The following nage are some of the throws that are found in TSD hyung. I'm going to post video of the throw and talk about the particular place they are found in our hyung.
Nage in TSD hyung - Vids
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OP
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- #2
The first throw that most students learn is deashi barai. This throw is implied in many of the early forms, but it does not directly appear until a student learns Naihanchi Chodan.
The low kicks in Naihanchi can be interpreted as either deashi barai or hiza garuma.
The footsweep is taught over hiza garuma because it is more ubiquitous throughout TSD hyung.
The footsweep also appears in the form Rohai.
The low kicks in Naihanchi can be interpreted as either deashi barai or hiza garuma.
The footsweep is taught over hiza garuma because it is more ubiquitous throughout TSD hyung.
The footsweep also appears in the form Rohai.
OP
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- #3
O Uchi Gari is also taught to beginners as this sweep is ubiquitous in almost all of our forms. A front punch to the middle, performed in front stance, is almost the exact same movement as this throw.
Given that the Okinawan's designed these forms to teach techniques to fight at all ranges, this should surprise no one.
Given that the Okinawan's designed these forms to teach techniques to fight at all ranges, this should surprise no one.
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- #4
O Soto Gari is another sweep that is taught at the beginner level. This throw is another that is commonly found throughout all of our hyung. The body movements for reverse punch, when performed in front stance, show the mechanics of this throw.
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- #5
The scoop throw is taught to beginners because it helps them understand techniques in the hyung that seem strange or that the implied purpose would seem very effective.
This technique is found in gi cho hyung sam bu where the technique Wheng Jin Kun Kyuk is performed. At first glance, the "side punch" when performed in horse stance, is very confusing. Why would anyone do that in a real fight?
When a student learns suquee nage, it all comes together.
This technique is found in gi cho hyung sam bu where the technique Wheng Jin Kun Kyuk is performed. At first glance, the "side punch" when performed in horse stance, is very confusing. Why would anyone do that in a real fight?
When a student learns suquee nage, it all comes together.
OP
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- #6
The next throw is soto gama. This throw is taught at the intermediate level and is first shown in the pyung ahn hyungs. This throw resembles a front kick and is indirectly show in pyung ahn ee dan when tori is moving down the middle the second time. The occurs after an arm lock is applied, taking uki off balance.
The throw is also shown in pyung ahn sa dan. At the end of the first section where the tori turns 45 degrees and reaches out to clinch, the front kick, at that angle, can be interpretted as soto gama.
This throw appears in other more advanced forms, but the interpretation is more esoteric.
The throw is also shown in pyung ahn sa dan. At the end of the first section where the tori turns 45 degrees and reaches out to clinch, the front kick, at that angle, can be interpretted as soto gama.
This throw appears in other more advanced forms, but the interpretation is more esoteric.
OP
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- #7
There are many throws that are implied in the turns of our hyung. The three quarter turn into ha dan mahkee is particularly suspect. She Ho Nage follows the movements in this technique very well.
The four corners throw is taught at the intermediate level in TSD.
The four corners throw is taught at the intermediate level in TSD.
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- #8
O Goshi is taught at the intermediate level. The major hip throw is implied in some of the beginner hyung, but it doesn't appear directly until pyung ahn cho dan. At the very end of the form, where ha dan soo do mahkee is being performed, the very first one, coupled with the three quarter turn, is o goshi. Note the hand position in the intermediate position of that technique. That tells you where to grap your uki and how to place your hip.
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- #9
Sei O Goshi is a throw that is taught at the intermediate level. It first appears in the form pyung ahn sa dan. It is found at the end of the first half of the form, where an ahneso pakuro mahkee done in kyo cha rip jash is performed right after a front kick.
Students should be aware that whenever you see a technique performed in kyo cha rip jaseh, the cross legged stance, that is a throw.
With that being said, this throw also appears in pyung ahn o dan right before the leg is raised for the jump. It should be noted that the very same technique in pyung ahn o dan, when coupled with the jump, turns into hane goshi.
The landing of that jump is the beating of the person while they are down.
Students should be aware that whenever you see a technique performed in kyo cha rip jaseh, the cross legged stance, that is a throw.
With that being said, this throw also appears in pyung ahn o dan right before the leg is raised for the jump. It should be noted that the very same technique in pyung ahn o dan, when coupled with the jump, turns into hane goshi.
The landing of that jump is the beating of the person while they are down.
OP
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- #10
The next three throws are all taught at the intermediate level and are all found in the same form.
Chil Sung Ill Ro is a form that is characterized by very low stances and slow and methodical movements punctuated by fast and dynamic movements. Many of the movements get down really low and can obviously be seen as grabbing the legs in the clinch.
Yawara Gaeshi, the rice bale throw, is an implied move that comes from the hand swinging move that follows the first ki hap.
Chil Sung Ill Ro is a form that is characterized by very low stances and slow and methodical movements punctuated by fast and dynamic movements. Many of the movements get down really low and can obviously be seen as grabbing the legs in the clinch.
Yawara Gaeshi, the rice bale throw, is an implied move that comes from the hand swinging move that follows the first ki hap.
OP
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- #11
Sei O Nage is a throw that is implied in many of the hyung that we practice. It first appears directly, however, in pyung ahn sam dan. The move in question is at the very end of the form, where tori reaches up to the shoulder and turns, drawing the hands across his body.
The shoulder throw is taught at the intermediate level in TSD.
The shoulder throw is taught at the intermediate level in TSD.
OP
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- #12
Tai O Toshi is a throw taught at the advanced level. This is because the fall for this throw tends to be very quick and the student must perform a no handed sutemi in order to avoid injury.
This throw directly appears in Bassai Dai. The movement in question is at the very end of the form where the tori performs a U punch and then turns into a deep stance with one leg out and one arm, which performs a "backfist", that is parellel to the ground.
This move is repeated on both sides, showing that the throw is to be practiced on both sides.
This throw directly appears in Bassai Dai. The movement in question is at the very end of the form where the tori performs a U punch and then turns into a deep stance with one leg out and one arm, which performs a "backfist", that is parellel to the ground.
This move is repeated on both sides, showing that the throw is to be practiced on both sides.
OP
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- #13
Kane Sute and Harai Goshi are two throws that are both taught at the advanced level. They appear in Bassai Dai and Sho and are variations on the same technique.
At the very end of the first half of each form, when the hand is swung around into a catch and a side kick is performed, the height of the side kick determines which throw is being performed.
For Kane Sute, the kick is performed high and then the foot is brought back to the opposite knee. This shows that the kicking leg is supposed to place high on uki's body while the posting leg is supposed to slip behind uki's knees. If the kick is performed low and coupled with the turn, then the technique becomes harai goshi.
It should be noted that harai goshi appears in the pyung ahn hyungs...and is directly shown in pyung ahn ee dan. Harai goshi is taught at the advanced level for two reasons. The first is because a student must be able to perform O Goshi. The second is that the balance requirements for Harai Goshi are more difficult.
It should also be noted that soto momo harai is also a good substitute technique because it uses more kick and less sweeping motion in order to throw uki's legs in the air.
At the very end of the first half of each form, when the hand is swung around into a catch and a side kick is performed, the height of the side kick determines which throw is being performed.
For Kane Sute, the kick is performed high and then the foot is brought back to the opposite knee. This shows that the kicking leg is supposed to place high on uki's body while the posting leg is supposed to slip behind uki's knees. If the kick is performed low and coupled with the turn, then the technique becomes harai goshi.
It should be noted that harai goshi appears in the pyung ahn hyungs...and is directly shown in pyung ahn ee dan. Harai goshi is taught at the advanced level for two reasons. The first is because a student must be able to perform O Goshi. The second is that the balance requirements for Harai Goshi are more difficult.
It should also be noted that soto momo harai is also a good substitute technique because it uses more kick and less sweeping motion in order to throw uki's legs in the air.
OP
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- #14
Tomoe nage is a throw taught at the advanced level because of its potential for a high fall. This throw does not appear directly in any of the gup hyung, however, it does appear in some of the dan level hyung.
The move is implied in chil sung ee ro near the end of the form where the tori is bringing the hands down to clinch and then kicking forward.
The move is implied in chil sung ee ro near the end of the form where the tori is bringing the hands down to clinch and then kicking forward.
Sir,
First, thank you very much for sharing these throws. I really appreciate it.
In the single leg takedown, are you trapping the uke's planted foot with your same side foot or is your foot just near his?
I know this comes after understanding the throw or takedown, but I was curious as to what kind of guard or defensive measure do you recommend the person doing the takedowns do to avoid a knee to the face during the shoot?
First, thank you very much for sharing these throws. I really appreciate it.
In the single leg takedown, are you trapping the uke's planted foot with your same side foot or is your foot just near his?
I know this comes after understanding the throw or takedown, but I was curious as to what kind of guard or defensive measure do you recommend the person doing the takedowns do to avoid a knee to the face during the shoot?
OP
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- #16
Good question. The answer is in chil sung ill ro hyung. The single leg takedown is either done from the clinch or it is done with one hand protecting the head from knees and guillotines. No defense is perfect though.
As to answering your other question, if the person doesn't do a good sprawl in response to the shoot, kneeing an opponent is very difficult. When I pick up the leg and pivot, I've pretty much cut off any attack from the other leg unless they complete sacrifice their balance...which in that case, my other hand would attempt to ward off any blows.
So, my foot and leg aren't positioned exactly to trap. Merely to act as a screen.
