| Batto | Drawing the Sword |
| Chiburi | Removing the blood from the blade |
| Fuchi | Collar at the top of the Tsuka just below the Tsuba |
| Gyaku-Kesagiri | Rising diagonal cut from the waist just under the ribs to the shoulder (about 45 degrees from vertical) |
| Gosoke | See Soke |
| Ha | Sharp edge of the blade |
| Habaki | Collar at the base of the sword just above the Tsuba |
| Hakama | Baggy pleated trousers |
| Hamon | Surface of the blade near the Ha |
| Hi | Indentation in the blade between the shinogi-ji and hamon where metal has been removed to lighten the sword (also helps the sword make a distinctive whistling sound when swung) |
| Hikae-giri | A way to perform koiguchi-o Kiru with the thumb on the side closest to the body such that the opponent cannot see |
| Jodan Kamae | Ready stance with the sword held above the head |
| Kamiza | Upper seat or deity shrine at the front of the dojo or practice area |
| Kata | Set form of moves |
| Katate | One-handed |
| Kesagiri | Diagonal cut from the base of the neck to the waist just below the ribs (about 30 degrees from vertical) |
| Kissaki | Tip of the sword |
| Kissaki-agari | The sword is above parallel with the kissaki slightly higher then the hand on the tsuka |
| Kissaki-sagari | The sword is below parallel with the kissaki slightly lowered then the hand on the tsuka |
| Koiguchi | Mouth of the saya |
| Koiguchi-o kiru | Act of unlocking the sword from the saya by using the thumb to push on the tsuba until the habaki is free from the tension (friction) holding the sword in the koiguchi |
| Kojieri | End of the saya opposite the koiguchi |
| Koryu Kumidachi |
Traditional Japanese martial art Paired sword practice |
| Kurigata | Knob on the saya through which the sageo is attached |
| Makko-giri | Vertical downward cut |
| Menuki | Furniture on the tsuka providing for a better grip |
| Monouchi | The sharpest part of the blade about one-third down from the kissaki |
| Morote | Two-handed |
| Mune | Back of the sword (opposite the Ha) |
| Noto | Sheathing the sword |
| Obi | Wide belt around the waist used to hold the sword on the hip |
| Rei | Bowing |
| Ritsurei | Standing bow |
| Sageo | Cord affixed to the saya |
| Saya | Scabbard (housing for the sword) |
| Sayibiki | Pulling the scabbard back to clear the blade |
| Seiza | Sitting formally on the knees with the legs folded under such that the butt rests on the ankles |
| Seppa | Washers between the tsuba and habaki |
| Shidachi | The one who does the attacking technique |
| Shinoga | Ridge line of the blade |
| Soke | Literally founderE refers to the head instructor (master) |
| Sonkyo | Moment of silence paying respect to the fallen opponent |
| Tachi Waza | Standing forms |
| Tekizuke | Keeping the kissaki pointed at the opponent |
| Torei | Bowing to the sword |
| Tsuba | Sword guard |
| Tsuka | Sword handle |
| Tsukagashira | Butt end of the tsuka |
| Uchidachi | The one who receives the technique |
| Yok ichi monji | Horizontal cut at chest (heart) level |
| Zagi | Seated forms |
| Zarei | Seated bow |
| Zanshin | State of focused awareness of one's surroundings without concentrating on any one thing in particular |