Kissaki should be dropped a little. Practitioners should understand the differences between these two schools.


The left foot must be brought back to the right as Noto action is taken. However the body posture must not alter.

Chiburui after a second cut Therefore it is not necessary to do a hurried Noto. However one should retain sufficient Zanshin.

Put about 10 cms of the Kissaki into the Saya at the beginning of Noto, then bring the left foot backward gradually corresponding to the speed of the blade movement. During this action the there must be no movement from the hips or body. Also the left foot must not extend back behind the right foot level. Because the body must be squarely facing Shomen when Noto is completed in order to be able to take emergency action if need be.


When Noto is nearly completed the fallen opponent starts to swing his sword aiming at the right shin from the outer right side. Immediately pull the left foot one pace backward, draw the sword and cover your right shin with the mono-uchi part of the blade. In this posture the left hip must be pulled back sharply.

a] Finishing position of the left foot.

The left foot does not fall directly behind the right one. It stops a little to the left side of the right foot line. Careless left footwork will cause the body to over twist to the left.

As the diagram shows, the left foot (2) should be moved to position (3) rather than (4).

If the left foot moves to position (4), the stability of the body will be insecure.

The distance between the feet in Sunekakoi should be about shoulder width, to hold a reasonable and comfortable balance. In taking Sunekakoi, the hips are inevitably raised. There are two different ways to shift the body backwards.

One way is to start to lift the body when starting to draw the sword to cover the shin, and drop the body at the same time as the Sunekakoi action.

The other way is to try to keep the body height on the same level without raising or dropping drastically.

From a logical point of view the second option seems to be more natural and reasonable. In other words try not to lift the body high from the outset. Keeping a low hip and body position within all kinds of practice is the general concept of Japanese Budo.

It is said that forceful action comes from rough mentality. On the other hand controlled and peaceful power creates a natural reaction and result.

b] The posture when arresting the opponent’s blow with Mono-uchi is as follows;

Drop the waist/hips.

Bend both knees a little lower than the Iai-goshi posture. The toes should be pointing slightly inward towards Shomen.

Twist the hip adequately to the left.

The upper body must be held upright and the tanden is pushed forward with a full spirit.

Metsuke should be on the fallen opponent, not on the sword connecting point. Also at this moment, Metsuke should be extended for the next action.

In this action the left hand can be on the Koikuchi or placed on the left hip.


The object of drawing the sword is to protect ones right shin.

When about 5 Cms of the Kissaki is left in the Koikuchi;

Concentrate full power on the Kissaki to draw out the blade and cover the right shin.

There must be continuity between the two actions of drawing the sword and covering and protecting the shin to perform this technique efficiently.


As stated, the degree of hip twist can effect the result of the action.

When the hip twist is small the shin protecting action has to rely on the strength of the right hand. The result will perhaps not come up to expectations. However this style looks quite impressive, but is not so steadfast from a technical point of view. It is perhaps representative of Kendo or Iaido footwork.

When the hip twist is too big.

If the upper body is twisted too much to the left it is in contention with Shomen body balance is lost. Also both feet will be pointing to the left too much. Under these conditions it is almost impossible to effectively take the next action. Bearing these two situations in mind it is perhaps a good idea to compromise between the two. The degree of hip twist is one thing. However dropping the hips and body weight is another. It is essential that this condition does not change. The power of action can only be derived from a hip twisting action.


Methods continuing from the position of covering and protecting the right shin from the opponent’s strike are;

Turn the body to face Shomen.

Remove the right fist towards and above the forehead.

When the right fist starts to move and reaches the centre of the body line, ones own body should move under the right hand which is almost mobilized to cut. In this action the Kissaki automatically moves left and backwards. This method of bringing the sword up (Furikaburi) is the fastest.

There is a slightly different finger a wrist control technique. It is a method that can be used quite easily and seems to be sensible and practical.

In this Furikaburi some practitioners drop their hands to lift the Kissaki above the head. This method is not recommendable because the right hand has to respond to all the weight and pressure coming from this movement. Therefore this action is not logical.


The real intention of Sunekakoi action is how to arrest and guard against an opponent’s attack and the speed of the withdrawal. If arresting the opponent’s action is successful and the body position is inadequate, it is impossible to take the next action immediately and efficiently. Bringing the sword up to do Kirioroshi is critical requirement.

Unfortunately the pause that many practitioners take between these two actions is too obvious. This scene happens because of a misunderstanding or misinterpretation of this difficult movement. It is essential that the right shin is guarded and Kirioroshi is done immediately without wasting any time.


Is exactly the same as in Ippon-me.


a] If by chance the opponent’s strike does not connect with the foot or shin, it will not be necessary to guard and protect it and withdraw. According to Mori Shigeki Sensei, Master Oe often used to teach the method to experienced students. Generally speaking this method seems to be popular in Muso Shinden Ryu although the basic situation may not be the same as Jikiden Ryu.

b] Shigeki Sensei also informed me that Oe Masamichi Sensei also used to Sunekakoi technique with the edge of the blade pointing forward and guard off the opponent’s strike with the Shinogi (side of the blade).

THE MOVEMENT OF YAEGAKI. (Hokiyama Namio Sensei)

a] Horizontal Nukitsuke with the right foot moving forward, Then take a pace forward with the left foot with the right knee on the ground. This must be a simultaneous movement. During this action Furikaburi is included. This is the reason that the right knee touches the ground. Noto action can be continued without having to alter the body posture too much.

b] Comments on Yoko Chiburui (Hokiyama Namio Sensei) In Yoko Chiburui it is recommendable to keep the edge pointing slightly downward and the Kissaki slightly lower than Tsuba height.

COMMENTS ON YOKO CHIBURUI. (Nakayama Hakudo Sensei Toyama Military School. Tokyo 16th May 1922.

Batto (Nukitsuke) should be done exactly the same as Ippon-me (Batto in Shinden Ryu). Raise the sword above the head and bring the left foot forward at the same time, then take one more pace forward and take Kiritsuke action. Next bring the left hand to the left hip and carry on as stipulated in any school that performs Yaegaki. (In Eishin Ryu this form is called In-yo-shintai).