tag:blogger.com,1999:blog-30500538.post-61861959297834599282008-05-10T15:02:00.004-04:002008-10-02T22:37:27.201-04:00<a href="http://bp1.blogger.com/_QGeh0LDcX_A/SCX13j4YMwI/AAAAAAAAAZc/BOVn_bqJYjQ/s1600-h/Mountain_stream.jpg"><img id="BLOGGER_PHOTO_ID_5198831679742423810" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="http://bp1.blogger.com/_QGeh0LDcX_A/SCX13j4YMwI/AAAAAAAAAZc/BOVn_bqJYjQ/s400/Mountain_stream.jpg" border="0" /></a><br /><div align="justify">Aiki with Patrick M., Kel, and Rick</div><ul><li><div align="justify">Today we discussed getting in rhythm with uke, like Musashi was talking about in the passage <a href="http://www.mokurendojo.com/2008/05/musashi-and-canadian-brass-on-speed.html">I posted a few days ago</a>...</div></li><br /><li><div align="justify">Tegatana with emphasis on shortening steps to keep in synch with an external pace.</div></li><br /><li><div align="justify">Hanasu with emphasis on shortening or stretching steps to get in synch during releases #1 and #3. From there we played with brushing off and disengaging. #2 turns into a particularly fabulous brushoff if tori stays light on the feet, times uke's near footfall and brushes himself off of uke.</div></li><br /><li><div align="justify">Koryu dai ichi section B with emphasis on staying light on the feet and flowing around obstacles.</div></li></ul><div align="justify"></div>Patrick Parkerhttp://www.blogger.com/profile/04471858995477729220noreply@blogger.com