In the field of observation, chance favours only the prepared mind.  Louis Pasteur

To beat someone of another art one needs to know their art, but that is not to say that one should fight according to their ways. In knowing one's opponent's art, one will be aware of their strengths and avoid them, one will be aware of their weaknesses and utilise them. Accordingly, the wise do not display their art.

(a) Hidden zanshin

This means that one is quietly alert, mindful of the aggressor but keeping such inside; the antagonist remains unaware of what awaits. Here, one feels no direct threat so nothing need be done. Indeed, there are times when just exposing one's zanshin could lead directly to trouble.

(b) Exposed zanshin

This is an obvious change in attitude where one confronts the aggressor in terms of silence, words, or action; the antagonist is aware of one's presence. With silence, the way one looks at someone shows them what one wants to say, words make it clearer, action makes it happen. If one is aware of these processes, one can develop and use them to advantage.

(c) Fighting

Musashi advises that the spirit of fighting is fire. Keeping a cool mind in the heat of onslaught is easier said than done, but to be successful, must be done. In order to practice overcoming hardship one obviously needs to find stressful situations and jump right in. The dojo exists to provide the means.

(d) Learning

For the average martial artist, more than fighting strategy, what is required is a strategy of learning. Various methods of practice have been outlined above but what is important is that the student discern a principle from the experience. Without a principle, nothing has been learned. Teaching according to principles, it is possible to give seemingly different lessons every class. Taking one principle, the teacher should be able to show it through various media; empty hand technique, bokken, and jo. And here, one principle does not mean one technique. One solid principle can be demonstrated a cross a range of different techniques. Often, a teacher may be doing exactly just this without explaining, rather leaving it for the students to sort out in their minds.

Ordinary technical based teaching often confuses the students due to the seemingly endless range of techniques presented in no apparent logical order. After the students become accustomed to the idea of learning principles, however, they will be able to pick up seemingly new techniques, or shapes, instantly. The shape may be new, but the principle is old hat and learning becomes easy. The students have become true vehicles of transmission.

(e) Self-training

It is impossible to learn everything in the dojo. In order to make one's art one's own it is necessary both to think and to act. Thinking means to analyse everything; to sort everything out and to put it all in order. This is especially important if one is to become a teacher. Acting means one has to act on what one has thought. While one may write down one's ideas on paper, what is really necessary is to imprint them in one's sinews, muscles, and bones. This can be done by repeatedly performing the techniques by oneself. With a partner no technique is the same, but by oneself, one can make it so and get one's body in order. Further, one can run through multiple techniques or kata sets in a short space of time, covering and repeating them many times over.

In the beginning one just goes through the various forms, irrespective of the effect it might have on an imaginary uke. Next, one has to see the imaginary uke through the inner-eye. Sometimes it may feel as though what is being done is wrong. Naturally, one needs a good sense of imagination and over time it develops to the extent that the imaginary uke might even resist or change direction. Better still, one can even imagine the real uke attacking a split second before they actually do so and be ready in advance. Training in this way helps understand Aikido much faster. Every Aikido technique can be practised like this and, on returning to the dojo, one will soon find that it translates into producing improved technique. Self-training can also be particularly useful in establishing links in movement between the empty hand techniques and those of the bokken or jo. Once a common movement is determined, one can practice it with say, the bokken, and the movement learned therein will easily transfer to the jo or back to the empty hand.