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[go igo baduk weiqi] elementary go series vol 2 - 38 basic joseki

[go igo baduk weiqi] elementary go series vol 2 - 38 basic joseki

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Published by: alejo84ar on Mar 25, 2011
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When Black plays the kogeima kakari at 1, he cannot be
confined to the corner as he was when he played the three-three
point invasion, but White can still press him down with 2 and 4,
so as to build territory on the upper side or in the center. In this
section we shall discuss the continuation from the position
above, and consider alternatives which exist to White 4 and
Black 5.


Dia. 1. This position might appear at the beginning
of the game. White’s plan is to cordon off the entire upper side,
so after Black 4 he continues pressing with 5 and 7. Since Black
cannot allow himself to be pushed forever along the third line, he
plays 8 and 10 to turn White’s advance and reach a higher
White intends to keep on with his wall by playing ‘a’ or, better
yet, ‘b’. but at this point he has some kikashi to make on the right

Dia. 2. The purpose of 13 and 15 is to give White profit in
the corner. Next, Black has to defend at ‘a’, but first he has a
chance to play a kikashi of his own at ‘b’.
Dia. 3. If White played 17 at 18, Black would capture at 17
and be very happy with his exchange of some points in the
corner for a pon-nuki in the center. The sequence continues
through Black 22 and onward, and we leave you to devise
subsequent moves for yourself. The effect of White’s plays in
Dia. 2 is that White Δ keeps Black from making any corner
territory, and White can later play ‘a’ to take the corner
for himself.

Dia. 4 shows another way of playing, using the same ideas as
in Dia. 2, but starting from the basic joseki position.

Dia. 5. After the basic joseki, instead of continuing
to push down the right side, White may just extend
to 1 on the upper side. Black can then bend White
around with 2, 4, and 6, but White need not necessarily
complain, for he has the possibility of pushing at ‘a’
and cutting at ‘b’ to work with on the right side.

Black 4: variation

Dia. 6. If Black wants to keep White from making an
extension on the upper side, he should play 4 this way. White 5
is forced, (see Dia. 8), and then Black can play on the upper side
himself. At times this maneuver is necessary, but it has a big

Dia. 7. The drawback is that White can play 7 in sente. If
Black fails to answer, his corner can be killed. Now it is White,
not Black, who is in a position to make territory on the right side.

Dia. 8. An experienced player feels instinctively that White 5
in Dia. 6 is necessary, but you may want more of an explanation.
If White extends to 1 after the moves marked Δ and Δ, Black
will take the key point at 2. With the exchange of White 3 for
Black 4 it may seem that nothing special is going on, but
think what will happen if Black cuts at ‘a’ or pushes
at ‘b’. It is easy to see that the exchange of Δ for Δ is solidifying
Black’s position, while helping White very little at all.

White 3: one-point jump

Dia. 9. White can vary this joseki by making a one-point
jump with 3. This way of playing looks a little bit loose, but it is
quite safe.

Dia. 10. This variation of the joseki continues up to Black
10, and White should now make a very wide extension on the
upper side. If Black played 10 on the upper side to stop White’s
extension, White ‘a’ would be sente.

Dia. 11. If Black tries to push out with 4 and 6, he will get
into the same kind of pattern as in section 9, Dias. 12 to 14.

In conclusion

The main purpose of White’s pressure play at 2 is to build on
a large scale toward the center, but two other points about this
joseki should be borne in mind, (i) White presses Black into a
low position on the right side. Therefore, this joseki can be used
to reduce a developing black territory to a moderate size, (ii)
White more or less gives up any hope of making territory on the
right side for himself. If he wanted to develop there, he would
not choose the pressure play at 2, but one of the squeeze plays in
the next three sections.

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