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Τεχνικές Judo

Nage-waza (投げ技): Τεχνικές ρίψεων

Te-waza (手技): Τεχνικές χεριών
* Ippon seoinage (本背負い投げ, or 本背負投): Ρίψη από τον ώμο με το ένα χέρι
* Kata guruma (肩車): Τροχός στον ώμο
* Kibisu gaeshi ( 踵返): Τρικλοποδιά στη φτέρνα
* Kouchi gaeshi (小内返): Αντεπίθεση στο μικρό εσωτερικό θέρισμα
* Kuchiki taoshi (朽木落): Ρίψη με το ένα χέρι
* Morote gari (双手刈): Θέρισμα με τα δύο χέρια
* Obi otoshi (帯落): Πιάσιμο της ζώνης
* Seoi nage (背負い投げ, or 背負投): Ρίψη ώμου
* Seoi otoshi (背負落): Ρίψη ώμου
* Sukui nage (掬投): Σαρωτική ρίψη
* Sumi otoshi (隅落): Γωνιακή ρίψη
* Tai otoshi (体落): Πτώση του σώματος
* Uchi mata sukashi (内股透): Ξεγλίστημα από ρίψη με θέρισμα του εσωτερικού του μηρού
* Uki otoshi (浮落): Αιωρούμενη ρίψη
* Yama arashi (山嵐): Θυελλώδης ρίψη

Μη αναγνωρισμένη τεχνική: Te guruma: Τροχός χεριού

Koshi-waza (腰技): Τεχνικές γοφού
* Daki age (抱上): Ψηλό σήκωμα
* Hane goshi (跳腰): Εκτίναξη γοφού
* Harai goshi (払腰): Σάρωμα γοφού
* Koshi guruma (腰車): Τροχός στο γοφό
* O goshi (大腰): Μεγάλη ρίψη γοφού
* Sode tsurikomi goshi (袖釣込腰): Ρίψη γοφού με σήκωμα/τράβηγμα του μανικιού
* Tsuri goshi (釣腰): Ρίψη με ανασηκωμένο γοφό
* Tsurikomi goshi (釣込腰): Ρίψη γοφού με σήκωμα/τράβηγμα
* Uki goshi (浮腰): Ρίψη με υπερυψωμένο γοφό
* Ushiro goshi (後腰): Πίσω ρίψη γοφού
* Utsuri goshi (移腰): Μετατόπιση του γοφού

Μη αναγνωρισμένες τακτικές: Tobi goshi, Ushiro guruma

Ashi-waza (足技): Τεχνικές ποδιών
* Ashi guruma (足車): Τροχός στο πόδι
* Deashi harai (出足払): Σάρωμα μπροστινού ποδιού
* Hane goshi gaeshi (跳腰返): Αντεπίθεση στην εκτίναξη γοφού
* Harai goshi gaeshi (払腰返): Αντεπίθεση στο σάρωμα του γοφού
* Harai tsurikomi ashi (払釣込足): Σάρωμα ποδιού με σήκωμα/τράβηγμα
* Hiza guruma (膝車): Τροχός στο γόνατο
* Kosoto gake (小外掛): Μικρό εξωτερικό αγκρίστρωμα
* Kosoto gari (小外刈): Μικρό εξωτερικό θέρισμα
* Kouchi gari (小内刈): Μικρό εσωτερικό θέρισμα
* O guruma (大車): Μεγάλος τροχός
* Okuri ashi harai (送足払): Σάρωμα ποδιού
* Osoto gaeshi (大外返): Αντεπίθεση στο μεγάλο εξωτερικό θέρισμα
* Osoto gari (大外刈): Μεγάλο εξωτερικό θέρισμα
* Osoto guruma (大外車): Μεγάλος εξωτερικός τροχός
* Osoto otoshi (大外落): Μεγάλη εξωτερική ρίψη
* Ouchi gaeshi (): Αντεπίθεση στο μεγάλο εσωτερικό θέρισμα
* Ouchi gari (大内刈): Μεγάλο εσωτερικό θέρισμα
* Sasae tsurikomi ashi (支釣込足): Ρίψη στο πόδι που στηρίζει με σήκωμα/τράβηγμα
* Tsubame gaeshi (燕返): αντεπίθεση του χελιδονιού, αντιτεχνική στο ντεάσι-χαράι
* Uchi mata (内股): Ρίψη με θέρισμα του εσωτερικού του μηρού
* Uchi mata gaeshi (内股返): Αντεπίθεση στη ρίψη με θέρισμα του εσωτερικού μηρού

Sutemi-waza (捨身技): Τεχνικές αυτοθυσίας

Ma-sutemi (真捨身技): Ύπτιες τεχνικές αυτοθυσίας
* Hikikomi gaeshi (引込返): Αντίστροφη ώθηση
* Sumi gaeshi (隅返): Διαγώνια ρίψη
* Tawara gaeshi (俵返):
* Tomoe nage (巴投): Κυκλική ρίψη
* Ura nage (裏投): Οπίσθια ρίψη

Yoko-sutemi (橫捨身技): Πλάγιες τεχνικές αυτοθυσίας
* Daki wakare (抱分): Υψηλός διαχωρισμός
* Hane makikomi (跳巻込): Ρίψη με αναπήδηση και τύλιγμα
* Harai makikomi (払巻込): Ρίψη σαρώματος του γοφού με τύλιγμα
* Kani basami (蟹挟): Ρίψη ψαλιδιού
* Kawazu gake (河津掛): Εμπλοκή με το πόδι
* Osoto makikomi (大外巻込): Ρίψη με μεγάλο εξωτερικό τύλιγμα
* Soto makikomi (外巻込): Ρίψη με εξωτερικό τύλιγμα
* Tani otoshi (谷落): Ανατροπή της κοιλάδας
* Uchi makikomi (内巻込): Ρίψη με εσωτερικό τύλιγμα
* Uchi mata makikomi (内股巻込): Ρίψη του εσωτερικού του μηρού με τύλιγμα
* Uki waza (浮技): Αιωρούμενη ρίψη
* Yoko gake (横掛): Πλάγια ρίψη του σώματος
* Yoko guruma (横車): Πλάγιος τροχός
* Yoko otoshi (横落): Πλάγια ανατροπή
* Yoko wakare (横分): Πλάγια ρίψη

Μη αναγνωρισμένες τεχνικές: Tama guruma, Ude Gaeshi

Ne-waza: Τεχνικές εδάφους

Ανατροπή της χελώνας:
* Daki Wakare

Μη αναγνωρισμένες τεχνικές

Κυκλική κίνηση αμυνόμενου:

Elevator Sweep, Push Sweep
Πέρασμα αμυνόμενου:
Near Knee Guard Pass, Simple Guard Pass, Stacking Guard Pass
Ανατροπή της χελώνας:
Turtle Flip Over, Ura-gatame
Αντίστροφη ανάβαση:
Back Mount Escape, Foot lock counter to rear-mounted position

Osaekomi-waza (押込技): Τεχνικές καθήλωσης
* Kami-shiho-gatame (上四方固): Επάνω πιάσιμο τεσσάρων γωνιών
* Kata-gatame (肩固): Πιάσιμο ώμου
* Kesa-gatame (袈裟固): Πιάσιμο μαντηλιού
* Kuzure-kami-shiho-gatame (崩上四方固): Σπασμένο επάνω πιάσιμο τεσσάρων γωνιών
* Kuzure-kesa-gatame (崩袈裟固): Παραλλαγή του πιασίματος μαντηλιού
* Tate-shiho-gatame (縦四方固): Ευθύ κλείδωμα με πιάσιμο τεσσάρων γωνιών
* Yoko-shiho-gatame (横四方固): Πλάγιο κλείδωμα με πιάσιμο τεσσάρων γωνιών

Μη αναγνωρισμένες τεχνικές:
Uki-gatame (浮固): Επιπλέουσα στήριξη
Ura-gatame, Ura-kesa-gatame
* Ushiro-kesa-gatame (後袈裟固): Πιάσιμο μαντηλιού προς τα πίσω

Shime-waza (絞技): Τεχνικές πνιγμού
* Do-jime (胴絞): Πνιγμός κορμού
* Gyaku-juji-jime (逆十字絞): Αντίστροφο σταυρωτό κλείδωμα
* Hadaka-jime (裸絞): Γυμνό κλείδωμα
* Kata-ha-jime (片羽絞): Κλείδωμα μονής φτερούγας
* Kata-juji-jime (片十字絞): Μισό σταυρωτό κλείδωμα
* Katate-jime (片手絞): Πνιγμός με το ένα χέρι
* Nami-juji-jime (並十字絞): Κανονικό σταυρωτό κλείδωμα
* Okuri-eri-jime (送襟絞): Κυλιόμενο κλείδωμα του κολάρου
* Ryo-te-jime (両手絞): Πνιγμός με τα δύο χέρια
* Sankaku-jime (三角絞): Τριγωνικός πνιγμός
* Sode-guruma-jime (袖車絞): Πνιγμός με τροχό στο μανίκι
* Tsukkomi-jime (突込絞): Πιεστικός πνιγμός

Μη αναγνωρισμένες τεχνικές:
Jigoku-jime (地獄絞): Διαβολικός πνιγμός
Ura-juji-jime

Kansetsu-waza (関節技): Τεχνικές αρθρώσεων
* Ashi-garami (足緘): Κλείδωμα ποδιού με εμπλοκή
* Ude-garami (腕緘): Κλείδωμα βραχίονα με εμπλοκή
* Ude-hishigi-ashi-gatame (腕挫脚固): Κλείδωμα βραχίονα με το πόδι
* Ude-hishigi-hara-gatame (腕挫腹固): Κλείδωμα βραχίονα με το στομάχι
* Ude-hishigi-hiza-gatame ( 腕挫膝固): Κλείδωμα βραχίονα με το γόνατο
* Ude-hishigi-juji-gatame (腕挫十字固): Σταυρωτό κλείδωμα βραχίονα
* Ude-hishigi-sankaku-gatame (腕挫三角固): Τριγωνικό κλείδωμα βραχίονα
* Ude-hishigi-te-gatame (腕挫手固): Κλείδωμα βραχίονα με το χέρι
* Ude-hishigi-ude-gatame (挫腕固): Κλείδωμα βραχίονα με το βραχίονα
* Ude-hishigi-waki-gatame (腕挫腋固): Κλείδωμα βραχίονα με τη μασχάλη

Μη αναγνωρισμένες τεχνικές:
Ashi-hishigi
* Sankaku-garami (三角緘): Τριγωνική περιπλοκή
Atemi-waza (当て身技): Τεχνικές χτυπημάτων

Ashi-ate-waza: Χτυπήματα ποδιών
* Mae-ate: Εμπρός χτύπημα
* Mae-geri: Μπροστινό λάκτισμα
* Naname-geri: Διαγώνιο λάκτισμα
* Taka-geri: Ψηλό εμπρός λάκτισμα
* Ushiro-geri: Πίσω λάκτισμα
* Yoko-geri: Πλάγιο λάκτισμα

Ude-Ate-waza: Χτυπήματα με τα χέρια και τους βραχίωνες
* Kami-ate: Χτυπήματα προς τα πάνω
* Kirioroshi: Κάθετο κόψιμο
* Naname-ate: Διαγώνιο χτύπημα
* Naname-uchi: Πλάγιο χτύπημα
* Ryogan-tsuki: Χτύπημα και στα δύο μάτια
* Shimo-tsuki: Χτύπημα από πάνω προς τα κάτω
* Tsukiage: Γροθιά από κάτω (άπερκατ)
* Tsukidashi: Χτύπημα με το χέρι
* Tsukkake: Γροθιά
* Uchioroshi: Χτύπημα προς τα κάτω
* Ushiro-ate: Οπίσθιο χτύπημα
* Ushiro-sumi-tsuki: Χτύπημα στην πίσω γωνία
* Ushiro-tsuki: Πίσω χτύπημα
* Ushiro-uchi: Πίσω χτύπημα
* Yoko-ate: Πλάγια ρίψη του σώματος
* Yoko-uchi: Πλάγια ρίψη του σώματος

Uke-waza (αιωρούμενη ανατροπή)
* Tenkan: Εξωτερική στροφή

Ukemi (Τεχνικές ασφαλών πτώσεων)
* Mae ukemi: Πρόσθια πτώση
* Ushiro ukemi: Οπίσθια πτώση
* Yoko ukemi: Πλάγια πτώση

What is Kiai

Variation from http://www.horindojo.co.uk/Articles/What%20is%20Kiai.pdf

When asked “what is Kiai”, I would think that most students of modern martial arts would answer with something like; “a shout of power”, “a fierce yell”, or something similar.

The term Kiai is a compound of two Kanji (Chinese characters).
The first Ki has a meaning of ‘mind’, ‘will’ or ‘spirit’.
The second Ai is a contraction of the verb ‘Awasu’, to unite.

So you can see from this meaning that ‘Kiai’ is more that just a shout, it is the ability to concentrate the whole of one’s being – mind, body & spirit in a single unified action. The vocal part of Kiai does not start in the throat but instead should erupt from deep within the pit of the stomach or the Hara.

Kiai wo kakeru (to utter Kiai)
To attack your enemy with Kiai exactly at the moment when your enemy has no Ki in their Saika Tanden (hara).

Fukushiki Kokyu
The art of deep, diaphragmatic breathing

There are also esoteric meanings behind Kiai, these have an effect on specific moves & the coordination of weapons, spirit, and body. The main of these being
Yo no Kiai
In no Kiai

Yo no Kiai can be subdivided into;
i) Kiai of winning = Yaa!
The use of this Kiai is to make the enemy feel that they have already lost.
ii) Now attacking Kiai = Aa!
The use of this Kiai is to make the enemy feel one has found their weakpoint. The enemy will not then be able to use full power as their hearts have been unstabled.
iii) I already know your next technique kiai = Towa!
This makes the enemy feel that one knows their intentions, thus destroying the desire in your enemy to continue.

In no Kiai, is most famously used for the Toate no Jutsu (techniques of striking from a distance), In no Kiai is silent in application but still has the ability to defeat your enemy. Deeply research the understanding of how sound interacts with action!!

Other Kiai used in training involves the use of Kiai in conjunction with Kime (or focus), each time a Kansetsu waza (locking techniques) is used on an enemy it is accompanied with a low deep belly Kiai of “Uuhhmm”, this is to add emphasis to the control of the techniques and to counter any resistance offered by your enemy. This type of Kiai is very important for Ju Jutsu training.

It is said; “If the mind be kept one & undivided it will accommodate itself to ten thousand varied circumstances. That is the reason why a superior person can keep their mind empty & undisturbed”.

Goshin Jutsu (Kodokan )

The Kodokan Goshin Jutsu was created in 1956 by a Kodokan working group to update the older kata with more modern forms of self-defense. It also shows the influence of Kenji Tomiki, one of Professor Kano's students, who also studied Aikido under the founder of Aikido. It consists of 21 techniques against an unarmed, as well as armed, attacker. It is divided into two unarmed sets (toshu no bu) and three sets with weapons (buki no bu). The first seven techniques are against an attack close in. The next five are against attacks from strikes and kicks. Then there are three attacks with a knife, three with a stick and three with a gun. The techniques here cannot be used in free exercise practice or in competition, but only in kata. Never-the-less, as one practices this kata, the attack speed increases and one's reflexes and reactions sharpen to meet the attack. Eventually, this kata can be practiced with real weapons. The intent in this kata is different than with normal Judo practice, in that this is a self-defense kata, the intent on the part of both participants is to hurt the other. While the actions are controlled, so that the attacker is not hurt, the defender's actions can easily be modified to disable the attacker. It is important to realize that all of the techniques in this kata are consistant with the principles of "Judo", the way of gentleness or yielding.

Unarmed Close-in Attacks by Holding

Ryote dori - two hand hold

Stepping forward with the left foot, the attacker grabs both wrists and attempts a right knee kick to the groin. Defender avoids the kick by stepping back with the left foot, forces his right hand against attacker's weak thumb releasing the grip, and continues his motion into a right knife edge strike to the temple. Defender then uses the right hand to grab the attacker's right wrist from the top and twists to the right, and ends with an armlock and wrist lock forcing the attacker to submit or have his arm broken.

Hidari eri dori - left lapel hold

Using the right hand the attacker grabs the left lapel and pushes defender back while stepping forward with the right foot. Defender holds attacker's hand with his left hand as he steps back with his left foot, pulling attacker off balance, and strikes attacker's eyes with the back of his right hand. He immediately grabs the attacker's right wrist from the top with his right hand, placing his left hand on the attacker's right elbow and stepping back with the right foot. He ends the attack by forcing the attacker to the ground with a wrist and elbow joint lock, controlling his body with his left knee.

Migi eri dori - right lapel hold

As attacker grabs across to the right lapel and pulls defender forward by stepping back with his left foot, defender steps forward with the right foot and delivers a right uppercut to the chin of the attacker. He then grabs the wrist with the left hand from the top, steps back with the left foot, adds the right hand, and turns forcing the attacker to be thrown with the wrist lock.

Kata ude dori - single hand hold

Attacker approaches from the right rear and grabs the right arm lifting defender to his toes and attempts to take defender with him. As they walk, defender delivers a right kick to the left knee and uses the unbalance position of the defender to apply the armlock to the right arm forcing submission.

Ushiro eri dori - back collar hold

As they are walking forward the attacker grabs collar from behind, steps back with the left foot, and pulls. Defender turns and blocks the arm with his left hand and delivers a punch to the solar plexus with the right hand using the turning motion. He then applies the ude gatame armlock, forcing the attacker's elbow down.

Ushiro jime - rear choke

Attacker puts his right arm around the defender's neck from the rear to apply hadaka jime. Defender tucks in his chin and pulls the arm down from his throat. He then steps forward with the right foot, turns to the left ducking under the choke, forcing attacker's arm into the te gatame armlock with his right hand on the attacker's elbow and left hand grasping the wrist.

Kakae dori - rear seizure

Attacker steps forward with his right foot and grasps the body and arms from behind as in a bear hug. Defender counters by raising shoulders and arms and simultaneously stomping on attacker's foot with a forceful downward kick. This causes attacker to release grip. Defender then turns to the right to grab the right wrist with his left hand, bringing the right arm up behind the elbow pushing attacker's arm into a forceful throw which is applied by continuing the turning motion.

Unarmed Attack at a Distance

Naname uchi - slanting strike

Advancing with his right foot attacker attempts to strike the left side of defender's head with his right hand. Strike is parried by stepping outside attacker's right foot with the left and turning to the right pushing the arm down as it misses it's target. It is countered with a right uppercut to the chin and a throat grab forcing attacker off balance backwards as defender applies right osotogari to the attacker's rear.

Ago tsuki - uppercut

Attacker attempts a right uppercut that is parried by defender as he steps back with his left foot. Attacker's arm motion is redirected by grabbing the wrist with the blocking right hand. The left hand applies pressure against his elbow upward as the wrist is pulled down and defender steps forward with the left foot pushing on the elbow and wrist to throw by this action.

Gammen tsuki - thrust punch or jab

Attacker steps forward with his left foot and punches the face with the left fist. The punch is again parried as defender steps forward with the right foot and a counter attack is made by a punch to attacker's floating ribs. Defender then applies a rear choke (hadaka jime) with the right arm forcing submission or unconsciousness.

Mae geri - front kick

Defender parries a right kick by turning the body to the right and stepping back with the right foot. He then grabs the foot of attacker's raised leg with both hands, twisting the ankle, breaking it, and then forcing attacker backward and down.

Yoko geri - side kick

Walking towards each other, attacker attempts a side kick as he passes defender, who parries the kick, turns and pulls attacker down onto his back dropping onto his left knee. While this technique in the kata looks harmless enough, in actuality, the defender would leave his right knee in place behind the attacker so that he falls with his lower back on the knee, which would no doubt break the attacker's back.

Armed Attack - Knife

Tsukkake - close in thrust

As attacker steps back with his right foot and turns his body to withdraw knife, which is hidden from defender's view, defender steps in with the right foot, grabs the left elbow with the right hand, and blinds attacker with a left backhand to the eyes. Defender grabs the left wrist and twists it away to raise the elbow as the right hand applies pressure on the elbow. Attacker is taken down by application of pressure to the elbow.

Choku zuki - straight thrust

Attacker steps forward with the left foot, takes out a dagger with his right hand then steps forward with his right foot and attempts a lunge with the knife. Defender steps forward with the left foot turning to the right and grabs the attacking arm at the elbow with the left hand. At the same time defender strikes above the nose with a punch. Defender grabs the right wrist from below with the right hand, turns and applies an armlock (waki gatame) to the arm with the knife forcing submission or a broken elbow.

Naname zuki - slanting stab

Attacker steps forward with his left foot, takes out a dagger with his right hand and attempts a downward stab to the chest as he steps forward with the right foot. Defender steps back with his right foot, turns to the right, parries by grabbing the right wrist from the top with the left hand. Using both hands on the wrist, defender controls the wrist and arm up into a throw or takedown (kote gaeshi). He then locks the arm (ude garame) and takes the knife away and holds it against attacker's throat. Variations of this technique, force attacker to cut his own throat while being thrown.

Armed Attack - Stick

Furiage - upswing against a stick

Attacker steps back with his right foot, raises the stick with the right hand preparing to deliver a blow. As attacker brings the stick back to strike, defender steps in, blocking the attacking arm with the left hand, delivering a palm strike to the chin and throwing attacker backward with right osotogari.

Furioroshi - downswing against a stick

Attacker steps forward with his right foot, raises the stick with the right hand and attempts to strike the left side of defender's head. Stick is avoided by a turning action and stepping back with the right foot. Defender immediately steps in with a left backfist strike to the bridge of the nose. He then controls the stick, steps in again with the left foot behind the attakcer and strikes again below the nose with the knife edge of his hand forcing the attacker down.

Morote zuke - two hand thrust

Attacker thrusts stick to abdomen stepping forward with the left foot. Defender steps forward with the right foot, turns to the left and parries with the right hand. He then grabs the stick from the top with the left hand and pulls attacker forward and steps in to grab the stick between the attacker's hands with the right hand. The right arm is placed against the back of the attacker's left elbow applying pressure forwards. Attacker not wanting to let go of the stick, pulls back and defender steps forward throwing attacker with his own stick.

Armed Attack - Gun

Shomen zuke - pistol held to abdomen

Attacker steps forward with his right foot and holds gun against abdomen, says te o age (or hands up), and searches for wallet with other hand. Defender raises hands slowly, watching attacker's eyes, and at the key moment, turns to the right stepping forward with the left foot. Defender grabs the gun with his left hand, thumb on top, and his wrist with the right hand from the top, forcing it to the side and up into attacker's armpit and a release of the weapon. Defender then strikes attacker with weapon.

Koshi gamae - pistol at side

Attacker approaches with his left foot. Pistol is held away from defender towards the side aimed at the stomach and the defender raises his hands after the command of te o age (or hands up). As attacker reaches for wallet, defender turns, grabs the gun from the top with the right hand, forces it to point away, and with the aid of the other hand, forces gun up and pulls it away to the right. Attacker's finger is locked into the trigger guard and is broken off. Defender ends the attack with an upward strike to the chin of the attacker with the gun. See the video.

Haimen zuke - pistol against the back

Attacker steps forward with the right foot. As gun is placed against the back as the attacker says te o age (or hands up). The defender glances to see what arm is raised. As attacker reaches for wallet, defender turns to the right, drops the right hand under the gun hand, raising it up to lock the gun arm against his chest. He then grabs the gun with other hand disarming attacker and striking him with it or applying kote gaeshi to throw him.

By http://judoinfo.com/katagosh.htm

Judo Gi (How to fold)

Classic Judo Gi Fold
Judo Gi to go
How to fold a Judo Gi

Tying the belt (Πως δένουμε την ζώνη)

Tying the judo belt (JUDO)
How to tie the belt (JUDO)
How to tie your obi belt (AIKIDO)
How to Tie a Karate Belt (KARATE)
How to tie your Obi the KBI way (KBI)

Japanese numerals

There are two ways of writing the numbers in Japanese, in Hindu-Arabic numerals (1, 2, 3) or in Chinese numerals (一, 二, 三). The Hindu-Arabic numerals are more often used in horizontal writing, and the Chinese numerals are more common in vertical writing. (Some numbers have multiple names.)
The special reading "maru" is also found. It is used when reading individual digits of a number one after another, instead of as a full number. A popular example is the famous 109 store in Shibuya which is read as "ichi-maru-kyū". This usage of "maru" for numerical 0 is similar to reading numeral 0 in English as "oh". Etymologically, it derives from 丸 or 円 (both "maru"). However, as a number, it is only written as 0 or 零.
The numbers 4 and 9 are considered unlucky in Japanese: 4, pronounced shi, is a homophone for "death" (死); 9, when pronounced ku, is a homophone for "suffering" (苦). The number 13 is sometimes considered unlucky, though this is a carryover from Western tradition .In modern Japanese, the kun readings are only used for single digit numbers and day-of-month names, although in many contexts the on readings will be used instead.

Number	Character	Preferred reading	On reading	Kun reading
0	零 / 〇	zero	rei / れい	-
1	一	ichi	ichi / いち	hito(tsu) / ひと(つ)
2	二	ni	ni, ji / に、じ	futa(tsu) / ふた(つ)
3	三	san	san / さん	mi(ttsu) / み(っつ)
4	四	yon	shi / し	yon, yo(ttsu) / よん、よ(っつ)
5	五	go	go / ご	itsu(tsu) / いつ(つ)
6	六	roku	roku / ろく	mu(ttsu) / む(っつ)
7	七	nana	shichi / しち	nana(tsu) / なな(つ)
8	八	hachi	hachi / はち	ya(ttsu) / や(っつ)
9	九	kyū	kyū, ku / きゅう、く	kokono(tsu) / ここの(つ)
10	十	jū	jū / じゅう	tō / とお
20	二十	ni-jū	ni-jū / にじゅう	hata(chi) / はた(ち)
30	三十	san-jū	san-jū / さんじゅう	miso / みそ
100	百	hyaku	hyaku / ひゃく	(momo / もも)