Rokkyo: Also known as udehijigatame, udehiji shime, hiji osae, etc. Often used for knife thrust or jo thrust chest height. Tenkai so that thrust goes under armpit, flow thrust forward>sideways>upwards>backwards while holding uke's wrist with both hands. Pressure on uke's elbow as you drop down on inside knee or back. Warning, uke is liable to injure elbow on this one. I don't do this one often unless uke is yudansha because of injuries to at least four mudansha who went down on wrong knee.

Nanakyo: Kawahara Sensei says, "like sankyo but not sankyo." Instead of getting into the classical sankyo position, uke stays in front of nage. He used to do it to me by grabbing my thumb as I attacked with a munedori. However, I have also had it done to me by other Sensei from other attacks. I believe it was Endo Sensei who liked to do this from a jodan tsuki attack, going into tenkai and trapping and twisting the hand as it passed by into a sankyo-type grip. However, instead of stepping into tenkan, he would tenkai again and drop and twist uke's wrist in the sankyo type grip while pressing down on the elbow for leverage with the other hand. As nage steps backwards, uke is pressed downward. Some Sensei have called this just another variant of sankyo others say "like sankyo but not sankyo."

Hachikyo: Again, Kawahara Sensei says, "like yonkyo but not yonkyo." (I got reprimanded on this several times a while back because I insisted on continuing to do yonkyo when the practice was "not yonkyo.") The practice was from the katatetori attack. The uke's wrist is immediately turned over into a "yonkyo-type grip" without raising it and nage steps backward while pressing down on the elbow for a drag-down rather than press-down (more like gokkyo type of feel).

Kyukyo: Also known as Katagatame or Udehijigatame (this terms seems to be used for a number of techniques). It is especially done against tsuki attacks. It is a required technique for sankyu in Canada. The gedan tsuki attack is sidestepped outside using a strong irimi movement while cutting down at the elbow with a strong shuto. The other hand does atemi to face or throat. The atemi hand continues its path to uke's shoulder which it pulls down. The shuto hand wraps uke's arm so that the shuto continues on to grab uke's elbow from the inside. The nage's two hands overlap at uke's elbow which is pushed down as nage lowers down on to one knee while doing a tenkan, or stepping backwards. Finish with kansetsu waza.

Jyukyo: Easy way to start is like yokomenuchi shihonage but, instead of taking uke's arm upwards, the bent elbow is pressed downwards as nage steps forward in the 45 degree. Finish with shuto to back of neck.

I may have the order of these all wrong and all I ever heard was "next one" in terms of name. When I asked the name I was just told they were the kyo.

In the meanwhile I have been known to do a number of techniques which are not exactly kihonwaza and the Sensei would come over and correct it, so, it must have been another one I was fortunate enough to rediscover (I was told that I would sooner or later find out all the variants if I stayed in Aikido long enough but would never be shown all of them directly--basically, I was told to go away and find out myself and quite bothering them.). I am, however, finding out what makes each of the techniques a technique in itself a not something else. This is quite interesting. For instance, the one that Kawahara Sensei calls "like yonkyo but not yonkyo" is not yonkyo because it does not include the wide arm-sweeping motion of the ikkyo (uke's elbow doesn't come up and uke is pulled down and not pushed down).

Please take all this with a grain of salt. It is simply my distillation of things I have been taught over a number of years from a great many different teachers. If there is any incorrectness in this, it is because I stupidly misunderstood or mixed up what several different senseis were teaching. In my own defense, I sometimes find it difficult because of the different terms used for the same thing by different sensei and the limits of when a technique is something else differ from sensei to sensei from my point of view. It is, though, possible that they are all the same, the difference in perception being dependent upon how many times I have been bounced off the tatami as uke before getting a chance to try out the technique.

Rock