- tsuki komi, tsuki gake, kiri age
- kiri sage, kinshi, kochô gaeshi
- shi hô giri, happô giri, tsuki no wa
Each one of these basic techniques is then completed by a set of 9 sayû* gyaku; and a set of 9 henka. Which makes a theoretical total of 27.
What I understood last year in April when training with sensei is that we can see the sayû gyaku (左右逆 – left right reversing forms) as how to apply the basic form to the left or to the right of the opponent. Each sayû gyaku contains in fact more than one or two forms. Then the henka (変化 – beginning of change/end of change) is how to apply the basic form while moving forward or backward. Here again you have more than two ways of doing each one of them.
So from the 9 basic forms listed above with the added sets of sayû gyaku and of henka, we get an infinity of possibilities to adjust the technique to the fighting conditions. Maybe this is the reason why Toda sensei told Takamatsu going to challenge Ishitani, sôke of the kukishin: “don’t use sword techniques against Ishitani sensei as his kukishin biken jutsu is much more powerful than our togakure happô biken”.
The reason why I separated the basic forms into three sets is that if you study these techniques carefully you will notice that they do not apply on the same timeline. The first set is used when you react after the attack begins (nijigen no sekai); the second set while the attack begins (sanjigen no sekai); and the third one before the attack begins (yûgen no sekai).
Also in each group you will see that the first technique of each group is a ten (going up); the second one a chi (going down); and the third one, a jin (going to the opponent). These groups (tenchijin and up/down/forward) actually define a matrix of actions that can be adapted through the sayû gyaku set and/or the henka set.
Maybe this is what sensei meant also by naming it “kukishin ryû happô biken”.
- Biken jutsu (2 dvds basic and kukishin)
- Tachi waza (3 dvds)