The third section of the Miyama Kata deals with rooted technique, peaks rather than rolling hills or plateaus, and incorporates work from the sanchin and otoko atemi along with movements drawn from the jo, sword, and bladed technique. Hanshi Juchnik emphasizes that the form is frozen but the transitional motion is what matters most for bunkai. The tape covers circular movement, the creation of the triangle through posturing, how slight rotation creates distance even when an opponent appears close, multiple angles available from a single position, guiding an opponent through extremity contact, and how all three sections of Miyama can be connected in any order.