| Katate tori | Ten techniques |
| Hiji tori | Five techniques (elbow grasped) |
| Kata tori | Five techniques |
| Yokomen uchi | Five techniques |
| Shomen uchi | Five techniques |
| Ryote tori | Five techniques |
| Morote tori | Five techniques |
| Mune tori | Five techniques (lapel grasped) |
| Mune tsuki | Five techniques |
| Men tsuki | Two techniques (punch to the face) |
| Hanmi handachi | Five techniques (nage kneeling, uke standing) |
| Ushiro ryote tori | Five techniques (from behind, both hands grasped) |
| Ushiro ryokata tori | Three techniques (from behind, both shoulders grasped) |
| Tanto tori | Four techniques (knife attack) |
| Jiyu waza | Four people, staggered |
| Jiyu waza | Four people, simultaneous |
| Suwari waza | Six techniques |
| Ushiro kubishime | Four techniques (one arm and neck grasp from behind |
| Koshi nage |
| Jiyu waza/randori | Free style with fourukes attacking continuously or staggered, with and without weapons |
| Ken and jo | Taking weapons from two ukes |
| Toma mae ukemi | Long distance breakfall over three or four people |
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| Roban - Essay |
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| The student will be asked to prepare and deliver an essay. |
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| Theory |
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| The student will be asked to explain large and small circle theory, sometimes referred to as hard and soft theory. |
| Large circle theory is based on the tenkan movement and small circle theory is based on the mawashi movement. An example is shomen uchi irimi nage when performed with either tenkan or mawashi. Another example is from yokomen uchi: hard theory is used when the nage uses the irimi defense from yokomen, soft theory is used when hantai tenkan is used. |
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| Flow |
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| At shodan, all basic techniques should be performed confidently and correctly, and more advanced techniques should be accomplished with reasonable competence. Evasion of all frontal attacks should be accomplished with balance, even if a technique is not able to be applied. The student should be able to control the direction of projection of basic nage waza and be in full control of the application of techniques, especially those which inflict pain on the uke. Control and use of the breath should be evident, e.g. inhalation during the receipt of an attack and exhalation during the projection phase. The general performance will display good posture and center, with free flowing movement. |
