Kanemoto (兼元) of Akasaka in Mino Province stands alongside Kanesada as one of the two paramount representatives of the late Muromachi Mino tradition. The name Kanemoto was inherited through successive generations; however, "the most technically accomplished" is universally recognized as the second generation, whom the world admires under the appellation "Magoroku Kanemoto." Taking the Kanemoto active around the Meio and Eisho eras as the first generation, the second generation was active from around the Daiei era, with a dated naginata inscription from Kyoroku 1 (1528) among his documented works. Successive heads of the family used the common name Magoroku, and the line continued into the shinto period.

Kanemoto is credited with originating the hamon known as sanbonsugi -- groups of pointed gunome that run in linked sequence. This temper pattern is the distinguishing feature of the lineage across all generations; however, the NBTHK draws a critical distinction between the second generation and his successors. As the line progressed, "the pointed elements tended to become sharper-angled and more regularized," producing an increasingly geometric pattern. By contrast, the second generation's sanbonsugi shows "variability: the crests of the gunome are here and there rounded, producing changes in expression," and beyond the three-cedar grouping one encounters nihonsugi, yonsugi, and gosugi -- "a hallmark being that the design is not standardized." His jihada is characteristically itame-hada mixed with mokume and nagare-hada, tending toward hada-dachi with a whitish cast and shirake-utsuri. The temper is predominantly nioi-dominant with ko-nie, and his boshi frequently shows midare-komi forming a Jizo-like rounded tip. Beyond sanbonsugi, his range includes gunome-choji, an elegant suguha in the Rai-utsushi manner -- for which "the sugata and workmanship display an elegant and courtly quality" -- and, on rare occasions, hitatsura.

The NBTHK accords Magoroku Kanemoto a position as the representative master of Sue-Seki, whose works possess "specimen-like value" for the study of the Mino tradition. His freely shifting expressions -- "departing from a rigid template, freely shifting between more formal and more cursive expressions" -- are repeatedly cited as the defining quality that elevates his sanbonsugi above that of later generations. Several designated works carry distinguished provenance, including the "Aoki Kanemoto" used at the Battle of Anegawa (1570) and the "Yagyu Kanemoto" traditionally bestowed upon the Yagyu family by the eighth shogun during the Kyoho era.