3 kyu
Introduction
3 kyu develops shorter, sharper and more concentrated technique through kake dachi, a distinct hiji family, shuto cross blocks and several kakato geri variants. It also continues ura work, introduces Pinan sono yon and advances formal partner practice.
For Masutatsu Oyama, technique must carry precision and concentration under pressure. The student needs effective close-range strikes, an organised body in a more locking stance, heel kicks at several heights and more mature kata. Control becomes increasingly demanding.
What the student learns
- Stand with greater organisation and a locking structure in kake dachi.
- Understand heisoku dachi as a formal, compact stance.
- Use the elbow in several directions and levels.
- Distinguish forward, rising, downward and backward close-body techniques.
- Perform clear high and low shuto juji uke.
- Kick with the heel towards upper, middle and lower targets.
- Maintain greater precision in direction and retraction.
- Progress in taikyoku ura and the Pinan series.
- Advance formal partner training.
- Retain structure, calm and endurance under further kumite demands.
Grading content
Stances
Kake dachi
A hooking or crossing stance with a closer, more locking leg structure. It develops technique within an integrated body line and control when the base becomes less direct and more complex.
Heisoku dachi
A closed parallel stance with the feet together. It teaches compactness, form and bodily organisation in openings, endings and transitions.
For Oyama, stances provide structural foundations. Narrower, more closed positions also require balance, concentration and technical intention.
Strikes and punches
Chudan mae hiji ate
A forward elbow strike to the middle section, developing short, direct power at close range with body connection and a compact path.
Chudan hiji age uchi
A rising elbow strike to the middle section, lifting with control and clear direction through the body.
Jodan hiji age uchi
A rising elbow strike to the upper level, developing higher direction, body coordination and control of the upward path.
Ushiro hiji ate
A backward elbow strike, using body awareness, balance and control without disrupting the student's own structure.
Hiji oroshi uchi
A downward elbow strike, developing a falling path, body weight and a clear downward finish.
Oyama's foundational works identify the elbow as a powerful close-range tool. The student must use it correctly, with clear direction, level and body support, beyond force alone.
Blocks
Gedan shuto juji uke
A low cross block with shuto, protecting the lower level with clear crossing, an open hand shape and organised body alignment.
Jodan shuto juji uke
A high cross block with shuto, developing height, correct knife-hand shape and cooperation between both arms in one protective structure.
Juji uke must be an organised technique in which level, direction and body support agree, beyond an external shape.
Kicks
Mae jodan kakato geri
A forward heel kick to the upper level, lifting the leg high, directing the heel clearly and controlling the path and retraction.
Ago geri
A kick towards the chin, requiring accurate direction at a high target, control, balance and a clear finish.
Mae chudan kakato geri
A forward heel kick to the middle section, using the heel along a straighter path towards the body's centre.
Mae gedan kakato geri
A forward heel kick to the lower level, developing low direction, correct leg path, balance and clear recovery.
The correct contact surface remains essential in Oyama's approach. The heel must function as the intended tool, and jodan, chudan and gedan must be demonstrated with control as well as recognised.
Kata
Taikyoku sono san ura
This develops the third taikyoku form through dependable use of the reversed principle. It deepens understanding of the basic pattern and tests organisation when the form is reversed.
Pinan sono yon
This continues the Pinan series with greater maturity, understanding of direction and transition control. The student should show stable Pinan work with variety supported by real structure.
Oyama uses kata to deepen balance, concentration, rhythm and technical discipline. Both foundation and more developed forms must now remain confidently integrated.
Kumite no waza
Sequences
- Kumite no kata sono go
Explanation of the steps
This named partner form is prescribed instead of separate step terms. It develops further timing, control and technical order. Beyond correct execution, the student needs assurance, attentiveness and understanding of distance and response.
Physical requirements
2 x 25 push-ups
Two sets of twenty-five, developing arm, shoulder and trunk strength and quality across repeated work blocks.
2 x 25 sit-ups
Two sets of twenty-five, developing abdominal strength, trunk endurance and organisation under increasing effort.
2 x 25 squats
Two sets of twenty-five, developing leg strength, stability and lower-body endurance.
Both physical capacity and endurance must support technique.
Kumite
Jiyu kumite: 9
Nine rounds place greater demands on technique, calm, breathing and the body under longer pressure. Respect, self-control, control and correct basics remain central. The student must retain form through fatigue, pace and increasing pressure.
Terminology
The student should know the relevant terms in Japanese, English and their own language: kake dachi, heisoku dachi, all hiji techniques, shuto juji uke, kakato geri variants, ago geri, Taikyoku sono san ura, Pinan sono yon and kumite no kata sono go. These support instruction and progression.
What the instructor looks for
- Compact, technically organised kake dachi.
- Formal, stable heisoku dachi.
- Clear distinctions between elbow directions and levels.
- Chudan mae hiji ate distinguished from rising forms.
- Ushiro hiji ate genuinely directed backwards without losing balance.
- Downward, body-supported hiji oroshi uchi.
- Correct level and hand shape in shuto juji uke.
- Distinct mae jodan, chudan and gedan kakato geri.
- Ago geri directed with control.
- Dependable organisation in Taikyoku sono san ura.
- Rhythm, focus and direction in Pinan sono yon.
- Control, respect and clear endurance in jiyu kumite.
Assessment concerns mature close-range power, precision and sustained effort, beyond technical range.
Common errors at 3 kyu
- Unstable or excessively locked kake dachi.
- Heisoku dachi as empty form without bodily engagement.
- Confusing elbow techniques by direction or level.
- Using arm strength without body support in elbow work.
- Loss of balance or direction in ushiro hiji ate.
- Rigid shuto juji uke without a functional protective structure.
- Kakato geri with an unclear contact surface or weak retraction.
- Confusing jodan, chudan and gedan in the heel-kick series.
- High ago geri without precision.
- Uncertain directions and turns in Taikyoku sono san ura.
- Pinan sono yon as memorised order without technical awareness.
- Excessive kumite tension disrupting rhythm, breathing and control.
Oyama's progression develops clear form and control before greater force and effect.
Summary
3 kyu develops concentrated, precise technique under greater effort. Kake dachi, elbow variants, shuto juji uke, heel kicks at several levels, further ura work, Pinan sono yon and advanced partner and free practice test structure at shorter distances, sharper directions and greater pressure. Precision, control, endurance and technical concentration are central.