Quote:
Christian Moses wrote:
Weird, I have never seen happo giri where the sword is brought to through this position, but rather it is brought overhead into a kiri-otoshi/shomen giri.
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Obviously, do whatever your instructor prefers, but the several variations in the happo giri are very useful study if you find some one who plays with them. I had to go hunt some "movin' pic-chers" to help illustrate. Shoji Nishio shows this kind of positioning and flow in his turning cuts.
http://www.youtube.com/watch?v=lBCcj...elated&search=
He cuts in the first three seconds -- turning underneath an uke nagashi (another one of one of the happo giri variations, BTW) and coming to that modified hassō position to perform the te giri. In the last four seconds he flows from an upward do or mune cut, through a turning uke nagashi again and then again through the modified hassō for the cut. In neither case does he raise to jodan. In fact, even his hassō is darn near seigan with the tsuka.
In this you can see it in a somewhat more abbreviated form.
http://www.youtube.com/watch?v=w6fey...elated&search=
Although the view is blocked somewhat by uchitachi's body, the view is actually in line with his final cut so you can see that the sword never comes to jodan and stays on his left side (gyakku hassō) until he flows into the final cut.