The move where you go down to your knees, everything should be at 90° angles, with the right heel and left knee on the same line. Okinawa 1995
Makishi Sensei
Square punch at shoulder level. Okinawa 1995
The kamae is no longer a big circle, just from right shoulder directly linearly out, pivot on the wrist 180 then punch. The concept is that the opponent's fist lands in the middle above the crossing. The left hand spins on top as the right hand grabs the opponent's wrist, then pulls as the left shoots straight in for a strike to the armpit/ribs. Old interpretation is that the opponent's fist landed under the crossing. Okinawa 1995
Kiai at the punch right before the hotoke-gamae Buddha stance. Okinawa 1995
On the hotoke-gamae, right arm is slight bit forward - in application arm is blocking a punch from attacker at your back. Okinawa 1995
Come around screw in left palm up, torque hips into position and do a regular forward punch from the armpit, still left hand. Okinawa 1995 (Changed!)
After the hotoke-gamae Buddha move you come around left hand screws in palm up - should not be too low, but solar plexus level. Then DON'T turn into zenkutsu-dachi and do a regular forward punch. From where it was, the middle of your chest, it goes from there out for the strike. Okinawa 1995
After the jigotai-dachi elbow strike, when you go into the next move (feet/legs twisted supported block), stay the level of that jigotai-dachi. The head should not go higher moving into the kosa-dachi, but remain the same height. Okinawa 1995
Move very quickly into the tenshin-no-kamae, not slow. Okinawa 1995
After the tenshin no kamae, as you step out don't step forward but divide the space to re-center directly under your center axis. Okinawa 1995
When you're on your knees, close in your groin area, and no space between your legs. All is very close and tight. Okinawa 1995
On last two moves right foot pivots but doesn't move, and remember last move right arm comes to inside of left. Okinawa 1995
The last two moves the right foot is stationary, just pivots, the left foot moves. Okinawa 1995
On the last move, the right arm needs to come inside the left arm for the setup - it will end with left arm high, right arm outstretched with the leg. Okinawa 1995
When you turn from jigotai-dachi to zenkutsu-dachi the long leg does the adjustment, not the bent leg. Okinawa 1998
On kaku-zuki, it should look like the punches in the naihanchi katas; should extend straight and rebound back. Okinawa 1999
The scissor-hand kamae should not come out straight from shoulder, but should be slightly circular like the old style. Okinawa 1999
After the Buddha move, look the other direction. Make that first stepout longer. Okinawa 1999
After the elbow jigotai-dachi, we do a spring step when doing setup, then step over s/b tighter when kneeling. Okinawa 1999
On the last two moves, lean the whole body with the blocks. Okinawa 1999
On the last move, the feet are parallel. Okinawa 1999
After the hotoke-gamae buddha stance, keep the right hand up until you are in jigotai-dachi, then you drop it into the yoko gedan-barai-uke. He corrected my support arm, saying it was setting up as a swing from outside to inside, but it needs to hang from inside and swing into the "scoop position"; "Just keep integrity from previous position." Osaka Temple 2000
As you turn into zenkutsu-dachi for the forward punch, do not re-chamber the fist. Let it come "linearly", like a straight punch; it's not a "V" shaped punch with a set up. Keep it quick and smooth. Osaka Temple 2000
For Pinan Godan and Passai, the move that has been the big change, sensei said my idea of a slight curve, so not so straight down to hit the leg, but to move the leg to the outside, is a good one. The main thing is you have no time to bring it to the opposite shoulder as in the third move of Fukyugata Ni. He said the principle should be the same for all katas, so in the second half of the move, the turn to zenkutsu-dachi oi-zuki, the fist does not go back to chamber and shoot out straight, but rather it comes from the V shape across the chest, out to the target. Okinawa 2003
On the Tenshin no kamae. Support fist, palm down, and does NOT touch the right elbow. Okinawa 2003
Makishi takes natural steps. This means tight steps not big steps like Higa Sensei (hombu) on Kosa-uke. Okinawa 2003
Tamaki Sensei
On the "wrist pivot" and left punch, there is a great tendency here to use shoulder to wallop it in. Well, here it's critical to use that belly to pump it in - no shoulder! Okinawa 1995
On support block before you spin (wari-gedan-uke) it is high, so elbow level with shoulder. Okinawa 1995
Shinjo Sensei
Buddha-like block with twisted leg step over kneel double down block, need to take a five-inch step over. Okinawa 1999
Yaga Sensei and Nakamori Sensei
After the buddha-like move (tenshin no kamae), drop around when you go into kneeling don't move your back leg back, but maybe a little to the side. Okinawa 1999
Higa Sensei
On kaku-zuki: use the torque of the outer leg to screw upwards with the legs (circular torque). Place foot first, then torque upwards. Okinawa 2003
Next move step out and don't do circular block, but strike more linearly (to an oncoming kick), turn into zenkutsu-dachi and punch from THAT hand position. Okinawa 2003
After the elbow, spring to tenshin no kamae. Support fist, palm down, does touch the right elbow (see Makishi note). Okinawa 2003
Coming into kneeling double gedan-zuki; left step regular, right step longer and slightly forward. Knees end up close together when they go down. The back leg/foot should not adjust back. . Okinawa 2003
