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38 BASIC JOSEKI
by Kiyoshi Kosugi and James Davies
THE ISHI PRESS, INC. Tokyo
Published by the Ishi Press, Inc. CPO Box 2126, Tokyo Copyright 1973 in Japan by the Ishi Press All rights reserved according to international law. This book or any parts thereof may not be reproduced in any form without written permission from the publishers. This and any other Ishi Press publication may be ordered from: THE ISHI PRESS, CPO Box 2126, Tokyo, Japan
First printing April 1973 Second printing April 1975 Third printing December 1980 Fourth printing September 1984 Fifth printing February 1989 Printed in Japan by the Sokosha Printing Co., Ltd.
To the beginner, the game of go appears as a jungle of confusion, full of pitfalls past which only Providence could possibly guide him. As he gains experience, he may learn to sort out the events of the middle and end games, recognize patterns, and play rationally, but the opening is apt to remain a mystery to him. Indeed, it remains something of a mystery even to professional go players, and there are no tabulations of go openings comparable to the books on chess openings, which tell how to play from move one onwards. There are, however, patterns which arise in parts of the board again and again during the opening. They occur in especially large numbers in the corners, where the initial fighting of the game generally takes place. These corner formulas, which have been discovered by trial and error, and worked out through centuries of go playing, and are still being added to and discarded, are called joseki. This is intended as a first book on joseki, so it contains only the more common of them. In choosing our material, we have taken pains to avoid the kind of long, complicated sequences that one can spend hours learning, and then go for months without using. We have also decided not to spend time on doubtful or ‘trap’ moves, although occasionally a mistaken play is shown to explain the meaning of a good one. These
commissions will limit this book’s usefulness as a reference work for advanced players, but they should be welcomed by readers at the sub-shodan level, for whom we are writing. There are no major gaps in our coverage of joseki, and we hope that our explanations are clear enough for even beginners to understand. With the exception of chapter four, we have limited ourselves to those joseki in which one player plays a stone in the corner, and before he has a chance to reinforce it with a second stone, his opponent moves in after him. The first stone ordinarily goes on one of these five points: the 3-3 point (san-san) the 3-4 point (komoku) the 4-4 point (hoshi) the 3-5 point (mokuhazushi) the 4-5 point (takamoku) We shall take them in that order, starting with the three-three point and moving out toward the center. We shall stop at the four-five point because, although it is not necessarily bad to start farther out from the corner, it is rather unusual, so there are no joseki built specifically around such moves. The reader of this, or any other joseki book, may be dismayed at the large number of variations it contains. Let him be reassured that he need not worry about forgetting them; in fact, it is a good idea to forget them. Too much dependence on rote learning of joseki stifles a player’s imagination, and blinds his overall vision of the board. It is best to remember pieces of
This gives their games an awkward appearance. exactly what makes it a good move. Even professional players read joseki books. and concepts that can be put to use in many situations. or what is going to follow it. He may pull new surprise moves on his opponents. or even criticized in. but do not yet really understand. varying them. like other books. Watching these student professionals. 5 . individual moves. He plays joseki not from memory. A full-fledged professional. should be looked upon as sources of ideas. and they are more likely to be thought up on the spur of the moment than to be the product of secret study the night before. having read dozens of go books and played and watched thousands of games. joseki books. not as texts to be learned by heart. when he plays a stone. but he is confident that the subsequent moves will bear out his judgment. coming to understand them. starting with sequences they remember from books or from stronger players’ games. but from his general feeling for what moves are good in any given situation. He may not know. no longer studies joseki much. Amateurs must learn joseki in the same way. we can see them using and misusing joseki that they have picked up from their reading.joseki—shapes of stones. and therefore regularly produces moves not found in. at the apprentice stage of their development. Joseki books. testing them out in their own games. but relies on his accumulated experience. and finally being able to play on their own with confidence. He adapts his joseki to the surrounding positions.
who also contributed what diagrams he could. and to Richard Bozulich of the Ishi Press for offering suggestions on parts of the manuscript. and show how they should be altered to meet varied situations.This book has been designed to encourage that development: rather than just compile long lists of joseki. The text was written by Davies. applying what appears in one place to positions arising in other places without having to be told. we have taken a relatively few number of them and tried to explain them. October. 1972. We are indebted to the Japanese Go Association for the use of their facilities. Tokyo. Concerning the authorship of this book. most of the diagrams and ideas in it were supplied by Kosugi in a series of consultations stretching from April to October. 1972 Kiyoshi Kosugi James Davies 6 . and not taking what he reads to be blanket statements covering all situations. We expect the reader to use his head a little.
..... 3 Chapter 1: 3-3 point joseki ..........…………...…………... part 1 .. 26 7 ..................…………………………... 12 Chapter 2: 3-4 point joseki.......TABLE OF CONTENTS Preface ................
......Chapter 3: squeeze plays .....…………....... 60 8 .....
....Chapter 4: 4-4 point joseki.... invasion and tsuke ………….....................119 Chapter 5: 4-4 point joseki..135 9 ......... kakari ………..
............………..…………..... 226 Glossary of technical terms ..242 10 .……….................Chapter 6: 3-5 point joseki .......... 194 Chapter 7: 4-5 point joseki ............
with his wife and two daughters. Tokyo. where his go playing has advanced to the amateur 5-dan level. reached 2-dan the next year. He graduated from Oberlin College in 1967 and entered graduate school at the University of Washington. At present he lives in Ota-ku. ____________________________________________________ JAMES DAVIES was born in 1945 in Philadelphia. and younger brother— are professional go players. He now lives with his wife in the suburbs of Tokyo. mother. and three of them—his father. he is a regular contributor to Go Review magazine. In 1970 he came to Japan. which determines a professional player’s rank. Under his father’s tutelage. only to have a mathematics professor interest him in the game of go. Besides go. go-playing family.ABOUT THE AUTHORS ___________________________________________________ KIYOSHI KOSUGI was born in 1939 in Tokyo into a large. In 1967 he took second place in the second division of the Oteai tournament. and 3-dan the year after that. 11 . His parents and all six of his brothers and sisters know how to play go. and was promoted to 5-dan. he became a professional shodan in 1957. he likes to read and play mah-jong. Besides writing for the Ishi Press. He is known to foreign go visitors to Japan for his good command of English and his lively sense of humor.
1. The virtue of the stone in Dia. 12 . but that belief has been dispelled in the present century. where it is harder to find security. 1. the simplest joseki start with a stone on the three-three point. This used to be considered a poor play. he will have to build his position in the center or along one side of the board. The drawback of a play on the three-three point is that. when professional players have come to make frequent use of three-three point joseki. it does not give much help in developing into the center. The two sections of this chapter will show what happens when Negru approaches the Alb stone in Dia. 1 is easy to understand: it denies Negru access to the corner. as in Dia. If Negru attacks. tucked so far back in the corner.CHAPTER 1 Three-three point joseki INTRODUCTION Generally speaking.
but it is often altered to fit surrounding circumstances. reinforcing the corner. and Negru 5 are often played differently. and then look at some of the variations. while Negru gets a center-facing position. 2. Alb 4. reaching out into the center. This is the basic joseki pattern. Such a move. a move which approaches an isolated enemy corner stone from the outside. by adding a stone at 1 or ‘a’ in Dia. then sooner or later Alb will want to make a shimari. In particular.If Negru does not get around to playing against Alb’s stone. We shall examine the meaning of the moves in the basic joseki. It is worth quite a lot for Alb to push back against this particular kakari with 2. SECTION 1 Negru 1 is our first example of a kakari. 13 . and preparing for wide extensions on both sides. and Negru 3 to 5 are the standard continuation. Negru 3. is of great value. Alb makes a modest amount of corner territory.
Dia.The basic joseki Dia. This formation is better for Alb than just a shimari would be. a move which prepares both to attack the Negru stones and to make territory on the left side. for if Alb leaves it out and Negru gets a chance to play 3. If Negru omits 3 and Alb gets to play 4. Therefore Negru 3 in the basic joseki is another important move. he will be confined much more tightly than before. 3. 1. then Negru 1 becomes almost useless. but it does prevent Alb 1 in this diagram. see section 19. Alb 4 is important for the same reason. Alb 2 in the basic joseki is a big move. Negru 5 in the basic joseki is easier to leave out than the three moves which preceded it. then although Alb can still live in the corner. 2. 14 . Dia.
and stopping Alb from enlarging his corner in that direction. 4. Alb 4: variations Dia. Negru 1 here is a big move. Sometimes it is best to play 1 instead of Δ. After the joseki. 6. Dia.Dia. Negru 7 prepares to wall off the left side at ‘a’. Alb often continues the basic joseki by playing 6. To prevent Negru 1 in the last diagram. 5. 15 . Here is one variation in the basic joseki. preparing to make territory and eye shape on the lower side. although that gives Negru sente. leaving Negru to take ‘c’ or some other point. so Alb usually plays 8 at ‘b’.
Compare his prospects in this diagram with what they would be if he could make a shimari at 3. 16 . Alb attacked Negru Δ with 1.. let’s examine this sequence. he cannot get a lot of territory here. Negru 1 is especially appropriate when Alb has made two extensions like Δ from his corner stone. 7.. taken from a professional game. Incidentally. this is a situation where Negru might play 5 at ‘a’ for a faster get-away into the center. Negru jumped out to 6. Instead of following the basic joseki pattern. Either way is joseki. but unless by some chance he succeeds in actually capturing them. Negru can finish the sequence with 13. and Negru 2 and 4 made a nice reply. Dia. Alb can attack the stones Negru has played.Dia. By way of introducing some of the other variations in this joseki. Against Alb 5. but . 8. 9. After 5. Negru makes a one-point jump Dia. in this situation Alb might well play 4 and so on to take territory on the left side. giving himself some room for eyes and getting ready to attack Alb Δ. and Alb wedged in at 7.
Dia. 10. If Negru had played 6 here Alb would have skipped out to 7. because they could connect to the left hand corner at ‘a’. He could not very well attack the Alb stones in the middle of the lower side. 17 . and it would have been hard for Negru to do much of anything with 6 and Δ.
such as Negru ‘d’. for him to break into the lower side. 11. and there would remain ways.Dia. even if Alb first played ‘c’. 12. Dia. In one variation of this joseki. But it would not have been good for Negru to play 8 after Alb 7 here. because then Alb 9 would have taken a large lower side and left Negru Δ very weak. Alb plays 7 as shown to take territory on the lower side. Later Negru could play ‘a’ or ‘b’ in sente. 18 . but in the present game that would let Negru get a big point at 8 on the right side.
Dia. Alb could have secured the lower side territory by playing 11 here—the connection between it and Δ could not be broken—but then Negru would have played 12 and Alb would have been faced with the need to make an invasion on the right side. but however he invades. 14. So the actual game continued this way. he cannot get the worry-free position he had in Dia. 13.Dia. Next Negru was able to live on the lower side by playing ‘a’ and ‘b’. 19 . but in these circumstances it would have been an unnecessary addition to his stones on the lower side and an invitation to trouble on the right. since Alb does not want to be pushed toward Negru’s strong wall in the lower right. 11 is a joseki move for Alb. 13. Alb 13 looks like the best point.
‘b’. Also. Since such shoulder-blows are one of the common ways of reducing large potential territories. As a rule. however. Alb may answer Negru 1 at ‘a’. ‘c’. Negru should make a kakari like 1 when his purpose is to do something constructive on the left side. or he may choose not to answer Negru 1 at all. SECTION 2 It often happens that Negru wants to approach Alb’s stone from one side or the other. When his aim is to destroy Alb territory. instead of Negru 1.In conclusion These sequences can be used not only in the corner. The exchange of Negru 1 for Alb 2 forms a simple joseki. Depending on the situation. the patterns of this section turn up frequently in the opening and early middle game. the shoulder-hitting kakari of section 1 is better. 20 . or ‘d’ instead of at 2. instead of attacking at ‘a’. but whenever a stone anywhere on the third line is attacked with a shoulder-hitting move like Negru 1. there are other similar kakari which we shall look at.
Ogeima kakari Dia. 1. In this common position Negru 1 is often played. It and Negru 3 give Negru a position on the left side, weakening Alb Δ. 4 is a good point for Alb, but Δ still does not have room to make two eyes on the side, and Negru can attack it with 5. Dia. 2. If Negru played this joseki, then he would be putting much less pressure on Alb Δ; this time, after Alb 6, Negru ‘a’ would pose very little threat to Alb.
Dia. 3. When Alb has made an extension like Δ from his corner stone, Negru 1 may be used to reduce the size of his prospective territory. Compare its size now with what it would be if Alb made a shimari at 1. Here Alb should definitely play 2 on the fourth line, for this builds toward a larger territory than Alb ‘a’ would. Next, ‘b’ is a good point for either player. Dia. 4. The reason Alb does not always play 2 on the fourth line is that Negru can then attack from the other side with 3. This aims at ‘a’, from which point Negru can connect to either 1 or 3.
Dia. 5. In this case Alb might answer 1 at 2 instead of ‘a’. The argument for doing so is that even if Alb extended to ‘a’, Negru would still be able to invade the lower side, at ‘b’ for instance. Since Alb needs two stones to defend the side anyway, 2 and, later, Alb ‘b’ make a well-balanced formation, and 2 makes the corner stronger than Alb ‘a’ would. Other kakari 22
Dia. 6. When Negru approaches Alb Δ from the side, he need not always use the ogeima kakari. The kogeima kakari is possible too, although it must be used with discretion, since it provokes this sequence, in which Alb makes a lot of secure territory on the lower side.
Dia. 7. In this situation Negru 2 would be the correct kakari. Alb could play ‘a’ or ‘b’ instead of 3. Dia. 8. If we move Alb 1 and Negru Δ a line higher, then Negru 2 should be moved accordingly.
Tenuki Dia. 9. When Alb fails to respond to 1, the keima at Negru 3 is the standard play. Alb can slide out to ‘a’ or ‘b’, but he is being pressed into a very low position.
Later on Dia. 10. After the basic joseki, Negru can play kikashi at 1 and 3, useful points because they interfere with Alb’s extending to ‘a’. However, these moves make Alb solid and strong, and Negru should not play them too early, since there are other things he may want to try against the corner.
Dia 11. This shows one of those other possibilities. Negru 1 and 3 aim at exchanging the corner territory for the outside, and might be used if Negru Δ became hard to defend. If Alb played 4 at 7, Negru could play 5 at 4 or ‘a’, and in one way or another it should be possible for him to make eye shape.
In conclusion Generally speaking, Negru’s plays in this section are much more loose and open than his ones in the previous section. For that reason they allow Alb to build toward larger territories than before, but at the same time they leave more possibilities for Negru in the corner itself. Dia. 11 is just one example of the kind of thing that can happen there later on.
Three-four point joseki: part 1
INTRODUCTION The Negru stone in Dia. 1 rests on the 3-4 point, which has long been the most popular starting point in the corner. A stone placed here, like one on the 3-3 point, protects the corner territory, but it is not as likely to be shut in from the outside. If Alb attacks with 1 in Dia. 2, copying the idea of the joseki in section 1 of chapter 1, Negru will be more than happy to reply with 2, 4, and 6, getting a favorable result. Rather than have Negru solidify such a large corner, Alb usually attacks with one of the plays shown in Dias. 3 to 6.
If we think of the Negru stone as a stone on the third line, then Alb 1 in Dia. 3 is a natural way to attack. Alb’s general aim is to establish a position on the right side or in the center, while Negru takes the corner territory. All of the joseki in this chapter illustrate that idea, and most of them start with Alb 1 in Dia. 3.
If we think of the Negru stone as a stone on the fourth line, then Alb 1 in Dia. 4, aiming to slide in to the point ‘a’, is natural. Most of the joseki starting this way have Negru answering with a squeeze play on the right side, and are to be found in chapter 3. In this chapter, (section 7), will be found Negru’s reply at ‘b’. The ogeima kakari in Dia. 5 is used when Alb puts special emphasis on the right side, as opposed to the corner. Section 8 of this chapter and section 18 of the next are devoted to this play. The kakari in Dia. 6 stresses side and center at the expense of the corner. It is sometimes used by those who like a quick opening development, their idea being to ignore whatever reply Negru makes, (‘a’ and ‘b’ are typical replies), and rush on to some other part of the board. We shall forego any further discussion of this kakari.
One of the advantages of playing on the 3-4 point is that a stone there is in an excellent position for making a shimari. Dias. 7 to 10 show the four shimari plays that Negru has available. The one in Dia. 7 defends the corner best. Negru 1 in Dia. 8 is stronger toward the center, and makes a better wall from which to extend along the lower side, but suffers from the disadvantage that Alb can play at ‘a’, threatening to run into the corner at ‘b’. The shimari plays in Dias. 9 and 10 stake out larger territories, but they are a bit open as compared with the previous two. After any of these four shimari, an extension on the lower side becomes a large move for either player. There are special joseki starting from these four shimari, but they are not part of this book. In this chapter we shall see what happens when Alb attacks the single stone on the three-four point and Negru answers by defending his corner. There is another large group of three-four point joseki in which Negru answers Alb’s kakari by counterattacking with a squeeze play, but that is the subject of the next chapter.
but of course there are variations. and in fact Negru can get all the corner territory by playing 2. in the next section we shall see an alternative choice for 3 which builds more toward the center and lower side. 29 . and Alb 7 are one way to finish it. so this joseki is usually called the tsuke-hiki joseki.SECTION 3 Alb 1 tries more for a position on the outside than for corner profit. the spacing of 5 and 7 being Rood. Negru 6. Alb 5. Negru 2 is a tsuke and Negru 4 is a hiki. Alb plays 3 if he is interested in the right side.
(or ‘a’). Sometimes Alb plays 6 as shown as to be able to play ‘a’ later. 30 here. In this situation. Negru can make a solid connection with 5 and then extend to 7. keeping the three-line interval between 7 and 5. Negru. aiming at ‘d’ in the corner.Some variations Dia. has much greater prospects on the lower side and in the center than before. but it is not as Alb ‘c’. as shown here. so the way to build solid as Alb by . the spacing between 7 and Δ is also just right. By and by Negru may annoy playing ‘c’ himself. 3. Alb 6 gets in of Negru ‘b’. and so is suitable if Alb wants territory on the lower side. however. 2. Dia. The basic joseki ends in Alb’s gote. If Alb wants sente he can play tenuki after Negru’s hiki. Dia. 1. for if Negru cuts at 1 in this diagram Alb can still make a position for himself with 2 and 4. The point ‘b’ may become another good extension for Negru later on.
6. He must play 6 right after Alb 5 if he wants Alb to answer it at 7. 4. Then after Alb 9 he can attack with 10. 5. and Negru 6 should turn out to be useful in the fighting to come. Dia. or 6 and ‘b’). but not as much as Alb.Dia. Of course Negru is getting territory too. building a wall which works beautifully with his shimari. 5. Alb will reply at 2. Negru Δ turns out to be almost completely wasted. instead of just ‘a’. Thinking of this. Dia. Negru can play 6 and 8. and so Negru could be satisfied. Alb could even apply this sequence in answer to Negru 6 in Dia. (or 6 and ‘a’. 31 . 4. It is futile for Negru to play 1 after Dia. After the kaketsugi at 5 Alb need not always extend at ‘a’. but then Negru Δ would not be on the board. In this situation he might choose to make a shimari at 7 instead.
Dia. 7.Dia. and if Negru cuts at ‘a’ and captures another stone. he can make shape as shown. The loss of Δ costs Alb very little. while the lower side is still open. Negru takes the vital point at 6. If Alb were allowed to play there he would make good shape for his stones while destroying a lot of Negru’s lower side territory. (Alb 9 at 10). In this situation. 8. and then he must change his tactics accordingly. Even if he is unable to capture the cutting stone in shicho. Sometimes Alb is unable to extend up the right side. Alb 7 establishes room for two eyes on the right side. Alb should jump out into the center with 5 instead of playing ‘a’. and Negru Δ begins to look very weak. again it is not so important. Alb need not fear this Negru 6. When he jumps out to 5. making a quick escape. 32 . for example.
The reason that Negru 13 is so big is that it prepares for an invasion at ‘b’.A common opening pattern on the right side Dia. 10. gives Negru the chance to invade at good for Alb to reply by pressing 2 and 4. Negru 13 is a big point. happy with the exchange of 13 for ‘c’. Alb. since Negru can connect and the hane at ‘a’ still threatens 33 . Dia. too. It is not so from above with underneath at 5. so maybe Alb should play 14 at ‘a’. although Negru ‘a’ would be big. Here is one common opening pattern in which the joseki we have just been studying is often played. Of course Alb can defend with ‘c’. but then Negru will play ‘a’. 9. That 1.
11.Dia. Alb ‘e’ has become a strong move for later on. If Negru plays 3 at ‘c’ Alb will play ‘a’. Alb 2 here is the correct answer to Negru 1. 12. Alb can play 8 at ‘a’ or ‘b’. Dia. Negru had better be sure of his ko threats before starting this fight. and if Negru plays 3 at ‘d’ Alb will play ‘b’. leading to a ko. At the same time. Now Alb is ready to play either ‘a’ or ‘b’ to connect his position. 34 . If Negru is determined to make trouble he can play tsuke at 3.
but it will be hard for him. since he gets a strong corner while Alb’s shape is still open to attack. Dia. Alb comes out of it with a higher position. and it is easier for him to develop a really large territory than it is for Negru. but must submit to being cut in two as shown here. for after it the invasion at ‘a’ is not likely to pose any threat at all. But on the other hand. He can still fight in his separated shape. 13. If Alb lacks ko threats he cannot play 4 and 6 in the last diagram. 14. 35 . In conclusion This is a simple and satisfying joseki for Negru. There are many opening situations where it is a reasonable choice for both Players. so there is nothing unfair about it.Dia. Thus Alb 1 is quite large.
while Alb is vulnerable to a hane at ‘b’. but now Alb slides along the top with 3 instead of playing hane at ‘d’. 2. and Alb does likewise at 7. Dia. No variation is possible in Negru 4 and Alb 5. and ‘d’. Alb has good plays at ‘a’ and ‘b’. for Negru has a serious weakness in the cutting point at ‘a’. We shall concentrate on Negru ‘a’ and ‘b’.SECTION 4 This joseki starts out like the one in the last section. and he can also play tenuki. After Negru 8. ‘b’. ‘c’. ‘a’. Negru has four choices for his next play. Negru defends his weak point at 6. Negru 6: simplest variation Dia. which means avalanche in Japanese. It does not stop here. working toward a large territory across the lower side. 36 . This joseki is known as the nadare. 1. With this shimari in the lower left corner it is a good idea for Alb to make the kaketsugi at 9.
Alb must be careful not to play 9 too close to the lower right corner. Negru can attack with 10. Alb 9 is not a bad move. except that Alb has only a single stone in the other corner. Now it is obvious that there is too little territory below Alb 9 and too much open space above it. If he plays it here. but now Negru can easily make a position on the side with 10 and 12. With the joseki turned on its side. 4. 5. this is the same situation as before. 37 . both the Negru and the Alb groups being weak. 3. So Alb may prefer to make a play like 9 here. Dia. Dia. Negru will just push out with 10 and 12. but the fight is a fair one.Dia.
Dia. Negru’s best response is 2. by preventing Negru ‘a’. 38 . he should do so at 10. Do you see the relation of ‘a’ to Alb ‘b’? Dia. The other key point for Alb is at 9. 6. Dia. If Negru plays 10 here he leaves a serious weak point at ‘a’ which Alb can exploit if he has a stone further up on the right side. reduces Negru’s prospects on the right side. Alb can play kikashi at 1. 7. If Negru answers Alb 9. 8. If Negru fails to answer Δ. This play enlarges Alb’s wall and. but this exchange by itself hinders Negru in the expansion of his territory along the right side.
but the cutting point at ‘a’ remains. this is another possible variation. 39 . Negru 12 is a good tesuji and Negru 16 takes the corner. 11. One idea for Negru’s next move is ‘a’. 9. After Alb 11. and Alb 11 defends. Dia. 10. 12. Alb 9. threatening both ‘a’ and ‘b’. Negru 10 threatens to capture all the Alb stones. and after this the joseki continues with a fight involving the weak Negru stones in the center. Dia. Dia.The small nadare joseki Dia. is the key to this variation. Alb cuts and makes a position for himself on the right side. Negru attacks with 6 and Alb counter attacks with 7. forming the so-called small nadare joseki.
taking the corner. and this is not so good for Alb either. Alb loses everything. Negru can crawl out at 12. but on the other hand if the shicho favors Alb. and of course ‘b’ is his sente on the right side. then Negru 13 captures the corner stones. If the shicho works. and when Alb cuts at 13 Negru attacks with 14. What happens if Alb plays nobi with 11? The feasibility of this move depends on a shicho. So if the shicho favors Negru.Dia. 13. Dia. When the shicho is against Negru. this diagram is not very good for Negru. 16. If Alb plays 13 at 16. 14. and 18. 40 . Next Alb should take the vital point at ‘a’. Alb 11 is impossible. he must play as shown here.
Dia. Perhaps you can figure out what happens if Alb does not answer Negru ‘a’. If Alb does continue with the joseki. (big nadare). basically a simple idea. but there are many complicated variations to the nadare joseki. In conclusion Alb is offering Negru a modest amount of corner and side territory in return for a wall. Finally there is this double hane variation. 15. joseki.Negru 6: the other two variations Dia. 16. so Alb will often answer it by playing tenuki. 41 . including a whole family arising from the o-nadare which we have not mentioned. Another idea is to exchange 7 for 8 and then tenuki. This move is not as aggressive as the hane at ‘a’. then this diagram shows the simplest way. which leaves Negru with good plays at ‘a’ and ‘b’. without playing 9. Negru 6 here forms the so-called o-nadare.
the tsuke on the outside is also possible. 42 . not to be found in this book. (threatening ‘d’). although there is a difficult variation. but Negru has sente. Let’s start with the two ways of playing Alb 6. The tsuke at 6 secures the corner territory. We shall look at all three of these possibilities. After Negru 5. as well as a variation in which Negru plays 5 at ‘c’.SECTION 5 In answer to Negru’s kakari at 1. Alb 6: first choice Dia. or he can leave the shape as it is. in which Negru plays 3 at ‘a’. threatening to continue with ‘b’. Alb can continue by playing ‘b’ or ‘c’. You may be impressed with Alb’s large profit in this sequence. 1. is sente if played at the right time. and strength to use on the right side and in the center. The sequence up to Negru 5 is the usual joseki. Alb’s position is not solid: Negru can play ‘a’. (if Alb fails to play 10 then Negru can play there himself and completely encircle Alb’s corner). and in addition Negru ‘c’.
etc. Alb can still play ‘c’ later on to take the corner. to build up his own strength over the right side. Alb can play the double hane shown here if he likes. Dia. The sequence may continue this way. (Negru ‘a’. Alb has a higher wall than before. although 13 at ‘a’.Alb 6: second choice Dia. but Negru is also stronger. and he may be able to put Negru 9 to use later. 43 . Before doing so. Instead of 8 in Dia. 2. and after Alb 8 Negru typically makes some move on the lower side to reduce the amount of Alb territory there. 3. (to take sente).). Alb ‘b’. and 15 at ‘b’ are other possibilities. The idea behind this Alb 6 is to build a wall over the lower side. 2. he may push Alb a bit farther.
he is not so badly off. 5. if Negru plays 7 at 8 then Alb will play 8 at 7. and although the ensuing semeai in the corner may be difficult. Alb is confined to a small corner. which is not finished. Dia. Dia. 6. then Negru will play the tsuke at 1. In this sequence.Alb plays tenuki Dia. Continuing from the last diagram. and Alb 2 to 8 are the correct response. 4. but since he gets to play a shicho-breaking move in the upper right corner. Negru captures two stones in shicho. if played correctly it ends in Negru’s defeat. If the shicho does not work. If Alb lets Negru have the next play after the basic joseki. Negru can still confine Alb with these plays. 44 .
Dia. You may wonder why Alb doesn’t play 10 here. and Negru 11 an important kikashi. for if he plays ‘c’ and gets into Dia. 2 or 3. 9. doesn’t that allow him to take sente? 45 . Here is one situation in which Negru should play 5 instead of ‘c’. Negru has sente and can build territory on the right side.Negru 5: variation Dia. 7. Alb will get too much territory on the lower side. Dia. 8. After all. and from Δ he can easily invade the lower side. Alb 10 is a tesuji in this shape. This variation of the joseki continues with Alb cutting at 6 and taking the corner. making ‘a’ Alb’s gote.
which do terrible damage to the corner. In conclusion This simple joseki. but then a second attacking move at ‘a’. after which this joseki has three variations. SECTION 6 The keima at Negru 2 is a less forcible response to Alb 1 than the tsuke moves we have studied previously. so its basic moves are well worth learning. but anywhere along the side of the board. 46 . or ‘c’. or tenuki. Negru can play ‘b’. can occur not only as shown in the corner. makes it difficult for him to form eye space on the lower side gracefully.(in Dia. or thereabouts. Therefore Alb usually continues with 3 and 5. Sometimes Alb plays tenuki after it. Yes. 10. but it is no less a good move. but then Negru can play 1 and 3 here sente). which is a favorite with the famous professional player Sakata.
Negru 8 and 10 are consistent with Negru 6. This Negru 6 is suitable for building territory on the right side.Negru 6: first variation Dia. then again Negru can attack at ‘a’. Negru can play kikashi with 1. Dia. or in the direction of. If Alb fails to extend to. and are typical follow-up moves to this joseki. 2. 1. flattening out Alb’s territory on the lower side while expanding his own area. since it leaves Negru with no weak points. 7. 47 . Later on.
The idea is to keep Alb weak by interfering with his eye space along the lower edge. (Negru Δ). The original keima. 3. The drawback of Negru 6 is that it leaves the possibility of Alb ‘b’. 4. Alb may never get a chance to exploit this weakness. In this particular situation Alb might extend on the fourth line to 7. so as to make a quick march into the center at ‘a’ next. and the right side is still open to Alb ‘a’. is thought to be a good way to start the attack. The tsuke at Negru 2 is much less effective. which threatens Alb ‘c’. in line with the general principle of not playing in contact with the stones to be attacked. This Negru 6 is more suitable for attack and is especially good when Negru already has stones on the sides. for Alb can make excellent shape by following the sequence up to 13. Dia. 48 . as in this diagram. In comparison with the last diagram Negru has made more corner profit. but with his weak group on the lower side to look after. Negru Δ is looking very weak.Negru 6: second variation Dia. but Alb is already out into the center.
but should play 6 to help his stone Δ. Negru ‘a’. Dia. Alb now plays 7 in the corner. Here is one case in which. or for that matter Negru might play 2 at 6. leaving both Alb 7 and the three stones in the corner weak. Maybe we are pointing out the obvious. 5. There are other ideas in this situation: Alb might be inclined to play 3 at ‘c’ to attack at once. after Alb 5. Negru should play neither ‘a’ nor 7. to forestall such action. but it would be a mistake for Alb to try to counter. 6.Negru 6: tenuki Dia. 49 . This is much better for him than Alb 5. for then Negru would defend his shape with 8. but Negru can defend his position with 8. Alb ‘c’.attack with 7 in this diagram. to keep Negru from taking that point and also preparing to play ‘b’ and capture two stones.
it makes ready to put pressure on Alb 1. Alb usually answers it. by extending up the right side to ‘a’. the diagonal play at Negru 2 is the simplest reply. but there is nothing peaceful about Negru’s intentions in playing it. ‘b’. and it prepares for a wide extension on the lower side. if at all. when you appreciate that fact you will have learned something about go. or some such point. It has three purposes: it prevents Alb from making another attack on the corner.In conclusion The keima response to Alb’s kakari looks like a quiet move. 50 . Aggressive action often starts slowly like this. SECTION 7 When Alb makes a kogeima kakari with 1.
1. 51 . and his territory takes on gigantic proportions. In this case Alb 2 at ‘a’ would be far too timid. Here is an example of one kind of position in which the diagonal play is particularly necessary. Dia 2. In this sequence Alb makes his most ambitious defense. and Negru 1 is urgently needed to keep the Alb territory on the right side from growing too large. If Negru fails to make the diagonal play. Alb ‘b’ would be better. but with the strength he has in the upper right. then Alb will land on the vital point at 1. Alb should try for the greatest possible territory by playing 2 as shown.When the diagonal play is needed Dia. Alb has a solid fortress in the upper right corner. but Negru has brought the situation under control.
4. This is not at all good for Alb. and Negru has a wall to use for building territory over the lower side. 3. and ‘d’ and ‘e’ are other possibilities. Alb plays tenuki Dia. Dia. We have just shown ‘a’. There are two ways for him to attack. he should play ‘a’. If Alb plays tenuki after Δ in this position. If Alb makes the next play after 2. Negru will press him with 1. Negru may also play tenuki.Now let’s see what Negru can do if Alb doesn’t answer his diagonal play. Alb’s strength in the upper right goes completely to waste. Negru has many ways to proceed from this exchange. ‘b’ and ‘c’ are similar. The exchange of 1 for 2 by itself is usually good for him. 52 . Let’s take a closer look at Negru 1 and Alb 2.
Dia. but he also has gote. Negru has the corner. 53 . 6. Because of the nearness of Negru Δ there is no sense in playing 1 at 2 to build a wall. Here Negru 1 and 3 are appropriate.Dia. making good shape on the outside. This is not bad for Alb—note the endgame point left for him at ‘a’. 5. Alb will usually capture the cutting stone. If Negru pushes through and cuts.
7. but Negru might get to play ‘a’ and Alb could find himself fighting a running battle without any base on the side. 8. Against this Negru 1. but is not really so smart of him to do so. Alb could run out at 3 if he had any chance of counterattacking. 54 .Dia. Dia. It is possible for Alb to resist Negru 3 with Alb 4. Sometimes Negru may want to attack from the side instead of playing as in Dia. Negru can confine him with 3. It may be better for him to look for eye space than just to run away into the center. 4. he should play 2. Here is one likely setting for such a move. and if so. he will soon have to play ‘a’ to live in the corner. but he lives comfortably with 4 and 6. Even though he can fight a little bit on the outside with Δ.
here it is just one among many possibilities. then Negru can attack on the right side at ‘a’. the diagonal move is of basic importance. 55 . It would be better for Negru first to play ‘c’ and then think about 1. In conclusion Although most of the joseki stemming from the kogeima kakari involve squeeze plays and are postponed to the next chapter. Alb’s four-line extension to Δ may look unsafe. he is in no danger. but it is easy to understand. then Negru can extend toward the shimari with 3. If Alb plays 2 on the lower side. 1 Negru 1 was the only good move. If he plays 5 to defend against it. 10. If Alb defends on the right side at 2. which opens up the possibility of a connection underneath at ‘b’. 1. but if Negru invades at 1. Dia. Alb has 2 and 4 to play. then Alb answers at 6. 9. Considering that there is still room for Alb to extend upwards from Δ to ‘c’. absolutely necessary in situations like Dia. which give Negru the cut at ‘a’ to worry about.Another example Dia. Whereas in Dia.
Negru can simply defend the corner at 2. 56 . so Alb 1 is reserved for situations where Alb has a special need to occupy the right side. but then Alb has an easy way to handle the corner. Of course in those situations Negru may want to answer Alb 1 by playing at or around 3. After Alb 3.SECTION 8 The ogeima kakari at 1 is not usually as good as the other two kakari considered in this chapter. than Alb’s side position. and has more potential for development. as we shall see in section 18. his corner is larger and safer.
after which Negru can neither make much territory in front of his shimari nor attack Alb. although it is at least temporarily out of style. 3. however. Dia. After 4. If he does not play 4. but Negru can still make a good extension to 4. looking for profit in the center. making profit on the edge while attacking. Negru has various strong-arm tactics to use against Alb’s two stones. 1. Negru 1 to 7 in this diagram would be appropriate if there were an extension like Δ on the board. He can hit them from underneath by playing Negru 1. then Alb will approach closer at ‘a’. Dia. 2. 57 .Dia. Or he can hit them from the outside. The ogeima kakari is understandable in this position. Alb 1 and 3 do something to reduce the effectiveness of Negru’s shimari in the upper right corner.
Negru will lose no time in striking with 4. Alb would answer with ‘a’. There is a good reason for his playing 3 on the fourth line instead of the third. 4. not 3. 4. 5. If 3 is played on the third line. After 6 his stones have better shape than they could possibly get in Dia. This time Alb uses 1 and 3 to attack on the right side. Dia. 58 .Dia. and the space between Alb 3 and 5 and Alb Δ is too narrow. If Alb played 3 correctly at 5 and Negru played 4.
which we are coming to in section 18. 59 . and Negru could not attack. Negru 2 is a good reply. he could make territory in the center. It is not that Negru’s eye shape is endangered. In conclusion The ogeima kakari looks rather lukewarm so far. Alb’s real intention is usually to provoke a squeeze play. 6.Dia. and then he has some good maneuvers. but if Alb were allowed to play at 2 himself. If after the basic joseki Alb advances on Negru’s corner with 1 here.
and ‘e’ are others. 1). a famous Japanese professional go player. Negru ‘c’ was introduced by Dosaku. Negru ‘a’ and ‘b’ are the oldest. ‘d’. in fact. the newest. ‘b’. In this chapter we come to the joseki in which Negru stops that extension with a squeeze play. was not much played until a year or two ago.CHAPTER 3 Squeeze plays INTRODUCTION In the last chapter we saw what happens when Negru answers Alb’s kakari by defending the corner in one way or another. (Alb 1 in Dia. ‘c’. around 1700. and ‘a’. and the most thoroughly studied. they did not become really popular until the post-World-War II era. The squeeze plays on the fourth line are the creations of the present century. Squeeze plays are particularly often used against the kogeima kakari. Negru 2 in Dia. 60 . Which of these is best in any given situation is a hard question—the choice may be more a matter of taste than of anything else. 1 is one squeeze play. letting Alb extend unhindered along the side. Negru ‘e’.
and Negru ‘e’ is too new for us to be able to say much about. ‘d’. which is the most representative squeeze play. Sections 14 to 16 contain brief surveys of the joseki starting with Negru ‘a’. and ‘c’. since it is played when the side is important. Negru ‘f is a modern play often made against Alb 1. (section 17).Squeeze play joseki are difficult. but the joseki proceeding from it are not yet really well worked out. Squeeze plays can also be used against other kakari. is often met with a squeeze play. and that is the subject of the last section of the chapter. 2. 61 . too. Negru ‘b’ is too much like Negru 2 to need a separate section. (sections 9 to 13). and happens to be currently the most popular. 1. so we are leaving it out of this book. The ogeima kakari. we will concentrate on Negru 2 in Dia. and branch out into a large number of variations. To keep this chapter from being longer than it is. such as Negru 2 against Alb 1 in Dia.
1. where it serves both to attack Alb’s stone and to extend from a Negru position in the other corner. then a squeeze play is no longer so good.A squeeze play is most effective in a situation like Dia. Now let’s start sampling the joseki that begin with Alb 1 and Negru 2 in Dia. however. nor make much territory of his own there. but he can not take away all of Alb’s territory. and by attacking Negru ‘g’ Alb can build up strength for use in other directions. it is better for Negru to play at 1. he can easily do so. a squeeze play would be above criticism. 3. without having to worry about his strong stones in the upper right corner. 4. In Dia. 4. 62 . as in section 7. If Negru wants to keep Alb from making a large territory on the right side by playing ‘g’ in Dia. If we reverse the colors up there. as in Dia. 5. where Alb has only one stone in the upper right corner and Negru can aim to attack it.
he can pressure Negru’s two stones on the lower side. he can play at the 3-3 point to get eye shape in the corner. There is not a solid connection between Alb’s two stones. After jumping well out into the center with 2. but there is a lot of flexibility in his position. We shall take up these four possibilities one by one after looking at two of the variations in the basic joseki. he can do any of four things: he can attack Negru 1. Alb jumps between Negru’s stones at 2. 63 . and Negru runs along the lower side with 3—this is one of the most interesting of the squeeze play joseki.SECTION 9 Negru plays 1. or he can do nothing at all.
Two variations Dia. and now it is Alb. who can make territory on the lower side. If Alb plays ‘a’ Negru can still cause trouble by playing ‘b’. If Negru uses 3 on the right side. and in fact Negru can even allow Alb to play another stone against it. If Negru wants to. not Negru. This is a very large shift in circumstances. as you will see in the next diagram. Alb is getting stronger on the outside. he can play these moves after the last diagram. Dia. Alb will play 4. 64 . The Negru stone in the corner is not dead. but while he is living in the corner. but sometimes it may be more important for Negru to defend the right side than to play 3 on the lower side. 1. 2.
3. but the fighting gets difficult. Alb can next play ‘b’. Dia. This is the usual continuation. and not much is known about it. It may be joseki. Now back to the basic joseki and the four possibilities left after it. Alb has good points at ‘a’. Instead of playing 3 as in the basic joseki. ‘b’. After Negru 5 he is ready to cut at either ‘a’ or ‘b’. and ‘c’ but it is Negru’s turn. 5. in which both sides make good shape. Negru can slice into Alb’s position this way. 4. 65 . There is also this messy continuation. Dia. a recent invention. or he can play 6.Dia.
Here is one of them. 66 . For example. so before jumping further out into the center he must do something to tighten the connection between his stones. making a good extension while attacking.1. Dia. When Alb has a stone in the upper right corner he need lose no time in playing 1. There are several ways in which he can do so. 6. and the sequence up to 11 is a good way for both sides to continue. Negru 2 is the usual defense. Negru will cut him with 4. Alb 3 prevents the cut. 7. Dia. 6. or ‘b’). (or ‘a’. Attack on the right Dia. Alb should not allow this. if Alb plays 3. 8. and 8. since it threatens to cut Alb.
2. Of course Negru can play 6 at 9. 10. Incidentally. then Alb 5 at 4 would give him plenty to worry about. for he can push through and cut with 2 and 4 here. but then ‘a’ is a large point for Alb. Before making his attack Alb can play 1. Pressure Dia. Alb 5 is a way of making good shape in this kind of situation. inviting Negru to help himself to some territory along the third line. if Negru jumped out too hastily by playing 4 at ‘a’. Negru does not have to follow the easy course of the previous diagram. If Negru accepts the invitation by playing 2. 9. then this sequence may follow. and now when Alb attacks with 9 he has a big wall to push Negru’s stone against. Dia. 67 .
Alb counters with 7 and 9. Dia.Dia. 12. with Alb getting tremendous thickness. You may be wondering why Negru does not answer 5 with 6 in this diagram. Negru should answer 5 with 6. the fighting follows no set course. 14. Dia. This kind of thing can go on all the way down the side of the board. 13. 68 . After this. 11. After Negru 12. Negru has to answer at 8. Negru cuts at 10. but this play has no merit. Alb has to play 7. and Alb can exchange 9 for 10 before running out into the center at 11. Alb plays the same tesuji as before at 13. Dia. but when Alb plays 11 Negru is hardly likely to have any ko threats big enough to fight the ko.
) Dia. then a Negru stone on that point spoils his shape. as in this diagram. Alb can make eye shape with 5 and 7. and then 1 and 3 become appropriate. considering that Alb has sente.3. There are times when Alb must think of defense rather than attack. 15. The exchange up to Negru 10 is a fair one. for if Negru plays 6 at 7. If Negru answers with 2 and 4. 16. Alb 5 then takes the corner. Alb can connect by playing ‘a’ and ‘b’. Negru usually takes the opportunity to cut off Alb’s center stone. (If he omits 7. 69 . Defense Dia. But instead of playing 4 on the 2-2 point.
Next Alb has good points at ‘a’ and ‘b’. 18. 70 . Alb 6 makes good shape. separating Negru’s stones and preparing to attack on either side. In conclusion We have here the basic defense against the squeeze play—Alb jumps up into the center. The danger in a diagonal jump is that the opponent will come through the middle of it. If Negru gets to attack Alb’s two stones after the basic joseki. Alb pushes on with 10. If Negru answers at 9. Negru attacks Dia. although it may look a bit strange. Dia.4. but if Negru plays 7 Alb has adequate resources in the tesuji at 8. and after Negru 13 he has ‘a’ on the outside and ‘b’ and ‘c* in the corner to work with. and continues with 3 and 5. so if Negru plays one of them Alb plays the other and all is well. 17. he generally begins by playing 1 to block Alb from the corner.
Negru plays 2 if he is willing to engage in a running battle. It puts heavy pressure on the lower side in preparation for a heavy attack on the right side. 71 . There is another variation in which he gives up his stone on the right side. We shall explain both of these variations. sacrificing solidity for speed of development. The unique feature of the joseki in this section is that Alb makes a two-space jump. the keima at 1 is a move with a definite purpose. which left both sides with many options.We shall see this strategy repeated numerous times in the rest of this chapter. SECTION 10 In contrast to the two-point jump of the last section. getting a good position on the lower side in return. a kind of reverse strategy often found in go.
. and how it continues from there is up to you. 72 . This puts him in a strong position because . when he attacks with 5 he is making a good extension from his stone in the upper right corner. 2. Alb has to play 7. Negru plays 6 to keep Alb from making eye shape. and so must run out into the center. If Negru just jumps upward with 6 here. . Alb can make shape with 7. 1. If the stone up there were Negru instead of Alb. The Negru and Alb groups both lack eyes. for instance. Negru 6 in Dia. and 11. In this diagram. then his position would not be so attractive. Alb should only play the keima when he is in an attacking position on the right side.Running battle Dia. 1 is fairly necessary. 9. Dia.
and then protect the right side with 6. forcing Alb 5. He is threatening to carry out this sequence. which gives him a safe group between two vulnerable Negru ones. but when he does so he is not making territory—he is just defending—and Alb 7 is a big move made in sente.Dia. 73 . Dia. 4. 3. Negru can play 4 this way.
with both sides getting good positions. Instead of playing as above. Negru 8 is necessary to capture Alb Δ. It is much easier for Negru to make a fair trade like this than to get involved in an unfavorable fight on the right side. Here is another version of the joseki. Dia. 6.Exchange Dia. it would be more circumspect of Negru to push through and cut with 2 and 4 in this diagram. The joseki ends this way. Alb 5 is a skillful way of handling Negru’s tactics. 74 . 5. Dia. the alternative mentioned at the head of the section. 7.
This is another fair trade. 5. Alb must give thought to Negru ‘a’. and 11. which we ask you to figure out for your-self. Dia. see what happens when Negru answers it at 6. Alb should defend with 13. and this time he gets much the better of it. 9. 8. 75 . You will learn more about this joseki in section 31.Dia. he can play 1 here. 9. remember the tesuji at Alb 5 in Dia. Alb can push him around with 7. 10. Dia. having two reasonably good side groups while Negru has just a small corner and some weak stones in the center. The tesuji of Alb 5 is worth remembering. For the present. and Negru should do likewise with 14. If the shicho favors Negru. For the sake of explaining it a little more. But if the shicho favors Alb. Whether or not Negru can successfully push through there and cut or not depends on a shicho. After these strong-arm tactics. but Negru can dodge around it if he decides it would be best not to get into a running fight. In conclusion Alb’s keima at 1 is a rather aggressive move.
SECTION 11 In answer to any squeeze play. ‘a’ remains a big point for either side. it is natural to run out into the center.. Alb has accomplished his purpose of separating Negru’s stones. Negru 2 is the simplest response to it. All the same. it is better for him to slide into the corner at 3.. (Another idea is to attack at once at ‘b’). Alb 3 is not without its aggressive intentions. If Negru fails to play 4 . 76 . so instead of running further out into the center at ‘a’. A third is the diagonal play at 1 featured in this section. At this point. So far we have seen two examples of this strategy in the two-point jump and the keima. preparing to counterattack on one side or the other.
. which is more important. drifting group of stones like this. 3. But with Negru Δ on the 1 loses its sting. and Alb’s corner group is suffering. There is no good way for Negru to answer Alb 1. taking away Negru’s room for eyes at the side. Alb can attack with 1 in this diagram. Negru can answer it at 2 or 5. 2. Alb manages to live. it is most annoying to have a large. Alb Dia. Following Negru 8 .The reason for Negru 4 Dia. Negru is becoming strong around the outside. board. 77 .. Dia. 1. but while he is struggling to occupy a small territory on the side.
but Alb plays 3 and jumps out into the center at 5. he can answer Alb 1 with 2 in this diagram to connect along the lower side. Dia. This time he has done his damage to the lower side and gotten out into the center as well. If Negru does not feel like fighting. Alb will answer at ‘b’. Alb 3 is a sacrifice stone.The right way to attack Dia. Notice a tesuji which occurs in this shape: if Negru later plays ‘a’. to fight. 78 . Negru can answer strongly at 2. but then Alb can play at 9. If Alb wants to attack on the lower side after the basic joseki. 4. he should play 1 here. After exchanging 6 for 7 Negru takes a good point at 8. or at some point in the lower left. 5.
Dia. it prepares for an attack on the single Negru stone on the right side. as will be seen in the next diagram. If he has a good chance to play it. 79 . For one thing. 1 is also a big point for Alb. For another. 7. 4-6. and it protects Negru Δ. Usually Negru prefers Dia. 1 is a big point for Negru. it revives the possibility of Alb ‘a’. Dia. 6. It prevents the nonsense of Dias. A large point Dia. 4 to this. Alb has built up a lot of power in the center while pressing Negru’s territory down to the edge of the board. 8. The sequence begun in the last diagram ends in this way. it enlarges Negru’s territory. or in something similar.
80 . 9. Dia. 10. If Negru attacks this way.Dia. 12. Considering the presence of Alb Δ. Negru had better answer Alb 1 by playing 2 right on top of it. Alb can live easily by playing 1 in the corner. 11. The invasion ends in Alb’s getting the corner. Even if Negru gets in the two moves Δ shown in this diagram. but in gote. The Alb stones in the basic joseki are almost indestructible. Dia. he gains corner profit. Alb is safe Dia. Alb 4 gives the Alb stones excellent eye-making potential.
but now Negru played 13 instead of ‘a’. Alb attacked at 16. Alb confronted Negru’s stones at 14 and Negru took the key point in the corner at 15. 14.Variations Dia. Negru made his squeeze play at 11. and answered Negru 17 by connecting underneath at 18. and Alb made the diagonal move at 12. This professional game illustrates another of the variations of the basic joseki. but Alb is more out into the center than before. for a reason explained in the next diagram. 13. Dia. This gives him corner profit. 81 . One variation in the basic joseki occurs When Negru plays 2 at the three-three point to keep Alb out of the corner.
Dia. In conclusion Taken together. he could play 5 at ‘a’ to reduce his loss in the corner). was that if Alb played 2. 82 . Negru 3 is a stronger attack on the Alb stone in the lower right corner than ‘b’ would be. and it is well worth Alb’s while to take what room there is.Dia. he could play 3 instead of ‘b’. these variations illustrate the main themes of the joseki. however. if Alb played 4 after the last diagram. (If he did not care so much about sente. In squeeze play joseki there is often competition for room to make eyes at the side of the board. even if it does mean playing on the two-three point. 16. 15. the sliding move into the corner. instead of kogeima at ‘a’. The drawback of the ogeima is that it leaves the weak point at Alb 4. Negru would answer it at 5. In this situation. The key move is Alb 3 in the basic joseki diagram. and then use sente to make another attack against the stone in the lower right. Negru’s reason for playing ogeima at 1.
the usual move. If Negru responds at 2. but Alb has ways to deal with that. which are shown at the end of this section. Alb plays 3 and 5 and is safe in the corner. for which there is another choice.SECTION 12 When Alb wants to settle the situation. Negru can cause trouble by playing 2 at 3. he can do so with the diagonal tsuke at 1. Let’s begin our study of this joseki by looking at Negru 6. 83 .
Dia. then Negru’s group is short of eye space. Dia. This variation is biased toward defense on the lower side. Negru has to choose between defending one side and defending the other. With Negru Δ low. aiming to slide under to ‘a’. Negru has a good reply at 2. If Alb simply plays 1. With Negru Δ on the fourth line. instead of at ‘a’.Negru 6: third line or fourth? Dia. Alb can attack at 1. Dia. he can play kikashi at I and 3. When playing Δ. However. 4. 2. This diagram shows the reason for Alb 1 and 3 in Dia. An important variation in the basic joseki occurs when Negru plays 6 on the third line. 84 . then attack at 5. 3. If he gets ‘a’ or ‘b’ in addition to 1. 1. 3. Alb cannot attack so well on the lower side.
Negru has three ways to attack the Alb group. but then ‘b’ is almost sente for Negru. 85 . Negru 1 is a large point in the corner. Here Negru plays it to get Alb’s reaction before extending toward the shimari in the upper right corner.Negru takes the offensive After the basic joseki. as regarding both territory and the safety of the Negru and Alb groups. Alb 2 makes good shape and leaves open the possibility of an invasion at ‘a’. which are shown in the next four diagrams. 5. Dia.
Dia.Dia. Alb 2 would be more appropriate if the shimari in the upper right corner were Negru. 8. although in a way Alb is reducing the value of his own shimari by pushing Negru toward it. 86 . 6. working towards a large territory on the right side. Instead. He cannot get out into the center past Negru 1—for instance. he can attack with 1 here. he would play 1 from this direction. Alb ‘c’. but then Negru would not play 1. Negru ‘d’. Dia. 7. a vital point in this shape. Alb would respond by taking the big point in the corner. Alb 2 here is another way of answering Negru 1. Alb can reply at either ‘a’ or ‘b’. If Negru is concerned with the center.
Next Negru can play ‘a’. One way for Alb to proceed is shown here. Negru 2 at the three-three point Dia. It follows that Negru should not launch into any of these attacks without reason. Negru should cut at 4. We shall confine ourselves to Negru ‘a’. . . Negru’s attacks in the last four diagrams are far from being killing attacks. 87 . Alb gets out into the center and prepares to attack the stone Δ. But the fun comes when Alb plays 3 here to put up a fight for the corner. While Negru makes some territory on the lower side. but first . Dia. if Negru attacks from one direction. in some other direction. and not before he can make an intelligent choice among the three of them. which is the cutest of the three. indeed. or ‘c’. and after Alb 5 it gets complicated. he provokes a strengthening of Alb’s position. Now we come to the variations in which Negru plays 2 on the three-three point. 9. ‘b’. 10.As you can see. and a weakening of his own.
Before getting involved in the difficulties which follow Dia. 88 . 10. you can probably see what is coming next. 11. There is only one branch in this variation. Dia. Negru must play 8 and 10.Dia. 14. After these moves. Dia. a strange-looking play. Alb has a powerful reply at 5. but the only good one Alb has. 12. Continuing from Dia. The finish of this variation: Alb’s wall is imposing. (instead of the cut at 7). Alb should answer at 7. we should point out that Negru 4 in this diagram. Dia. and Alb must play 9 and 11. if Negru plays 6. is not very good. 13. 10. but Negru has a good point left at ‘a’.
giving Negru a chance to put another stone into the corner.In conclusion Complicated variations aside. SECTION 13 The last variations of the two-point high squeeze play we are going to consider are the ones in which Alb plays tenuki. which lets Alb live easily but gains outside strength. Alb 1 and the rest can be used not only against the twopoint squeeze play shown in this section. the one point-squeeze play on the third line. or ‘b’. 89 . which drives Alb out into the center. Negru’s next play is usually either ‘a’. perhaps. but against any squeeze play except. Alb’s purpose in this joseki is to gain safety in sente before moving on to some other part of the board.
1. but he has lots to worry about: his stones on the outside are weak and his corner is not yet alive. This explains the weakness that exists after Dia. 90 . and then Alb can think about attacking on the right side. 1.Negru plays tsuke at the three-four point Dia. but Alb has possibilities at ‘a’ which he is trying not to disturb. Alb 4 may look like a feeble move. After Alb 9 it is Negru’s turn. Dia. this is the expected result. 2. When Negru plays 1 at the three-four point. Negru generally plays 5 at ‘b’ to defend against Alb ‘a’.
In another variation. Negru can avoid having to worry about the possibility of Dia. If Negru is worried that Alb might not connect and wants to be sure of sente. Negru connects at 3. Alb plays 2. 91 . he can omit Negru 13. When Negru plays 1 here. Negru plays 3 at 4. 2 by playing 3 here. Negru’s double hane in the last diagram enables him to make a perfect wall on the outside. The only drawback of this shape is that if Alb later gets to attack at ‘a’. (see Dia. but that play depends on a shicho. 3. 6. and he has sente if Alb connects the ko. Negru plays tsuke on the outside Dia. or play 11 at 13. 5.Dia. Here is one variation. and Negru plays double hane at 5 and 7. Alb takes the corner with 4. Dia. 4. For Alb 2. Dia. Negru will find himself cramped in the corner. and so Alb may have to play ‘b’ instead. ‘a’ is the most desirable point. it is not hard for Alb to make two eyes in the corner or on the right side. 9).
10. now lets see how they apply in a couple of actual situations. 8. 7 and 8 has to be modified a bit. Dia. Alb 1 in this diagram is not a tenuki. Since Alb 1 is so close. 6 on the previous page. the sequence of Dias. Alb 7 and Negru 8 are the same as before. but he can make shape on the side by playing ‘a’ or ‘b’. but a countersqueeze play. Alb cannot play 2 unless the shicho in this diagram is good for him. it is more prudent of Negru to play 6 than ‘a’. Alb pushes in between the Negru stones at 2 to put some cutting points into Negru’s shape. but if it is not. 9. After Negru 5 this variation gets complicated Alb is barred from the corner. so if Negru plays 2 and Alb plays 3. Alb makes a counter-squeeze play Dia. If it is. A similar situation occurs when Alb plays 2 at 4 and Negru plays 3 at 5. 7. then of course he is more than happy with this result. Here is one possible continuation from Dia 7.Dia. Dia. but now 92 . (although ‘a’ is not impossible). then he is in great trouble. These are the basic variations. When possible. Negru has all sorts of weaknesses for Alb to aim at. In comparison with Dia.
In answer to Alb 1. Negru ‘c’. 93 . Alb ‘d’. Negru ‘e’ would weaken Alb 1 too much. Negru 2 at the three-three point is bad. This time Negru 1 is correct. Alb’s stone is farther away Dia. Dia. This is because Alb ‘b’. Here Alb has a stone out at Δ on the lower side. After Alb 3. 12.Alb simply plays 9 instead of ‘b’. Negru should play 3. and if Alb plays 2. 11. Let’s see how this affects the joseki. Negru has no good move. Alb 4 to 12 are one way to proceed from here.
Dia.Dia. for after the usual joseki shown here. Alb Δ makes Negru 1 a doubtful move. which does not bode well for the fighting that should develop from Alb 6. Negru 5 offers no resistance to Alb’s movements in the center. If Negru plays keima at 3. 94 . Negru ‘a’ would be too close to it to be efficient. inviting this exchange. 13. however. Alb can answer Negru 1 more loosely at 2. Dia. 14. If he wishes. then after Alb 4 he wants to play 5 as shown to confront Alb Δ while defending against Alb ‘a’. Negru cannot make good use of his wall. On the third line.15.
Alb can probably live with this sequence. 16. 16. He still has ways of breaking up Negru’s position. Even when he plays tenuki twice. After Dia. starting with Alb ‘a’. 17. he still has good chances of reviving his original stone. In conclusion By playing tenuki. Dia. If Negru answers Alb 1 by capturing Alb Δ then Negru Δ becomes greatly weakened. 18. and Alb has again cut into Negru’s prospective territory. The order of Negru 1 and 3 may be reversed. 95 . of course Alb is giving Negru a local advantage. but he is by no means giving up the corner. When Negru plays 1. provided that Negru is not too strong in the surrounding area. Dia. too.A second tenuki Dia. Alb can play another tenuki and let Negru have 3.
Alb can answer at ‘a’. ignore Negru 1. or ‘d’.SECTION 14 After spending the last five sections on the two-point high squeeze play. we will use this section and the next two to look at three other squeeze plays often used against the kogeima kakari. as always. Negru 1 above is the most aggressive of them all. or at ‘b’. for it gives Alb the least room in which to operate. starting with the former. or he can. 96 . We shall restrict ourselves to Alb ‘b’ and ‘d’. ‘c’. (which works out about as in section 10).
third line. rather territory. Negru ‘b’). Alb should not try 4 unless he is backed up in the upper right corner and can expect a good profit on the right side. on the lower side. and Negru will than fourth-line 97 . (Alb ‘a’. 1. be making third-line territory. then there need be about playing 4.Alb 2: one-point jump Dia. which no reservations center develops. he is likely to find himself pushing Negru along the fourth line. Negru defends the lower side with 3. on the lower side. If a chase into the Alb has a kikashi at ‘a’ he can use. but Negru fights back with 5. Dia. and now it seems natural for Alb to attack the other side with 4. When Negru plays 3 on the is also joseki. Alb’s one-point jump to 2 is the most generally useful answer to Negru 1. for in the running fight to come. 2.
At the end of this diagram Alb is in a position to attack either at ‘a’ or at ‘b’. trying to avoid a running battle. Alb may prefer to play 4 this way. this sequence is what Alb expects. 98 . 4. If Negru plays 9 first. When he plays 4 in the last diagram. 3. and he can make an eye for his group by playing ‘c’ when the time comes. Be careful of the order of 7 and 9. Alb can answer it at 7 instead of 10. Dia. But when Negru plays keima with 3.Dia.
99 . it is common for Alb to attack from that direction with 4. Dia. Dia. We will not even try to go through the variations. 7. 5. Alb 6 and 8 are a good combination. Even though Negru plays 3 to defend the lower side. The joseki usually ends about like this. Instead of passively playing the previous sequence.Dia. bending around Negru 5 and protecting the cutting point at ‘a’. Alb has good shape for making eyes on the right side. but this can get very difficult. Negru can push through and cut with 5 and 7. 6. Negru naturally answers with 5. although you can probably see some of the possibilities for yourself.
Although it is always hard to say which squeeze play would be best. Dia. and Alb cuts at 6. Negru wants his territory on the right side to be as large as possible.Alb 2: tsuke Dia. This is joseki. He cannot use it to attack Alb’s group. especially considering the possibility of Alb ‘a’. and he has not made much territory with it. so he plays 1 as far down as he can. but in the present circumstances Negru’s strength in the upper right goes to waste. After Alb 4 there are essentially two variations. Negru plays 5 to defend the lower side. In one of them. here is one situation in which Negru 1 looks appropriate. 9. Alb resists by pushing Negru back toward his strong position in the upper right with 2. which is alive. 100 . 8.
101 . SECTION 15 This squeeze play is like the one in the previous section. 10. Alb can attack on the lower side at 6. marked ‘a’ to ‘e’. but at the same time it becomes possible for Alb to push back on Negru in one way or another. as seen in many of the diagrams of this section. Negru’s simplest course is to live in the corner with 7 and the rest.Dia. So in this case Negru had better choose the other variation and connect at 5. of which ‘c’ and ‘d’ are the most interesting. he is putting maximum pressure on Alb. Alb has five different ways to answer it. In conclusion When Negru makes his squeeze play as close as this. except that it is played on the fourth line.
102 . Dia. Alb 2. 3. 2. Both Negru ‘a’ and ‘b’ threaten a hane at ‘c’. he might play 5 at 6 to start a fight. and in the corner ‘b’ is a very large point. Negru can attack at ‘a’. and Alb connects underneath at 6. After this diagram Negru can play tenuki.Alb 2: one-point jump Dia. Instead of playing 11 as in the last diagram. Dia. after which Alb will probably play on the lower side to counter Negru’s wall. Negru can play it on the three-three point. but now Negru’s ‘a’ is not as menacing as before. and 11 to strengthen his position. straight up between Negru’s two stones. 1. however. If Negru has some strength in the upper right corner. In the usual joseki Alb attacks at 4. Negru jumps out to 5. Negru can play 7. taking no chances. or he can carry on as in one of the next two diagrams. This gains corner profit. looks like the most natural answer to Negru 1. and if Negru has a lot of strength in the upper right corner we imagine Alb playing ‘a’ instead of 4. 9.
He often does this last. and this is joseki. When Negru plays keima with 3. Negru cannot answer Alb 2 at ‘b’ because of Alb ‘a’. but Alb has not made eyes yet either. One thing he can do is to play 4. Negru’s three stones on the right side do not have eye shape yet. The keima at 2 is more flexible than the one-point jump. 5. hoping Alb will answer at ‘b’. Dia. and the sequence shown here is joseki. Alb cannot ignore it. After Negru 7. Negru has more room on the right side. Before playing 5 Negru should think about playing ‘a’ in the corner. Negru 3 is one good answer to it. 103 . 4. or he can leave the position as it is. Negru 5 here is a lighter answer to Alb 4. By the way. On the lower side. Alb has ‘b’ or ‘c’ to play. 6.Alb 2: keima Dia. although he also has some cutting points. Alb might continue at ‘a’. since he has a good play at ‘a’ to use if Negru attacks. Dia. and now Alb can continue by attacking Negru 1. too. another good move. After 9.
8. 9. Dia. since he may need to connect at ‘c’. Dia. which threatens ‘a’. Alb is alive in the corner. and 9. 11. 7. A more complicated joseki occurs when Negru answers Alb 4 by cutting with 5. and the joseki usually ends with Negru 17. so as to live quickly in the corner.Dia. In the early endgame Alb ‘a’ is a very large play. (which forces Alb ‘a). 7. Negru plays kikashi at 11 before defending the lower side. to live on the right side. Alb 2: tsuke Dia. Here is one joseki stemming from a Alb tsuke at 2. Continuing from the last diagram. and he fights on the outside by playing 10. Dia. 10. but he may not want to provoke Alb ‘c’ by doing so. And here is a similar one starting with the tsuke at the three-three point. Alb can answer Negru’s keima at 3 by playing 4 at the three-three point. 104 . This sequence is a simple joseki. Negru can prevent it by playing ‘b’.
it tends to lead to solid and settled positions more often than the other squeeze plays. but they are too far away to have a strong effect on the corner. the three-point low squeeze play.In conclusion Negru 1 is the most forceful of all the squeeze plays. We are skipping over Negru’s squeeze plays at ‘a’ and ‘b’ for reasons mentioned in the introduction to this chapter. Because of this. 105 . SECTION 16 Our discussion of the kogeima kakari ends with Negru 1. as can be seen from the joseki shown in this section. Plays farther up the side than Negru 1 or ‘b’ are possible.
2.Two Common joseki Dia. he can settle for making good shape in the corner with the sequence that starts with 2 and ends with Negru 7 or ‘a’. 1. to avoid this kind of attack. Many players would play 1 at 4. as shown. Alb would certainly prefer this way to Dia. or on the point between 1 and 4. Alb has a shimari in the upper right corner. Dia. but his stone is under attack all the same. if there is a Negru shimari in the upper right corner. One way to meet Negru 1 is with the twopoint jump to 2 and the counter-squeeze play at 4. For example. In this shape Negru can get some room for eyes by playing ‘a’. This would be appropriate if. If Alb is not in a position to take the offensive. 106 . 1.
3. 107 . which changes things considerably. instead of following Dia.Tenuki Dia. 2. for then Alb 9 would leave him with no eye shape. Negru frequently plays a move like 3. ‘b’. Keima Dia. When Alb plays keima at 4. Since Alb 2 does not really put much pressure on Negru 1. Dia. Negru must not connect at 10. and after another atari at 11 he connects at 13. 4. Here is a situation in which the three-point squeeze play is often made. and ‘c’—which we shall look at in turn. Negru can make shape in the corner with 5. but Alb can play 8 at 9. 1 or 2. He has to play atari at 9. 5. For Alb 4 there are three possibilities—’a’. When Alb plays 8. The sequence up to Negru 9 is almost like the one in Dia.
8. but Negru has a big wall and sente to make a wide extension on the lower side. Alb makes a satisfying amount of territory as Negru pushes him along the side. The fighting might continue this way. Diagonal play Dia.Dia. 7. Continuing. Negru can no longer accomplish much by playing ‘a’ in the corner. 108 . 6. Dia. Alb cuts at 14 and Negru has to play 15. Notice that Alb would now prefer to have Δ at ‘a’. so he will fight with 5 and 7 instead. Now we come to the diagonal play at Alb 4. to give himself more room on the lower side. (This does not mean that Δ was a bad play to begin with).
(just as in section 13. 109 . a defensive way of playing. this is one possibility. 2). This is the most aggressive way to attack. After Alb 8. 9. he can do so by playing 4. and Alb needs to defend. it is rather cowardly. considering that Negru has two stones in the upper right corner. Dia. If Alb wants to keep Negru out of the corner. Tsuke Dia. 10. Negru is aiming at the point ‘a’. 11. but here. After settling his own position. Negru plays 9 to build a living position. and with his two-stone wall Negru can cap Alb’s stone on the right side at 7. and it gets complicated. 10. Another way for Negru to answer Alb 4 is to dive into the corner at 5. Dia. Continuing from Dia. This is joseki in some situations. but it provokes Negru 5.Dia.
for instance. one which makes it a bit hard for Negru to get good shape on the right side. The last of these is the subject of this section. 2. Dia. SECTION 17 Of the squeeze plays that can be used against Alb 1 above. either of which separates the two Negru stones.In conclusion This and other long-range squeeze plays give both sides a fair amount of room to work with. If Negru connects at ‘a’. as in Dias. then 110 . Alb strikes on the right side at 9. Alb will attack him with ‘b’. Negru announces his intention to engage in a running fight by playing 4 and 6. Alb 13 is a solid play. Against Alb 3. 1 and 3. a double-threat move which prepares for either Alb ‘a’ or Alb ‘b’. ‘d’. or with a tsuke at ‘c’. 1. and the only one that is going to find its way into the present book. or if Negru plays ‘b’. One way to continue is with 10 to 13. Negru 2 is the oldest. Alb’s defense is at 7. That makes them especially useful as invasions between the kakari stone and a position in the adjacent corner. If Negru defends the lower side with 8. or ‘e’. Alb can reply to it with ‘a’ or ‘b’. Running fight Dia.
as we shall see next. Negru can handle this onslaught with 10. In Dias. and similar to ones that develop when Alb plays 3 at ‘a’. however. 111 . Dia. In another variation Alb uses 13 to cut at ‘a’. as in some others. 1 to 3 we have a typical running fight provoked by a squeeze play. then Alb attacks on the lower side with 9. 3. (If Alb tries to play 11 at ‘a’. If Negru defends the right side with 8.Alb has ‘a’. ‘b’. which can lead to a hard and desperate battle. and this sequence is joseki. similar to the many other running fights that have appeared so far in this chapter. there is a way for him to avoid it. or ‘c’ in the diagram at the head of this section. if Negru does not want to assume a separated shape. Negru still plays 12). In the present joseki.
both of which. Negru can next play either ‘a’ or ‘b’. Alb should reply with a counter-atari at 9. 112 . or by making a wide extension on the lower side. When Negru plays atari underneath with 8.Negru moves to connect Dia. lead to complications. 5. unfortunately. Alb’s only way to fight is to push in between Negru’s two stones at 7. 4. and Alb can finish it by playing 17. Negru plays 8 underneath Dia. The joseki continues as shown up to Negru 16. Negru joins up his position by cutting in behind Alb 3 and reaching up the side with 4 and 6.
113 . Negru has the stronger position. 8. Considered in isolation. Dia. If Alb can capture the stone in shicho by playing ‘a’ instead of 13. this exchange is good for Alb. that improves things somewhat. Alb captures at 13 and Negru captures at 14. Alb plays 9. And now there is the case in which Negru plays 8 from above. In the simpler one. Negru has a chance to capture with 10. 9. Dia. then Negru can play 10. 7. and while Alb captures one stone on the right side. and Negru has no choice but to play 10 and 12. When Alb plays atari at 9. If Alb just connects with 9. Negru plays 8 from above Dia. but then Alb does likewise. 6.Dia. but Negru is still happy. At this point the joseki branches into two variations. this exchange is generally good for Negru. but Alb has sente. and he can cut off Alb 15 by playing ‘a’.
These moves are not hard to understand. 11. and Alb would like to avoid it. 10.Dia. say. or he can give them up by pushing through with ‘b’ and onwards. 114 . but then Alb continues to develop on the right side with 17. Negru connects at 18. He can connect his two stones at ‘a’. capturing Alb 15 in return. This second possibility we leave you to figure out for yourself. 12). he can do so by playing 13. 9 would be rather good for Negru. Depending on a shicho. This diagram shows the first possibility. Dia. At the end of this diagram there are three weak groups on the board. a Negru shimari in the upper right corner. and the fight goes on. Negru gets the corner with 14 and 16. Alb continues at 19. and the battle continues until they become stabilized. then the variation in Dia. (see Dia. Now again Negru has two choices. If there is.
only one variation. for a change. for Negru. he can choose from among the other variations of this joseki. Alb can handle the situation with a tsuke at the threethree point. 12. SECTION 18 In the last section of the chapter we see Negru making a squeeze play against the ogeima kakari. In conclusion Alb cannot play 13 if the shicho shown here works If Negru wants to embark on a protracted running fight. he can choose the variation of Dias. If he wants to strike a bargain with Alb and settle the situation quickly. 115 . 1 to 3. After the cross-cut at 5 there is.Dia.
3. 116 . If Negru answers it at 2. if Alb plays a kogeima kakari at 1 and Negru makes the same squeeze play at 2. 1. but he knows that 3 and 5 will give him a good position in the corner. Dia. Alb rather expects a squeeze play like 2.The idea behind the ogeima kakari Dia. The ogeima kakari is appropriate when Negru has a large. it is not as easy for Alb to handle his stone. 2. forming a safe position which greatly reduces the effectiveness of Negru’s strength. strong position in the upper right corner. By comparison. Dia. Alb will be quite satisfied to extend up the right side at 3.
117 .The joseki Dia. but if he keeps on. Be careful of the order of Negru 6 and 8. This is simple. 5. If Negru reverses the order of 6 and 8. his opponent has taken the corner. 6. Dia. Alb 11 is a possible stopping-place for the sequence. Negru can play tenuki after Dia. Alb will play 9 and dominate the corner by capturing Negru 6. To continue with the joseki. Dia. after the crosscut at 5. 4. but whatever the strategic merits of Negru’s position on the right side. one thing he can do is to exchange 12 for 13. Negru plays atari at 6 and 8. then connects at 10. 4.
7. should that become necessary.Dia. but Alb has nothing to complain of as he springs out into the center. which could go about like this. It is not hard for him to make two eyes on the side. Negru may want to play 12 on the lower side to provoke some fighting. In conclusion This section illustrates the kind of thinking that makes for good go strategy. Alb anticipates Negru’s squeeze play and deals with it by giving Negru what he wants on the right side. 118 . taking his own profits in the corner where the taking is easier. 8. Especially considering the closeness of Δ. Negru can stubbornly play 4 and 6 to make Alb fight on the right side. Dia.
like the Negru one in Dia. Alb 1 in Dia. Such an exchange can be bad for Alb if made. or when there are some Alb stones near enough to be endangered by a newly-created. Of course a kakari is still possible. 1 is not always a good play. The difference is that now Alb has enough room to invade at 1 in Dia. Negru can hold Alb to a small territory in the corner and along one side while building himself a strong. if Alb stays away from the corner too long. 2. but in this chapter we will be talking only about Alb 1 in Dia. strong Negru position. instead of making a kakari from the outside. centerfacing wall. On the other hand. say. 1. Negru will close it off by adding another stone. 1 and a similar play. at the very beginning of the game. Let’s look at a couple of situations in which the threethree point invasion is appropriate. 119 . Alb 1 in Dia. 1. is in a considerably different position from one played closer in to the corner.CHAPTER 4 Four-four point joseki: invasion and tsuke INTRODUCTION A stone on the four-four point.
Here Alb 2 is especially destructive. 6. as in Dia. 120 . 4. the three-three point is the key point for reducing it. 5 shows the same idea on a smaller scale. is a bad play. which aims into Alb’s territory on the side. then there will be no easy invasion route left open into the huge. Dia. If Alb lets Negru play 3 in Dia. Negru area. 3.When Negru makes a double wing formation around his stone. Negru will come out of the joseki with a good deal of probable territory on the outside. but that cannot be helped. (This does not mean that Negru 1. but then Alb would be happy to play 2). Negru could more or less secure his corner territory with 1 in Dia. for it will eat up more than half of Negru’s prospective territory.
becomes which side to push on. the kakari to be studied in the next chapter is better. 7 or 8 is best. the invader can expect to get only a small area for himself. but generally it is easy to see which is better.As these two examples may hint. the three-three point invasion is a weapon for taking away the opponent’s territory. In 121 . For building territory. The problem. How is a three-three point invasion answered? Almost always a contact play like Negru 2 in Dia. then.
SECTION 19 There are a good many variations to the three-three point invasion. ‘Block in the direction of your widest extension’ is the general rule. for instance. In this section we will show the major ones. so he plays 2 to get what little he can on the left side. and no chance to make territory. so naturally he plays 2.Dia. In Dia. And what comes after Negru 2? Let’s take a look. 8 Negru has no extension. each in an appropriate setting. 122 . Negru has more room for territory on the upper side than on the left side. on the upper side. 7.
however. If Negru wants to stop his opponent from getting so much profit in sente. This sequence might be called the basic variation. all this in sente. Double hane Dia. 123 . although it is not the most common. 2. he can play this double hane. as he usually does. Three variations follow. 1. Alb. has gotten to play the fairly large hane at 9 and can later push out further from the corner at ‘a’. building a wall in the center which here works well with the stones marked Δ. Negru holds Alb down into the corner.Basic variation Dia.
or some other point on outside. 3. and 12. In the first one. 4. ‘a’. then Negru can play 14. 124 . and the Dia. Negru builds his wall in sente with 8. but this time Negru chooses to take the corner in gote with 10 and 12. or if he needs the corner to secure room for two eyes. For example. and then play ‘d’ in sente because of the threat of Alb ‘a’. and Alb can hardly help but connect the ko at 13. He can also play on the point ‘e’ to good effect. Alb can play ‘c’. 10. Alb plays atari at 7. Alb can be satisfied because his two captured stones still have some life left in them—visualize the exchange of Alb ‘a’ for Negru ‘b’. Negru plays this way if he has no particularly good use for sente. In the second variation Alb plays 7 and 9 as before.Dia.
Here. where Alb is very strong. taking sente and defending the largest possible amount of territory on the upper side. Alb uses this joseki when the upper side is more important than the left. Dia. in the corner. so he answers Alb 3 at 4. After Negru 14. for instance. which exploits the dead stones left in the corner. then ‘b’ will be a good point for Negru.Dia. if Alb wants to play another stone in this area he has a good point at ‘a’. as in this diagram. which of course he can do with his pon-nuki shape. If he plays tenuki. Negru 4: hane in the corner In the variations so far Negru played his fourth move at the open end of Alb’s stones. 125 . for example when Negru’s extension on the upper side is wider than his extension on the left. 6. but there are times when it is better to play hane at the other end. threatening a double atari at 10. 5. Negru has no prospects on the left side. In the third variation Alb breaks out of the corner by playing 7 and 9 on the upper side.
When Negru Δ is as close in as this. When Negru has an extension to Δ on the left side and wider one. he can do so by playing 3 and 5. and Alb has just enough room to live in gote in the corner. Alb can still play 1. the hane at 4 is again appropriate. The joseki continues as shown in this diagram and the next. Dia. like . Dia. 11. Alb should be ready to answer with 7. 3. in fact. If Negru plays 6. Alb has to be careful not to play 11 until Negru has connected at 10. 10.Dia. 8. This gives him the cut at ‘a’ or the squeeze-tsuke at ‘b’ to aim at. 6 and 7. then Negru might be able to kill the corner by playing 10 at 13. If Alb wants to avoid the hane of Negru 4 in Dias. This ko is. Alb plays hane first Dia. and 5. 9. on the upper side. for if he exchanged 11 for 12 first. Negru 6 deprives the Alb group of room for two 126 . for Alb does not have enough room to live in any other way. Dia. the usual joseki when Negru has a stone at Δ. 7. making a large ko.
12. but even dead stones can be put to use. Or if Negru blocks Alb’s extension down the side.eyes. When Negru has added a stone at Δ. Dia. 13. the diagonal play at Alb 3 becomes the proper way to live. 127 . If Negru plays 4 and 6. We leave this life and death problem for you to work out on your own. but Negru cannot attack as long as the cutting point at ‘a’ remains undefended. and his corner may yet live. Diagonal play Dia. then Alb can get room for eyes by hopping down the side to 7. Alb can live with the hane at 5. Alb 7 does not quite assure him of two eyes in the corner. Dia. Alb will aim at the points ‘a’ and ‘b’ as before. 14.
as in either of the two diagrams above. seeing how it works in combination with a kakari from the outside. 10 and 11. one way of attacking it is with the tsuke at Alb 1. In the next chapter we will return to this invasion. but Alb ‘a’ aims only at living in the corner. while Alb 1 has more to do with the outside. is with a three-three point invasion at ‘a’. so to speak. Another way.In conclusion This is what to expect of a three-three point invasion made out of the blue. Except in cases such as Dias. 128 . SECTION 20 When Negru has made a two-stone shimari based on a stone at the four-four point. as you have seen in the last section. the invader can live quite easily.
Inner hane Dia. 2. then Alb can develop a position on the left side while slightly reducing Negru’s corner territory. and Alb extends on the left side to 7 or. Dia. 3. the standard joseki calls for Alb to play hane at 3. In the simplest continuation. 1. if there are other Negru forces in the area.The usual answer to Alb 1 is either ‘a’ or ‘b’. If Negru plays ‘b’. to ‘a’. When Negru has the formation shown here. Negru and Alb connect at 4 and 5. Dia. Negru plays 6. and what follow are only the most common of them. then he may be able to keep Alb in the corner. The same pattern can arise from an attack on an ogeima shimari based from the three-three point. but there will be cutting points left in his shape which Alb can take aim at from the outside. 129 . Let’s start by considering the case in which Negru answers Alb 1 by defending his corner with 2. Alb 1 has a way of leading to very complicated sequences. If Negru plays ‘a’.
The way for Alb to handle it is to play 5. This gives him a very nice base from which to extend down the left side or. as here. into the center. Alb will make a wall with 11 and 13. threatening both ‘a’ and ‘b’. . and a ko fight. The order of playing 3 and 5 is important. or he can play ‘a’. He need not be afraid of the cut at ‘a’—Alb ‘a’. 3. Alb ‘c’. 7. or he can jump out to ‘b’. If Alb reverses them. Negru ‘b’. 130 . Instead of following Dia. Alb can get eye shape by playing there himself. . again expecting Negru 6. Negru ‘d’. he now makes a kaketsugi at 5. Alb 7. 5. Dia. and 9. 6. inviting Negru to start a ko fight. Here Negru has a stone at Δ. and so Alb does not have room for a satisfactory extension on the left side.Dia. If Negru protects against the former by playing 10 in the next diagram . If Negru does not play 6. Dia. 7. depending on the surrounding positions. Dia. What if Negru answers Alb 3 by cutting at 4? This too is joseki. 4. and Alb dies—and Negru 6 prevents Alb from extending into the center. then Negru can play 6.
but we will leave them in order to go on to the case in which Negru answers Alb 1 by playing hane from the outside. If Alb simply extends to 5. This gives up points in the corner. Negru can pressure him with the sequence from 6 to 10. But here Negru has an ogeima shimari. and now Alb can play 3. There are a good many other variations besides the ones above. In this variation Negru plays 4 instead of ‘a’.Dia. but has the advantage that Alb cannot play 6 in sente. and Alb does not want to invade at the three-three point for fear that Negru will get too much territory on the outside. 9. This joseki is frequently used when Negru has an extension like Δ. since he is not afraid of Negru’s playing 6 at ‘a’. Dia. 131 . 8.
There is a second way for Alb to play counter-hane with 3. and Alb lives in the corner. and can aim to cut at ‘a’ later. If Negru connects at 4.Outer hane Dia. when Negru has a one-pointjump shimari. with the cut at ‘a’ or the squeeze-tsuke at ‘b’ left as sizeable threats. although ‘a’ and ‘b’ are other possibilities. the standard joseki calls for Alb to play counterhane. 12. In this diagram Alb gets a good life in the corner. 11. then Alb’s connection at 5 is the usual play. We leave you to find for yourself what happens if Negru plays atari at ‘b’ instead of 4. 132 . 10. Dia. which is sometimes correct. as shown here. Dia. Next Negru plays 6. Once again.
and then live by crawling along the second line. Dia. Negru seems to be trying to kill all the Alb stones when he plays 4 and 6. a tesuji worth taking note of. 13. Dia. (Alb ‘a’. 14. Sacrificing two stones. but Alb can cope by cutting at 7. If Negru answers at 19. Negru ‘b’. 13 Dia. etc. 15. then Alb plays 18 and gets up to the third line and out into the open. Alb can play 17 here. and 15 in sente. 131 133 . 13. then a crawling battle develops on the left side. This is one of the more complicated variations. the outcome of which will be determined by the presence or absence of other stones in its path. Alb can play 11.Dia.). If Negru plays 18 as shown. If he cannot afford to live so humbly.
Following the last diagram. Another. The joseki shown here is about like the one in Dia. surprisingly complicated family of variations starts when Alb plays ‘a’ instead of 5. an important tool for getting into a territorial framework based around a stone on the four-four point. The last combination of possibilities is when Negru has an ogeima shimari and answers Alb 1 from the outside. but we leave that for a more advanced book. Negru will play 6. Dia. Alb can also play 3 like this. 18. 10. and Alb can live safely with 7 to 13. except that now Alb gets his best result by playing nobi with 3 instead of hane. 17. reflecting the fact that its purpose is less clearly defined —it can lead either to life in the corner or to a battle on the outside. however.Dia. In conclusion The tsuke at 1 yields far more complications than the simple three-three point invasion of the last section. As before. The mutual connections at 4 and 5 form one joseki. Dia. He has something to aim for in the cut at ‘a’. It is. 134 . 16.
Alb can go right to 3. For example. All other things being equal. More often than not. however. for two reasons. but it need not go to waste. and Alb comes skipping out of the corner at 11. Negru would like to make a kaketsugi by playing at the point on which Alb 1 rests. After Alb 9. moves which make an immediate penetration into the corner. The first is that from 1 Alb can slide into the corner by playing ‘a’. 1 is the best kakari to make against a stone on the four-four point. he is more concerned with making shape on one side or the other than with ravaging the corner territory. but he cannot. when Alb plays against a stone on the four-four point. 2.CHAPTER 5 Four-four point joseki: kakari INTRODUCTION In the last chapter we studied the three-three point invasion and the three-four point tsuke. Alb 1 has been cut off. if Negru answers Alb 1 with a squeeze play at 2 in Dia. and then he will make a kakari from the appropriate direction. Alb can play 135 . so he has to make do with the shapeless tight connection at 10. Alb 1 in Dia. The second reason is that Alb 1 works well with an invasion at ‘b’.
and he has a useful move at ‘b’. but Alb can then leave the left side as it is and turn elsewhere. attacking Negru’s eyeless group. and Negru’s corner territory will not be unduly large. Negru may answer at 3. (or right away). If Alb made a kogeima kakari. After Negru 3 he would still have to defend against the possible invasion at ‘c’. 3. expecting Negru ‘b’. he could not expect to keep sente. Alb would like to deal quickly with the left side.‘a’. 4. 1. But a kakari is made in order to develop on the side. then turn to some other part of the board where he has more of a chance to make territory. as at 2 in Dia. he can play another ogeima kakari at ‘a’. which is mostly Negru’s domain. 136 . Usually he plays his kakari at 2. and frequently the conditions dictate some choice other than Alb 1 in Dia. Later. too. a common opening position. In Dia.
137 . as in Dia. Negru 2 is the usual answer. If Alb played a kogeima kakari. and starting to make a large area of his own on the upper side. using his wall in the lower left to develop a huge potential area. reducing Alb’s left side to easily manageable proportions. Negru would answer with 2 and 4. and Alb can continue with 3. 6.Dia. 5 shows one kind of position in which Alb should make a high kakari at 1.
The choice of Alb 1 is easily understood. because Negru can always jump out to ‘d’ to keep Alb from getting any territory on the left side. Compare this with Negru ‘a’.In Dia. then after Negru 2 he would be vulnerable to an invasion behind 1. where it will be of use in the fighting to come in the center. Better to have 1 up on the fourth line. (at ‘c’). If Alb played any higher up. 7 we see the 2-point high kakari being used to give room for eyes to the Alb group on the left side and to reduce Negru’s potential area in the upper left. There would be no point in playing 1 on the third line. say at ‘b’. 138 .
24. and it will be treated in sections 21. The standard answer to a kakari at 1. 10. You have already seen a couple of them in the preceding diagrams. and 25. ‘a’. Now let’s look at a few more. in Dia. who will have to care for two weak groups while Negru attacks from his own strong one. 11 is not very good for Alb. 8 are reasonable answers to Alb 1 in various circumstances. or to one of the points marked x. supporting an extension to 1. 139 . Negru 2 makes a good base for jumping out into the center. or ‘b’ in Dia.There is a wide choice of ways to answer a kakari. 23. 9 is the one-point jump at Negru 2. Considered in isolation. Besides starting to build territory on the upper side. but if there are some additional Alb stones in the surrounding area. Another weakness is that Alb may sooner or later play 3 in Dia. Dia. all of the points marked in Dia. aiming to slip under Negru’s stone to ‘b’. 11. then Alb 3 becomes very effective. The chief weakness in this move is that Alb can still invade the corner easily at ‘a’.
for instance. and it is still used. 13 used to be the standard reply to Alb 1. With the Alb stone so 140 . in Dia.In Dia. Negru 2 in Dia. Negru 2 is often used when Alb plays 1. Negru would do well to play 2 on the third line instead of at ‘a’. 14. but it is not as strong on defense. Negru can make a secure corner enclosure with 4. threatens an invasion at ‘c’. for defensive purposes. or ‘a’. for instance. Alb ‘b’. It aims at making a larger corner territory than Negru ‘a’. 12. Then if Alb attacks with 3.
It would be an over concentration of strength. is correct. 12 will be mentioned alongside the one-point jump in sections 21.far removed from the corner there is not much point in Negru’s advancing toward the center. 15 we have a good case where Negru 2. and 25. 16 would be incorrect here. and of course it also attacks Alb 1. Negru 2 in Dia. Negru 2 secures the corner. 141 . and so there is not so much point in his playing 2 at ‘b’. This Negru 2 and the Negru 2 in Dia. Negru should play this way whenever he already has a strong formation around the middle of the upper side. or Negru ‘a’. In Dia. and Alb could easily invade at the three-three point. 24.
Squeeze plays are common. 18. one common answer to a Alb kakari is no answer at all. and we shall study these double-kakari joseki in sections 28 and 29. Alb usually makes his second move from the other side. an interesting idea that we will be looking at in section 27. 142 . 17. as in Dia.The tsuke responses to a kakari are treated in sections 22 and 26. as in Dia. A squeeze play may be used to keep Alb from building territory on the side. Finally. 19 is also made for constructive purposes. The squeeze play in Dia. or to construct Negru territory there. A kakari is not as pressing an attack as the three-three point invasion or the three-four point tsuke. too. and nothing too serious will happen if Negru lets Alb attack a second time.
Both sides get stable. The variation on the right. let’s get Alb’s main weakness out of the way first. Observe that Alb’s stones in the basic joseki are all on the second or third line. in which Negru answers Alb’s kogeima kakari with a one-point jump to 2. (next page) Since we will have lots to say shortly about Negru’s weaknesses in this joseki. in which Negru makes a kogeima with 2. Alb’s weakness Dia. Negru defends at 4. This means that it is not so easy for him to extend upwards into the center.SECTION 21 Basic joseki 21 If we survey recent Japanese professional games. easily defended positions. Alb slides into the corner at 3. If Negru does not mind solidifying Alb’s position. it seems that the most frequently used four-four point joseki is the one on the left above. he can make it even harder for Alb to reach the center by playing the moves in this diagram. 1. and Alb makes a two-point extension to 5. is quite similar and will also appear in this section. 143 .
Negru 2 is usually the correct answer to Alb 1. it can almost be considered as part of the basic joseki. Even when Negru has made the defensively stronger kogeima. 2. Alb has a good move at 1. it is a good idea for him to answer 1 at 2. On the upper side Dia. Dia. since if Negru lets Alb play both 1 and 2. 2 in this diagram and the last is such a big point that Negru should seize any reasonable excuse to play it. If Alb wants a higher position. he will find himself short of eye space. 3. If Negru does not get around to playing ‘a’. The drawback of this move is that it gives Negru a good attacking point at ‘a’. 144 . A Negru extension to the point ‘a’ is a large move.Dia. 4. he can play 1 here instead of extending on the third line. Just from the standpoint of corner territory.
Even if Negru does answer Alb 1. although it is usually too slow to be worth playing in the opening. let’s see what happens when Alb plays 1. although this solidifies Negru’s corner somewhat. If Alb cannot afford to have his two stones on the left side cut off. Later. Alb has made a big gain as compared with a Negru play at 1. he can gain some more by exchanging 3 for 4. by playing 2. Since it is so large. Occasionally Negru plays 4 at ‘a’ to make eye shape. 7. but that gives Alb the play at ‘b’. 5 at 8 still gives him a big profit. Dia. 145 . he may fall victim to this sequence. If Negru fails to answer Alb 1 in the previous diagram.Alb plays the key point in the corner Dia. This is more a middle game move than an endgame move. 5. Dia. 6.
If Negru connects at 3. Dia. To point up one of the principal dangers in this joseki. 8. suppose that Negru has let Alb play both of the stones marked Δ in Dia. 8. and Negru is in trouble. but of course that would strengthen Alb on the upper side. since Alb can play 2. 8.Dia.) Now it is too late for Negru to make eye shape by defending at 1. 146 . (What we have to say here applies equally to the case where Negru Δ is on the fourth line. Negru could follow this way if he had exchanged Negru ‘a’ for Alb ‘b’ before playing 1 in Dia. Alb easily connects to his stone on the upper side. 9.
gives Alb plenty of room for two eyes. 11. Alb plays 9 at ‘a’ or ‘b’. a straightforward exchange of corner territory for an outer wall. which slides into the corner and. In other variations. coupled with the extension down the left side or the play at the three-three point in Dia. There is one major variation in this joseki: instead of defending his corner. 10. The simplest continuation is the one shown.Alb Dia. In conclusion The key move in this joseki is Alb 3. Negru can play 4 on the outside. 11. In the next section. letting Alb take the three-three point with 5. but when hane at 8. we will see what happens when Negru prevents Alb 3. Variation in the basic form Dia. Negru is in trouble again. plays Another idea is to play 3 and 5 this way. 147 . or at 10.
1. When to play the diagonal tsuke Dia. which leave Alb less room to make trouble in the corner. The purpose of Negru 2 is not to defend the corner territory —as we shall see. Alb can make no better extension than 5 on the left side. Alb can still invade at ‘a’—but rather to attack the Alb stones on the left side by making it hard for them to get eye shape. When there is a Negru stone at or around Δ. are sometimes appropriate instead of Negru 4. Negru 4 is also an attacking move. but they have little offensive meaning. Negru 2 is standard practice. 148 . Negru ‘c’ or Negru ‘d’. he exchanges 2 for 3 above before jumping out to 4.SECTION 22 When Negru wants to keep Alb from playing the keima of the last section. but it is obvious that his three stones are badly overcrowded. preparing for a capping play at ‘b’.
Dia.Dia. Negru can continue his attack as shown. 149 . 3. Compare Alb’s narrow shape here with what is in the next diagram. the Alb stones will be much safer. 2. If Negru lets Alb broaden his base by sliding into the corner at 3.
Here is a common opening position in which the diagonal tsuke is used. If he played 5 on the third line. for Alb is afraid to extend any farther down the side than to 5 because of Negru’s thickness in the lower left corner. 150 . Notice that Alb plays 5 on the fourth line. getting ready for activity in the center. Dia. which defends the corner while damaging Alb’s shape. his position would be too cramped. The space between Alb 1 and 3 and Alb 5 is still too narrow for comfort. will become a good maneuver for Negru. 6. Dia.Dia. Negru ‘c’. Negru 2 and 4 are also appropriate here. Alb ‘b’. and Negru could attack from the outside at ‘a’. Later on Negru ‘a’. 4. 5.
7. The joseki continues this way. the three-three point invasion is a bit dangerous. Negru 2: first variation Dia. Negru should reply at 2. 151 . Alb can live on the upper side by playing 3 and 5. and since it is so common. . Alb 1 in Dia.The three-three point invasion We now come to the problem of Alb’s invasion at the threethree point in this joseki. . 7 was played too early in the first place. When the Alb stones on the left side are still weak. and after Negru 14 Alb still needs another play on the upper side. Negru is alive in the corner and has become very strong on the outside. Dia. but . we are going to spend some time going through the fairly complicated family of variations. Alb should have waited until his stones on the left were a little bit safer. 8. and it is not going to be much fun for Alb to take care of his original three stones on the left side. Indeed.
9. Another way for Alb to play is shown here. the Alb position is safe beyond all attack. but there remains the possibility of Alb ‘a’ or ‘b’.Dia. and Negru 2 in Dia. and then Negru should play 2 as follows. and that he can do by sacrificing one stone in the way shown. and the Negru stones do not have two eyes yet. but Negru lived in the corner and was left with no weak points at all to worry about. starting with the diagonal play at 5 instead of the previous move at 6. it is important for Negru to preserve some eye space in the corner. Alb broke out along the upper side. attacking them. In the last two diagrams. Sometimes. is the best reply. Usually Alb plays the three-three point invasion when his stones on the side are still a bit weak. Negru 2: second variation Dia. Especially with Alb Δ on the board. Now Negru confines Alb to the corner. 7. however. 10. 152 .
as compared with the one in Dia. of course. 12. After this. In this kind of position. 11. He is aiming at the point ‘a’. Alb may not bother to answer at 2. 153 . is that there are weak points like ‘b’ and ‘c’ in the corner. if Negru has a chance to do so before Alb comes crashing into the corner. Here we have another joseki starting with Negru 2. The only drawback of this joseki. 13. Dia. Alb gets to make a pon-nuki in sente. but that is another matter. 10. This time Negru connects at 4 instead of playing hane at 5. but his eye shape was already secure. the corner is safe. so it does not matter very much. he should exchange 1 for 2. Dia.Dia.
154 . Dia. and of course there may develop the possibility of Alb ‘b’. 7. it in no way strengthens Negru’s position or attacks Alb’s. 15. and he can leave the corner as it is with a clear conscience. (or by playing 3 at 5. There are yet other ways to answer the three-three point invasion. The exchange of 1 for 2 has not cost Alb anything. and 9 on the upper side. or at ‘a’). this diagonal play is often a strong move.Negru 2: other variations Dia. His extension to 9 is safe because ‘a’ is his sente. A similar idea is to reverse the order of 2 and 4. but he can make shape with 5. Alb may be able to live in the corner with 3 and 5. Alb can no longer live in the corner. but he is going to suffer from Negru 4. After answering Negru 2. This is sometimes the best move. waiting for the right moment to put Alb 1 to use. One final answer to Alb 1 is the connection at 2. 16. but unlike the moves studied previously. 14. Dia.
and Negru 8 undermines his position on the left side. He lives rather small. and the rest of this section will be spent looking at some of the various extensions and their meanings. Alb can live in the corner by playing 1 to 9. The point of extension varies. (or ‘a’ or ‘b’). SECTION 23 When Negru extends to 2. of course. Alb should look for the earliest good opportunity to challenge Negru at the threethree point. although 3 above is the one most often correct. 17. according to circumstances.Dia. At the right time. and Negru should not be afraid to trade his territory for a chance to attack on the outside. it is not unusual to find Alb just making an extension of his own on the left side. In conclusion Aggression is the theme of this joseki. 155 .
but although this move has some value in cramping Alb’s style. Notice that ‘a’.Dia. Alb does not want to extend any farther than 3 for fear of an invasion between 1 and 3. 2. as you will remember from the last section. is almost worthless to Negru since Alb can jump out to ‘b’ from the lower left corner. Alb can still invade the corner at the three-three point. 156 . Negru can play kikashi at 4. but Negru can build a large prospective area in the center with the joseki up to 8. Dia. the usual vulnerable point of an extension on the fourth line like Alb 3. What if Alb plays into the corner with 3? This may not be necessarily a bad move. 1 shows one setting for the joseki above.
but there would be room for a Negru invasion between Alb 1 and Alb ‘a’. As the mid-point between Alb 1 and Δ. he will have to do so between 3 and Δ. 157 . Another setting for Alb 3. If Alb played 3 on the fourth line. The joseki of section 21 would be another good choice. Dia.Dia. Here. Negru 6 would become too good an attacking move. 1. however. 6. 4. Alb 3 seems to strike the right balance on the left side. This is about like Dia. and there will be two strong Alb stones on either side of him. if Negru invades. Dia. 3. except that now Alb has played 3 on the third line for reasons shown in the next diagram. ‘a’ might seem like a better extension than 3. 5. Dia. With the present Alb structure.
but then Negru could play 4 and 6. Here Alb makes a three-point extension on the third line.Dia. To extend any farther than 3. Alb should be able to handle Negru ‘a’ well enough. 9. 8. 7. because that greatly lessens his chances for a successful invasion at ‘a’. Dia. Dia. which in this particular case seems to be right. would be just a bit reckless. There is some danger from a Negru invasion at ‘a’. (after Dia. Negru should not play 1. and Alb’s position would be too narrow. but with the upper left corner open and an extension from Alb 3 to Alb ‘b’ still possible. however. 7). A two-point extension is thinkable. 158 .
Alb’s invasion is the subject of the next section. mainly because the corner is still open. 12. This strongly defends the corner. The reasoning is that if the exchange of 4 for 5 is made later. 10 or 12. we see Alb making a five-point extension. Negru can invade at ‘a’ and almost surely capture the upper one of Alb’s stones. as in Dia. before Alb invades it at the three-three point. Dia. and if Alb fails to play 2. Often the main point of this joseki becomes whether Negru gets to defend the corner. Alb will have a satisfactory shape. Instead. as compared with his cramped one in Dia. 10.Dia. 10. 11. Dia. he should look for an opportunity to play 1 here. With this much open space on the side. 159 . In conclusion Alb’s immediate extension down the side leaves a rather unsettled position.
1 shows the most typical joseki. Dia. Negru has extended to Δ.SECTION 24 In this section we will consider what happens when Alb has made a kakari. Later Alb may be able to do something on the left side by playing ‘a’ or ‘b’. and Alb invades at the three-three point. Both Alb 1 and Alb ‘c’ are quite large. but is forced to connect in bad shape at 6. but he can afford a moderate loss there since he has completely taken over the corner and the upper side. Alb lives with 7. it may be because he wants to keep open the possibility of playing 1. or ‘b’. and when Alb does not play ‘c’. ‘a’. 160 . Negru plays 8 to take command on the left side. which prevents them. Alb 1 is an alternative to Alb ‘c’. Negru cuts Alb 1 off from the outside with 2 and 4. Obviously Alb had better consider what is going to become of the left side before starting in on this joseki. and so is Negru ‘c’. and then Alb can come out of the corner to 9 on the upper side.
Or Alb can just play 17 to live. Alb can sometimes fight by playing ‘a’ or ‘b’. and can hope for territory between it and the wall he builds. 3. Alb ‘b’.Dia. but then Alb can push out at ‘d’. starting with Negru ‘a’. Negru can reduce Alb’s corner to seki in sente. Instead of letting Alb run out along the upper side as in the last diagram. On the other hand. The drawback of this idea is that even though Alb’s corner is not alive after Negru 16. threatening to capture one of the two Negru groups he has cut apart. sometimes Negru can play 8 and pen Alb up in the corner. Dia. 2. on the one hand. This is suitable mainly when Negru already has a stone somewhere around the middle of the upper side. but then Alb plays ‘a’ and gets the maximum possible amount of corner territory. 161 . Negru can play ‘d’ in sente. Negru ‘c’. 17 is an interesting move. leaving Negru to deal with the cutting stone Δ as best he can.
5. in return for sente. or some good reason for hanging on to his territory on the upper side. 4. making territory on the upper side. since he has given up the corner and gained nothing on the left side. but just play the important point at 10. In this joseki ‘a’ is left as a large endgame point. but in this case these plays come too close to Negru Δ to be worth much. A completely different way for Negru to deal with Alb’s corner invasion is to let Alb connect to the outside. should he get to play it. The exchange of Negru 6 for Alb 7 is played to make sure that ‘a’ will be Alb’s gote. Presumably he will not try. 6. He can play 10 and 12 here to hold Alb into the corner. Dia.Dia. Alb may not want him to play as in the last two diagrams. Negru should do this only when he has some particularly good use for sente. Negru cannot cut the connection between 9 and the corner because of Alb 5. 162 . When Negru has a stone at Δ. Dia. and Negru ‘a’ looks bigger. and what he can do to prevent it is to play kaketsugi at 5. then jump out to 9.
making excellent shape on the outside. 8. Up to Alb 7. Here we see the three-three point invasion into the kogeima formation made by Negru Δ. Negru cannot always play this way. Negru can often continue by playing 8. 1. 7. Alb may be not so willing to invade as he was when Negru Δ was on the fourth line.Dia. Negru defends his cutting point with 12. After Alb lives with 9 and 11. see the next two diagrams. Dia. Because of this. the moves are the same as they were in Dia. 163 . however.
it is joseki for Alb to invade the corner immediately at 3. Dia. Negru should play 8 this way. 10. The joseki continues with Alb living in the corner in sente and making shape on the left side with 13 and 15. When Alb has a stone at Δ.Dia. even though Alb is not yet alive in the corner. After Negru 16. Negru is in considerable danger after the cut at 11. Instead of trying to block Alb. When Negru makes the ogeima extension at 2. 9. a Alb extension on the left side and a very wide Negru one on the upper side are to be expected. 11. Dia. Dia. 12. pressing from above and then playing 10 to defend his shape. 164 . This time he crawls out at 5 before playing the hane at 7.
11-12. Alb should not hesitate to jump into the three-three point. Alb would have no room to extend on the left side if he followed Dias. Provided that making territory on the outside is not essential to his overall strategy. There is the compensating advantage that Alb can. The three-three point invasion is often used to answer a squeeze play. perhaps. This time. so rather than burden himself with weak stones there. and that he will not be giving Negru too grand a territory there. 165 . 13. In conclusion Such is the size of the corner that the invasions of this section are played quite early. play ‘a’ later and cut off Negru Δ. he plays 4. and 8. letting Negru have the point 9. 6. generally in the late opening stage of the game.Dia.
Negru almost has to play 2. 1.SECTION 25 After a Alb kakari and a Negru extension. The purpose of this move is to make shape on the left side when there is not room enough for an ordinary extension. Alb 1 could be used in the presence of Negru Δ. Alb 3: first variation Dia. Another possibility would be to invade at the three-three point and take the corner. but then 166 . the tsuke at Alb 1 is another possibility worth considering. and then there are two possibilities for Alb 3. else Alb takes the same point.
aggressive moves. and even then he may not like this result. 3. Dia.Alb would lose any chance of attacking Negru Δ. Dia. and when Alb plays 5. If Alb ignores a Negru ko threat be can cut at ‘a’. 167 . a big ko fight is in the offing. as shown in this diagram and the next. and provided he has a ko threat of his own big enough to keep Negru from then taking and connecting the ko. Sometimes there is another way for Alb to answer Negru 4. Alb should only play this way if the shicho in which the sequence ends works for him. because Negru can cut at ‘a’. 2. he can next capture the corner with ‘b’. Alb 3 and Negru 4 are both good.
Dia. but at the same time Negru’s corner has become secure. 4. and there remain the points ‘c’ and ‘d’ at which Negru can attack. Dia. Another possibility for Alb is the hane at 3. Negru 8 at ‘e’ would be another possibility. . and pushes at 11 to give himself some room for the outside group. Negru could answer Alb 7 by capturing. Faint-hearted Negru players sometimes answer Alb 3 by connecting at ‘a’. connects at 9. but then Alb could extend to T. but then Alb would develop upwards with 9 and 11. who can get excellent eye shape with ‘b’. 7. Dia. . By playing this atari and pushing through at 6. While cuts at 7. which aims at handling the situation without re-course to ko fights or shicho. Negru separates Alb’s stones into two weak groups.Alb 3: second variation Dia. 168 . then . Now when Alb plays 5. At the end of this diagram Alb has made an eye. Negru can play atari at 6. but this makes life too simple for Alb. More aggressive than the previous Negru 4 is the move shown here. 5. 6. One better way for Negru is to play a second hane at 4.
since it keeps Negru from playing a similar tsuke at ‘a’. Notice the possibility of ko left behind. Of course this leaves his outside stones pretty weak. Dia. the three-four point tsuke is the usual way for him to bite into the corner. One way for Alb to continue is to live in the corner with 13 and 15. Alb ‘c’). 10.Dia. Dia. (starting with Alb ‘a’. in which Alb plays 3 to trade the corner for the outside. The exchange shown here is often played before making an extension down the left side. When Alb has played his kakari at Δ. 8. 11. Other settings for the tsuke Dia. There is also a hane variation. Negru ‘b’. Another way is for him to give up the corner but make shape on the outside. 9. 169 .
Dia. A joseki that solidifies the corner immediately is the tsuke-osae above. when Negru answers Alb’s kakari simply by extending. and Alb plays 5. If Negru seems to come out ahead in some of these sequences. (Negru 2 is a tsuke 170 . but to defend against attack. Although he can now play tenuki. 12. 7. the purpose of the tsuke is not to make territory. his position can be attacked with some force at ‘a’. SECTION 26 As has been seen in the last few sections. This is the standard joseki for making shape on the left side when Negru has played an ogeima extension at Δ. he leaves Alb a lot of room to play around in the corner. In conclusion Bear in mind that in most cases. it is an indication that Alb should save them for use in real emergencies. when he is threatened with annihilation. Alb cross-cuts at 3. and 9 in sente. Negru 4 is a strong and sure answer.
with a ko left behind for later. it behooves Alb to defend one of his cutting points. hence the name. 2. This leaves him the possibility of playing ‘a’ later. If Alb plays 11 at 12. Negru can also just answer 7 at 8. Negru can capture one stone in sente. Alb 7: first variation Dia. then extend along the upper side to or in the direction of 12. 1. although there is the danger that Alb may play ‘b’ before Negru gets into action. 171 .and Negru 4 an osae. and he has at least three choices as to how to continue. When Alb connects here with 7. Dia. on the left side. or even ‘b’.) After playing atari with 5. Negru gets to play ‘a’.
Another move that defends the left side territory. 4. 172 . When Alb connects at 7 in Dia. Alb 7: third variation Dia. 3. again Negru usually extends to 8. is this Alb 7. too. 3. so Alb has to play 11. he has an excellent opportunity to cut at 8 instead. and then Negru captures a Alb stone with 12. Alb 7 is one move that Alb employs when he is in a position to make the left side his territory.Alb 7: second variation Dia. This looks very good for him. Negru can answer by protecting his corner at 9. Negru 10 threatens Negru ‘a’. and one which threatens an incursion into the corner. The cut at ‘a’ is another possibility to consider if the conditions are right. but if he is willing to risk a loss there.
5. Actually. Dia. Here Alb already has a stone at Δ when he plays his kakari. Negru can also play atari with 10 instead of blocking at ‘a’. His corner is better defended by 12 than it was in the previous variation. but needless to say. In this diagram Alb Δ conies out at least one line too close to the Alb wall to be efficient. If Negru plays 2 at 4. it is not as good as it looks.Dia. because Alb can invade the corner with 1. 6. 173 . and that makes the tsuke-osae especially appropriate. 6 is the beginning of a long and hard fight in the center. 7. and Negru has gained a definite advantage. Dia. but any of them would produce the same kind of over-concentration as shown in this diagram. Alb could choose one of the other variations studied above. Alb will play 2 and live. Alb 3: another possibility Dia.
174 . 8. which we have shown here. After atari at 4. although it depends on shicho. If Negru tried to play 6 at 9. 9. Alb would cut at 6 and Negru would be in a little trouble.Dia. There is a way for Alb to deal with this problem. Negru will definitely play 4 from underneath. the next order of business for Negru is an extension on the upper side. Then. If it does not work. Alb ‘c’. 8. Dia. and instead of 7 Alb will have to play ‘a’. but later he can come back and cut at 1 in the next diagram. After this. Negru can take a large upper side with Negru ‘b’. and Alb gets to come into the corner at 9. There is an interesting sequel to the sequence in Dia. If the shicho works. he can push in between Negru’s stones at 3. even without putting 2 in motion. 10. Negru ‘d’. Negru plays double hane at 10 and 12 in sente. Negru must connect at 6. This is the shicho. limiting Alb’s take in the corner and leaving him with some cutting points. Dia.
is why Alb does not normally play Dia. but they defend the corner strongly and are often used by professional players. Alb Δ is in his way. In conclusion Negru’s tactics in this joseki may lack the light touch. as shown in the next diagram. (else Negru plays ‘a’). not just in the corner. This. Negru plays the squeeze-tsuke at 5 and makes quite good shape all around. If Alb Δ were not on the board. 175 . Alb has to capture the stone in the corner. but the way. 12. Dia. 8 without having a stone already in place around the middle of the left side. After Negru 3. 11. incidentally. Negru could do still better. With more open space on the left side. but at least he has destroyed most of Alb’s left side territory. and then Negru can make shape on the left side. is a maneuver that can be played anywhere along the side where Negru has territory to defend. The tsuke-osae.Dia.
he may want to make territory on the left side. 176 . The last of these cases is illustrated in the sequence above. as above.SECTION 27 There are many occasions on which Negru answers a Alb kakari with a squeeze play. To understand the power of Negru 6. or to keep Alb from doing so. The easiest way for Alb to answer any squeeze play is to go in to the three-three point. look at what happens when Alb tries to push out toward the center with 7 in Dia. Negru 6 is the key move of this joseki. or even to make good shape on the upper side. 1. and the onepoint squeeze play happens to be a good way to start. a Alb stone there would completely reverse the situation. Other cases would call for other squeeze plays. Negru is trying to make full use of his stone Δ by building a wall facing it.
Alb’s failure Dia. Negru pushes through and cuts on both sides with 10 and 12. 177 . Dia. play ‘a’ and let Alb try to get away with ‘b’. if he is strong enough in the area. with little chance for growth. Alb has maybe ten points in the corner. in which Negru has built a strong wall and can look forward to a large territory on the upper side. That leads to this position. More simply. he can play ‘b’ himself. 2. 1. After Alb 13. he can.
but this time his territory on the upper side is not complete until he plays ‘a’. Alb should play 7 in this diagram. In this joseki Negru can sometimes omit. Dia. 178 . Notice that if Alb plays ‘b’ on the left side. but his prospects for breaking through on the left side are slightly better. although that leaves the threat of Alb ‘d’. 4 is also joseki. 3. or postpone. Instead. Alb does not have the way into Negru’s upper side that he had before.Joseki Dia. 10. and Negru does not have the chance to play tenuki that he had in Dia. Again Negru makes a good wall with 8 and 10. he is threatening to connect at ‘c’. 3. The last two diagrams are not joseki.
The one-point jump is more appropriate when Negru has made his squeeze play on the fourth line. 1 and 2 is followed. If Alb had a strong position in the lower left he might answer Negru’s squeeze play with this one-point jump. intending to follow with an attack on the left side. When Negru plays 2 there is also a variation in which Alb plays 3 at the three-three point. 6. The danger in playing 3 is that if Negru 2 gets away. Dia. for then Alb can get eye space for his group by slipping under Negru’s stones at 5 and 7. 5. In this joseki. 179 . Alb does not have enough room on the left side to make two eyes. and a sequence something like the one in Dias.Alb 3: one-point jump Dia. ‘a’ is left as a big point for either side.
In addition. 8. however. Negru 12 is one way of ending the sequence. so as to leave more territory between it and the wall he makes. Negru makes his original squeeze play a bit farther from the corner than before.Negru goes for the left side Dia. 7. Dia. you may recall. 9. Negru is aiming at a larger territory than in Dia. Negru 12 here is another way. Negru cuts him off from his stone at 1. Negru can play tenuki. In conclusion In answer to any squeeze play. he does things a little differently. For that matter. the three-three point invasion featured in most of the diagrams above is rarely a bad move. 7. Negru may lose some of his territory. 180 . if possible. Negru can also just push Alb along by playing 12 at ‘a’. If Alb starts to attack the Negru stones with 1. another way of lengthening his wall. When Negru makes his squeeze play in order to take territory on the left side. Double kakari joseki are the subject of the next two sections. another way— one that is often used in handicap games because it can lead to complications—and that is to make a second kakari. This kind of play was studied in section 4. There is. He also has the squeeze-tsuke at ‘a’ to use if he gets into trouble. Dia. but he can counterattack with the sequence shown. The main difference is that when Alb invades the corner at 3.
and in the next one we shall look at similar situations in which one or both of Alb’s stones are on the fourth line. 181 . In this section we will see what ways Negru has to deal with Alb 1 and 3.SECTION 28 There are many times when. Negru makes no direct answer to Alb’s kakari at 1. A second kakari at 3 is a good way for Alb to continue his attack on the corner. for one reason or another.
we shall take the time to go through the variations from ‘a’ to ‘d’. That is the idea behind Negru 4. ‘a’. for his next play. Before doing anything else. 2. ‘b’. 1. Up to Alb 13. Negru has made his wall and is in a position to swallow up the left side. especially in handicap games. and ‘d’. building up power to use against the weaker one. including the Alb stone Δ. and the joseki gets a little complicated. The usual counter-measure against this double kakari is to push against the stronger of Alb’s stones. At this point Alb has at least four choices. (nobi). Dia.Tsuke-nobi Dia. A second kakari is one way of answering a squeeze play. When Alb plays 7 at the three-three point. the key point for enlarging his left side while reducing Alb’s upper side. ‘c’. (tsuke). Since this formation is so common. he has a chance to play ‘a’. 182 . however. and Negru 6. it is natural for Negru to block at 8.
and then he takes the key point at 16. If Alb omits 17 in the last diagram. 4. after which a cut at 14 could be answered by Alb ‘c’. First Negru plays kikashi at 14. 3. If he played 16 without playing 14. Alb answers at 17 or suffers the fate shown in the next diagram. Dia. he may be able to put 14 to use again. Alb might answer by exchanging ‘a’ for ‘b’. 183 . Negru can surround him with these plays. Negru has already gotten something out of his kikashi at 14 in that he has played 16 in sente.Dia. later. and Negru would have gote.
6. 184 . Later. Negru can also answer Alb 7 with 8 here. There are some variations in which Alb plays 9 at 10 and Negru plays 10 at 9.Dia. but let’s leave those. 3. This brings up the tsuke at the three-four point. strong position with power on the upper side and in the center. 5. Dia. The end result of this joseki is about like Dia. which are a bit tricky. Although it may seem inconsistent with the original idea of going after the left side. Alb can cut at ‘a’ and take the corner. and this is joseki. By playing 10 Negru gets a high. letting Alb live in the corner and on the left with 9.
for he can live in the corner with 10 and 12. then fight on the outside with 14. 8. Alb does not want to let Negru cut at 11. After exchanging 7 for 8. At the end of this diagram Alb has the corner. 7 and 8 are joseki. following the course of Dia. 7. getting into one of the tricky sequences alluded to earlier. (he would hardly exchange 7 for 8 if Negru had already cut at 11). in Dia. 185 . since Alb has already usurped the point 7 which Negru took for himself. Both Dias. What if Alb invades the corner with 9? For Negru to answer by playing 10 at 12.Dia. but his stones on the upper side are in rather bad shape. He need not fear the cut at 9. so he connects there and Negru plays 12. Better to play 10 as shown. would involve a loss. 2. When Alb plays 7 here. Negru blocks his thrust at 8. Dia. (at 16). 3.
10. by the way. is necessary to keep Alb from invading the corner at ‘a’.Dia. which Negru must block at 8. while Alb makes weak. 9. threatening to push through at ‘a’. there is this Alb 7. Finally. In one well-established joseki. Negru 10 defends. Dia. 186 . Alb plays 9. and the sequence continues as in the next diagram. but hopefully manageable groups on both sides. Negru lives in the corner and gets out into the center. Negru 18. See if you can work that out for yourself.
After Alb 17. or he can wait to play on the left side himself. Alb can wall Negru in by playing ‘a’. 12. they are not the only ways. Diagonal plays Although tsuke-nobi and tsuke-osae are the most generally useful ways of answering Alb’s double kakari. letting Negru move out into the center by playing tsuke-nobi at 10 and 12. 11. If Alb captures at ‘a’. When Negru is not interested in attacking either of Alb’s stones. The diagonal play at Alb 13 happens to be good in this position. Dia.Tsuke-osae Dia. Negru can make a living shape in the corner by connecting at ‘a’. 187 . which is sente since it forces Alb to extend down the left side. More often Alb connects at 9. but then Negru will cut at ‘b’. and Alb’s wall will be a bit flimsy. he can play tsuke-osae instead of tsuke-nobi to make sure of the corner. After Negru 8. Negru can still live in the corner.
this diagonal play toward the center.) If Negru has any strength in the surrounding area he can often capture one of Alb’s kakari stones with the tsuke-nobi or a diagonal play. 188 . and if he does not. is not fatal to the corner stone. If Alb tries to blockade Negru with 2. Alb can answer it by playing 2 at the three-three point. When Negru already has stones on both sides.Dia. Dia. 13 is rather like some of the previous ones in this section. for example. with Negru going for the left side. 14. The result in Dia. (or 3 and ‘a’). Negru will push and cut with 3 and 5. He is alive in the corner. where he already had the stone Δ. at least he can get a living shape in the corner with the tsuke-osae joseki. In conclusion There is little to fear from a double kakari. 13. (Even a triple kakari. and Alb has two weak groups to try to save. the diagonal move at the three-three point is good. for that matter. There is also. from which he can connect to either of his two kakari stones.
where Alb has one stone on the fourth line. 13 and 14 of the last section. We shall see him doing that in the next few diagrams. The double kakari formation on the right above is the hardest one for Negru to handle. or T in the corner is preferable. He has diagonal plays at ‘c’ and ‘d’. which is not always very good.SECTION 29 The double kakari formation on the left above. is much like the one studied in the last section. 189 . Negru can make tsuke plays at ‘a’ or ‘b’. if Negru wants to attack on one side. since his only way of coming out into the center is ‘c’. which are exactly similar to the diagonal plays in Dias. he should begin by playing tsuke against the Alb stone on the other side. The only new idea is the tsuke at ‘e’. ‘e’. Often a play at ‘d’. which are similar in purpose to the tsuke plays before. Getting back to the formation on the left.
Negru plays tsuke Dia. he plays 7. so he uses the tsuke on the right. 1. (Alb would push through at ‘b’). Then. One way for Alb to respond is with the . lengthening his wall and further isolating Alb Δ. but just wants to make a safe position. but after Alb 6 Negru has made a wall which works well with his stone in the middle of the upper side. after Alb 6. 2. Now Negru wants to attack on the left side. Here Negru plays 1 in order to attack Alb Δ. but one which makes it easy for him to get two eyes. He cannot play 5 at ‘a’. not a large-scale move. This sequence can also be used when Negru is not interested in attacking. Dia. Dia. Next he might play ‘c’. 3.
but since that would solidify Negru’s shape. It is also joseki for Alb to play at the three-three point immediately after Negru’s tsuke at 1. Dia. or anything else Alb might use to try to break up Negru’s territory. with Alb eyeing the cutting point at ‘a’. Dia. the sequence comes out about like the one just before. 6. letting Negru take the corner. he will be in for a hard running fight. and if Alb tries to escape with Δ. Dia. Alb can exchange ‘a’ for ‘b’. Instead of connecting with 4 in Dia. Alb can play 4 at the three-three point. 4. Negru 5 takes the corner. . When Negru blocks at 3. Before connecting at 10.hane at 2 and the kake-tsugi at 4. There is also the possibility of Negru’s trading the corner for a high. it would mean less chance for success with Alb ‘c’. 3. strong position on the upper side by playing this way. 5.
in which case he plays Alb 2 in this diagram. they may be rather cumbersome. and of course Negru has taken the corner and severely weakened Alb’s stone on the upper side.Diagonal tsuke Dia. If not. Dia. and Alb might continue with an extension on the upper side. ends with a ko shape. the number of possible joseki is much smaller than before. he may want to avoid the result of the previous diagram. he will have no trouble managing his stones on the left side. If he does. (or tenuki). If Alb lacks the ko threats. Whether it is good or bad for Negru depends on whether Alb has enough ko threats to cut at ‘a’ or not. Double high kakari When both of Alb’s stones are on the fourth line. Negru naturally plays 3. . 7. 8. which starts from the tsuke at 1 and the diagonal play at 3. This joseki.
When Negru comes out toward the center at 1. the four-four point is second in popularity after the three-four point for the opening play in the corner. spoiling Alb’s territory on the upper side. That lets Alb build on the outside with 2. Alb naturally enters the corner at 2. 10. Negru would do best to take the corner at 1. . Among professional players. They figure not only in all handicap games. The four-four point was much in vogue during the ‘shinfuseki’ period of the nineteen thirties. when high-speed opening development was the style. 9. because ft supports large-scale extensions without the making of a shimari. and the joseki ends with Negru capturing one of Alb’s original kakari stones. With Alb Δ on the upper side. In conclusion This concludes our study of the four-four point joseki. is compensation enough. but Negru 3. Dia. might be better if Negru Δ were closer. an attempt to make a largerscale capture.Dia. Negru 5 at ‘a’. but frequently in even games as well.
and in order to make best use of the stone in Dia. (section 30). He can make the opposite exchange if he wishes.CHAPTER 6 Three-five point joseki INTRODUCTION This chapter is devoted to the joseki which start with a stone on the three-five point. Firstly. 1. he is going for quick outside development rather than corner profit. (and obviously). like the Alb one in Dia. Two things can be said about a stone so placed. his whole opening strategy should proceed along those lines. 2. and will be satisfied to make a simple trade of corner profit for an outside wall. Alb is aiming at the upper side rather than the right side. by attacking at ‘a’ instead of at 1. 1. There are three common ways to attack a stone on the three-five point. (section 35). Secondly. is the easiest. . The invasion at 1 in Dia. Negru expects Alb to answer at ‘a’.
however. etc. of course. we have nothing special to say about the joseki which follow from Alb 2. Negru 3 is the key point. 6. 3. If Alb’s sole purpose is to develop on the upper side. often arises when Alb 1 in Dia. if Alb played there he would greatly expand his area.). and the resulting joseki have a way of becoming complicated. Negru can also answer Alb 2 by invading. This pattern. if he wants to make matters complicated.When Negru wants to get his share of both the corner and the outside. or ‘b’. in Dia. Alb has several squeeze and pressure plays to use against Negru 1. as at 3 in Dia. (sections 31 to 34). (or ‘a’. In the rest of this book. . he may answer Negru 1 by just extending to 2. 5. 4 goes unanswered. he attacks at 1 in Dia.
an invasion at the three-three point. SECTION 30 Negru 1. he can play 1 in Dia. Alb 2 is the usual . the opposite of Alb 1 in Dia. 8. This makes Negru 1 rather attractive. Alb can form a shimari with 1 in Dia. This move may be compared with the three-three point invasion under a handicap stone. 7. Instead of Alb 1 in Dia. various players have experimented with Alb ‘b’ or ‘c’ with mixed success. is the simplest way to attack a stone on the three-five point.If Negru does not get around to making any attack. if he wants his shimari to face across the upper side. we shall drop the subject of Dias. 7. Or. Since we are not going into shimari joseki in this book. described in section 19. but now the invading group cannot be confined as closely as it was there. although that shimari has a weakness at ‘a’. All three of these plays are strong toward the center but weak in the corner. 7 and 8 here. 8.
‘c’. but leaves the position as it is in Dia. Dia. or tenuki. 1. ‘b’. In many cases he will make his next play somewhere on the upper side to counter the wall Alb has gotten. Shows the basic joseki pattern. if Alb plays 8 at 9. Negru pushes along the third line with 3 and 5. but keep in mind such other possibilities as ‘a’. and after Alb 6. 1. 2. 2. he has sente. Negru should not hesitate to cross-cut by playing 9 at 8. However. In this sequence. What can he do? . for the ensuing fight will turn out well for him.response. Alb 4: nobi Dia. If Negru does not play Dia. it is also joseki for Negru to continue with these moves. expanding his corner territory. then Alb may be the one to play next in the corner.
2. Negru may. 5 shows a third way for Alb to assail Negru’s corner. If Negru answers at 2. do better to answer Alb 1 at 3 instead of at 2. . Looking at the last three diagrams. Negru’s corner is still perfectly safe. Alb 1 is a fairly large move. Alb 1 here is another possibility. Alb 1 and 3 are gote. you can investigate that possibility on your own. Alb can capture either the Negru stone on the three-three point or the two Negru stones below Alb 1. then Alb. 4. after 3. but after them ‘a’ becomes Alb’s sente. is gote. in many situations. putting Alb in a position to profit on the right side as well as in the center and on the upper side. you can appreciate the value of the moves in Dia. is threatening the twin cutting points ‘a’ and ‘b’. If he plays tenuki after this diagram. however. To begin with.Dia. and Negru is at a loss to find a good answer. Dia. 3. Alb 1. Dia.
Alb would like to answer with 6 and 8. It would be unfair to leave this joseki without showing what happens when Alb plays hane at 4. With the shicho not working. This sequence is not joseki: if the shicho works it is bad for Negru. 7. If Negru does cross-cut at 5. this is the standard joseki. Negru 9 is necessary. Negru is alive in the corner. On the upper side Alb can play ‘a’ or ‘b’ in sente. Dia. (either of them threatens to kill the comer). Dia. and a fight in the center involving Negru 5 and 13 and the two separated Alb groups is about to take place. instead of nobi at ‘a’. he has by far the better position. 6. but if Alb can capture Negru 5 in shicho by playing 10. . which is a great help to him in managing his stones there. Unfortunately. 8. and the cross-cut at 5 is wrong. since Negru may be able to cross-cut at ‘a’.Alb 4: hane Dia. while if the shicho is broken then Alb 8 and 10 are incorrect. this gets a bit complicated. Alb 12 at ‘b’ is also possible in this joseki.
Alb can push his opponent in with the tsuke at 1. What makes it disagreeable is that with the strong Negru stone at Δ. Before leaving this section’s joseki. 10. When the shicho works for Alb. 11. so he has to connect at 8 and follow the sequence shown. and 6. Negru’s position is very low. Why does Alb let himself be pushed around like this. and then Negru plays 7. Observe that after Alb has played 5. Dia. Negru would cross-cut at 5. or some such move. 4. Dia. but since Alb still has the cutting point at ‘a’. Alb plays 2.Dia. he will definitely play the hane at 4. Alb cannot do much on the right side. Alb can capture the cutting stone in geta with ‘b’. 12. Negru invades at 1. 9. instead of playing hane with 4 at 5? Dia. If Alb did play hane at 4. His weak stones at 10 and 14 will be nothing but a worry for him. The shicho is against Alb. on the upper side. this is joseki. . As a sequel to the last diagram. and Negru will have to reply with 5 to 9. let’s look at it in operation during an actual game. if Negru tries to cut at ‘a’.
The latter is a constructive play. The former is largely a tool for destroying the opponent’s territory. and is made in the late opening or middle game. leading to a more active position.In conclusion There is considerable difference between the three-three point invasion which occurs in four-four point joseki and the three-three point invasion of this section. and can be made without hesitation in the earliest stage of the opening. .
. 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.SECTION 31 When Negru plays the kogeima kakari at 1. but Alb can still press him down with 2 and 4. he cannot be confined to the corner as he was when he played the three-three point invasion. and consider alternatives which exist to Alb 4 and Negru 5.
and Alb can later play ‘a’ to take the corner for himself. he plays 8 and 10 to turn Alb’s advance and reach a higher altitude. Negru would capture at 17 and be very happy with his exchange of some points in the corner for a pon-nuki in the center. 1. so after Negru 4 he continues pressing with 5 and 7. This position might appear at the beginning of the game. The effect of Alb’s plays in Dia. but first he has a chance to play a kikashi of his own at ‘b’. Alb intends to keep on with his wall by playing ‘a’ or. Dia.Continuation Dia. Dia. If Alb played 17 at 18. The sequence continues through Negru 22 and onward. 2. Since Negru cannot allow himself to be pushed forever along the third line. . but at this point he has some kikashi to make on the right side. Next. Alb’s plan is to cordon off the entire upper side. ‘b’. 2 is that Alb Δ keeps Negru from making any corner territory. better yet. and we leave you to devise subsequent moves for yourself. Negru has to defend at ‘a’. 3. The purpose of 13 and 15 is to give Alb profit in the corner.
and then Negru can play on the upper side himself. . If Negru wants to keep Alb from making an extension on the upper side. and 6. using the same ideas as in Dia. 4 shows another way of playing. Alb may just extend to 1 on the upper side. Alb 5 is forced. 8). Dia. but starting from the basic joseki position.Dia. for he has the possibility of pushing at ‘a’ and cutting at ‘b’ to work with on the right side. 4. 6. he should play 4 this way. At times this maneuver is necessary. instead of continuing to push down the right side. Negru can then bend Alb around with 2. After the basic joseki. 5. (see Dia. but it has a big drawback. but Alb need not necessarily complain. Negru 4: variation Dia. 2.
8. If Alb extends to 1 after the moves marked Δ and Δ. while helping Alb very little at all. Now it is Alb. An experienced player feels instinctively that Alb 5 in Dia. With the exchange of Alb 3 for Negru 4 it may seem that nothing special is going on. but think what will happen if Negru cuts at ‘a’ or pushes at ‘b’. . Dia. who is in a position to make territory on the right side. The drawback is that Alb can play 7 in sente.Dia. not Negru. 7. It is easy to see that the exchange of Δ for Δ is solidifying Negru’s position. 6 is necessary. his corner can be killed. but you may want more of an explanation. If Negru fails to answer. Negru will take the key point at 2.
9. Alb can vary this joseki by making a one-point jump with 3. but it is quite safe. . Dia. This variation of the joseki continues up to Negru 10. This way of playing looks a little bit loose. and Alb should now make a very wide extension on the upper side. Alb ‘a’ would be sente.Alb 3: one-point jump Dia. Dia. 10. he will get into the same kind of pattern as in section 9. If Negru played 10 on the upper side to stop Alb’s extension. Dias. 12 to 14. If Negru tries to push out with 4 and 6. 11.
The taisha is known as the joseki of a thousand variations. this joseki can be used to reduce a developing Negru territory to a moderate size. Fear of the taisha prompts some Negru players to tenuki after Alb 1. (ii) Alb more or less gives up any hope of making territory on the right side for himself. SECTION 32 Alb 1 above begins the taisha. for Alb can then get a very strong formation by playing ‘a’. but that is not usually such a good idea. but two other points about this joseki should be borne in mind. and there is space in this book for only about one percent of them. he would not choose the pressure play at 2. . but one of the squeeze plays in the next three sections. (great slanting). the most notable feature of which is complexity. (i) Alb presses Negru into a low position on the right side.In conclusion The main purpose of Alb’s pressure play at 2 is to build on a large scale toward the center. joseki. Therefore. If he wanted to develop there.
which bears a close resemblance to the basic joseki of the last section. First tsuke Dia. 1. Negru can again come marching down the side. If Negru is looking for a simple answer to the taisha. For Negru 2. with 4 to 10. Negru may continue his progress down the right side at 6. This one can lead to Alb 3 and 5. . which duplicate one of the variations in the last section. 2. tsuke plays are more in keeping with the spirit of the taisha. Here is another way for Negru to play tsuke at 2. he can play 2 this way. 3. Second tsuke Dia. If Alb answers at 3. Then there is only one variation.Avoiding trouble Dia.
creating three cutting points in Alb’s position. The real fun begins. 4.Dia. Dia. and Alb will cut on the other. Before Negru connects on the outside at 6. 5. while Negru cuts and gets a large corner. Or Negru can play 4 this way. Alb connects at 7 and makes an outer wall in sente. but if it does. when Negru separates Alb’s two stones with this tsuke. After Alb 5. he has an easy exchange of corner territory for outside strength and sente. 6. he must make sure that the shicho works. Alb 3 is standard. Negru has to connect on one side of Negru 4. . In the most typical variation of this variation. however. Dia. 7. Third tsuke Dia.
but obviously getting a perfectly satisfactory result. Usually Alb continues with this 11. Dia. Negru’s eye shape is not very good. so an extension like 16 is called for. . the simplest continuation sees Negru sacrificing a stone and playing 8 and 10.Dia. When Negru connects on the inside and Alb cuts at 7. 9. but he needs some truly large ko threats to carry this off. letting Negru capture and connect the ko. 8. starting a ko fight. Here there is the gruesome possibility that Alb will play 11 at ‘a’.
and thereafter the variations become too numerous and involved for any but the most devoted to learn thoroughly. but at the end of this diagram Alb can choose from among ‘a’. and ‘c’ for the eleventh move. Dia. In conclusion Thus ends our cursory glance at the taisha joseki. 10. It is sometimes considered as the standard taisha joseki. Those who play it often have nothing more in mind than to lure their opponents into complicated fighting. for it can lead to almost any kind of pattern. . from which they hope to emerge victorious. This is one of the shorter variations.Dia. More complicated variations follow when Negru answers Alb 7 by drawing out of atari at 8. ‘b’. the taisha has no particular strategic meaning. Generally speaking. The next two moves are fixed. 11.
but for Alb 6 there are two choices. Alb 6 used to be the only recognized continuation from the basic joseki diagram. ‘a’ and ‘b’. and we shall stick to it in this book. 1. There are then two things for Negru to consider in choosing his next move. and Alb defends on the upper side at 8. Another possibility is to play tsuke with Negru 3 against the stronger of Alb’s stones. One is the line of Alb stones on the right side. Alb 4 and Negru 5 are standard after Negru 3. the diagonal play at 3 will serve the purpose on most occasions. In the first one. The other is . Although Negru has various ways of answering it. which he may be able to attack. like the taisha of the preceding section. a difficult joseki. The time-honored play Dia. We shall take them in that order. so its variations have been well worked out. Negru just connects at 7. much as was done in some of the joseki of sections 28 and 29.SECTION 33 The one-point squeeze play at Alb 2 is.
If Alb plays ‘a’. and Negru will be left with neither territory nor a place to make two eyes. Therefore Negru sometimes plays 1 before going into action on the outside. he can connect to either the upper side or the right side. perhaps. 2. . the weak point in the corner. 3. Dia. but makes a wall on the upper side and gets sente. If Alb plays 2 and so on this way.‘a’. to be used at 9. the main advantage of this exchange is that he can connect at ‘a’ if his three stones on the right are attacked. Negru gives up the corner. From Alb’s point of view. Negru secures the corner with 3 and Alb’s upper side needs defending at 4. If Alb answers at 2. Dia.
since if Negru later plays ‘b’.) Dia. 6. Usually. 5. Alb 6 in this diagram has been in use for less than a decade. but there is no doubt about its being a sound play. however.Dia. Negru 7 here also does the trick. in which case Alb should defend the corner by exchanging 18 for 19. in which case Alb may get a chance to cut on the upper side. preparing for an extension to the left. The new-fangled play Dia. Alb continues with 14 and 16. 4. and 12. Negru can connect at 17. or Negru can use 17 to attack on the right side. (The latter reach one line less toward the left. it is better for him to have 13 and ‘b’ than ‘a’ and ‘b’. 10. is correct in this joseki. rather than Negru ‘a’. Negru has to make some answer to Alb 6 to keep Alb from pushing through at 11. but it need not be the solid connection. Negru 13. . Alb answers with 8.
Dia. At least he has the cutting point at ‘a’ to aim at. It would be better for Negru to do nothing at all than to play 9 or ‘b’. The best continuation from Dia. 7. the diagonal tsuke at 7 is one possible answer to it.Although a bit passive. 8. Alb 8 becomes a good blockading move. . Dia. Alb would have answered at ‘b’. but of course if Negru had originally played 9 at ‘a’. Alb will immediately exchange 10 for 11. making Negru 9 into a bad move. for exactly the same reason. After the last diagram there is no good way for Negru to get out into the center from his corner position. 6 for Negru is to play 9 and 11 and allow himself to be surrounded. Negru 9 at ‘b’ would be no good either. If he plays 9 this way. Clearly Negru ‘a’ would now be better than Negru 9. for instance.
. Negru often answers Alb 6 with an attack on the right side at or around 7. Alb 8 starts a running fight. It is best made when Alb is backed up with some stones in adjacent parts of the board. and what comes next depends on the position in the lower right corner. Rather than get barricaded into the corner. In conclusion The one-point squeeze play is suitable when Alb is in an aggressive frame of mind and wants to try for territory on both sides of the corner. 9.Dia. leaving the diagonal tsuke at ‘a’ for possible use later.
and the squeeze play on the fourth line when he wants to develop on the upper side.SECTION 34 The pair of Alb 1’s above can both be classified as two-point squeeze plays. just as in the previous section. Against the squeeze play on the third line. . there is also the tsuke at ‘b’ to be considered. Alb uses the squeeze play on the third line when he wants to develop on the right side. the most natural thing for Negru to do is to advance toward the center with a diagonal play at ‘a’. however. In answer to either of them. but they lead to rather different joseki.
2. Now that both sides are out into the center. 3. he will reply to Negru 2 by extending to 3. Dia. The issue now becomes the attack and defense of the one Alb and two Negru stones in the corner. . Before Alb has time to do so.The squeeze play on the third line Dia. Alb will look for a chance to play ‘a’ and rob Negru of his eye space. and then Alb lives with 4 and 6. Negru can be expected to close Alb in at 3. The aggressive way for Alb to answer Negru 1 is to come out toward the center with 2. The safe way for Alb to answer Negru 1 is to dive into the corner at 2. lest Alb enclose him by playing at the same point. 1. Negru is left in a good position to gain territory on the upper side. which makes up for his losing the corner. and Alb must play 4. Given that Alb’s intention in playing 1 is to develop on the right side. Dia. Negru should take the valuable eye space in the corner with 5. Negru should try to attack with some move like 1 in the next diagram. lest Negru enclose him there. Negru must play 3.
Dia. the second way of answering Alb’s squeeze play on the third line. instead of 1. too. it may be better for him to play 5 in the first place. This brings us to Negru 2. 5. takes the corner with 10. Alb’s groups are both still in need of attention. and 7 are natural. Alb 3. 6. You will see how that goes in Dia. Dia. Unless there are some other Alb forces in the surrounding area not only is Alb’s single stone on the upper side in danger. . but his four stones on the right side are rather weak. Alb plays 9. and so is Negru 8. 5. and Negru. unless he is in a strong position to attack on the right.If Negru is not in a good attacking position on the upper side. 4. Assuming the danger on the upper side to be the more serious.
but now there is not so much open space. he really has the upper side in mind. ‘a’ is another point for Alb to aim at in this joseki. are important. having this resource. Now. without going through the preliminaries. however. 3. or whatever point he has his eye on the upper side. The purpose served by Alb 1. Negru 4 and 6. for instance. Alb has sente and can extend to 7. When Alb puts 1 on the fourth line. Alb 1 would not be so good if Alb Δ had been played on the third line. Negru could easily invade. Dia. loosely confining Negru to the corner and linking up Alb’s positions. at ‘a’. is an excellent point. imagine the situation if they were omitted and Alb got in to the two-three point. The reason for playing Alb 1 on the fourth line can be seen in the next diagram. By the way. 7.The squeeze play on the fourth line Dia. If Alb had just played 7. Alb 1. . 6. and so he answers Negru 2 by playing 3. taking the corner. and 5 is to make it hard for Negru to get into Alb’s extension. Alb need not be afraid of being attacked on the upper side.
however. We shall look at both ways of extending.In conclusion Being one line further from the corner than the one-point squeeze play and taisha of the preceding two sections. or extend down the right side. If Negru has some reason for preferring the opposite exchange. Negru can play tenuki. Alb wants to handle the corner with just a few moves. . he can play 1. and then take up a possible variation in Alb 4. or extend up into the center. the usual pattern has been for Negru to take the corner while Alb develops on the outside. the two squeeze plays of this section are less aggressive. inviting Alb to defend the corner with 2. Following the exchange of 3 for 4. SECTION 35 In the three-five point joseki seen so far. leaving lots of possibilities open for the future.
The three-line interval between Negru 5 and the two-stone wall is correct. as he does here. . 2. 1.Negru 5: extension down the side Dia. Negru 2 in the last diagram is not absolutely sente. In this situation. At the proper time—in answer to Alb 1. but if Alb fails to answer it. this extension is good. Alb can play 1 himself to forestall a Negru play there. which threatens an invasion at ‘a’. 3. for example—Negru can play 2 in sente. Dia. When Negru wants to give himself some room for his stones on the side. Negru 2 is sufficient defense against the threat of Alb ‘a’. See if you can work out the effect of Negru ‘a’ for yourself. elbowing his way around Alb’s corner and leaving Alb with the threat of Negru ‘a’ to worry about. Negru can play 1 and so on in this diagram. and thereby gain profit at the edge of the board. Dia. 4. Dia.
Alb should definitely exchange 8 for 9. lest Negru’s side territory grow too large.however. Negru 5 to 7 are standard joseki plays. Dia. Negru 5: extension into the center Dia. 6. Here Negru already has a stone on the side. 5. by provoking Negru 2 he is reducing the value of his possible extension to ‘a’. that will be a good point for Negru to take. This time. If Alb omits 8. he should go into the center. so if he wants to make an extension. The two-point jump to 5 is also joseki. .
Alb 4: a variation Dia. 7. Alb 4 here is also joseki. It practically forces Negru 5, by threatening a Alb play there. Alb 6 and Negru 7 are one way to finish this joseki.
Dia. 8. One use for Alb 4 is to give Alb the chance to play 6 on the right side, if he feels that is necessary. Negru will answer with the tsuke at 7. Dia. 9. Here is the normal continuation from Negru’s tsuke. It is obviously undesirable for Alb to have to play 8, 10, and 12 on
the second line while Negru plays 9, 11, and 13, so he should choose this variation only when the situation on the right side urgently calls for a Alb stone at or near Δ. In conclusion Negru’s plays in this joseki have the virtue of simplicity, but they give up a fair amount of corner territory. Therefore, they should be part of a sound plan for development on the outside. There are ways for Alb to steer this joseki into complications, (starting with his playing tsuke at move 2), but they are rarely an improvement on the natural moves shown above, so we shall skip over them and go on to the next chapter.
Four-five point joseki INTRODUCTION A stone is played on the four-five point, like the one in Dia. 1, to make profit on the side rather than in the corner, and in that way the joseki of this chapter bear some resemblance to those of the last chapter. Compared with the three-five point, the four-five point gives a better chance to develop toward the center, but it is weaker in the corner. This can be seen by comparing the shimari formed by Δ and 1 in Dia. 2 with the one that would be formed by 1 and Alb ‘a’.
As you might expect, a play on the four-five point invites the invasion at 1 in Dia. 3. Alb 2 is the usual answer, and since it produces the same joseki as in section 30 of the last chapter, there will be no section on the three-three point invasion in this chapter, even though it is quite commonly used. One occasion for the
three-three point invasion is shown in Dia. 4. Alb 1 almost cries out for Negru 2, because the usual joseki through 10 turns out extremely well for Negru. He has ruined the territory Alb was trying to make on the right side.
Another way of attacking a stone on the four-five point is Negru 1 in Dia. 5, and the three sections of this chapter will all be spent on the joseki which come from it.
The keima at 1 best keeps to Alb’s original intention in playing his first stone at the four-five point, which was to develop toward the center. The simple exchange that follows from Negru 2 to Alb 5 leaves Negru alive in the corner, but his small territory there is worth much less than Alb’s outer wall. The equalizing factor is, of course, that Negru has played only three stones to his opponent’s four, and has sente. Among the variations in this joseki, there is a long and complicated one in which Alb plays 3 at 4. We are not going to get involved in it, but we shall mention a couple of the other variations that Alb can choose, and finish by showing what can happen if Negru plays tenuki instead of 2.
The nature of Alb 1 To help you see what kind of move Alb 1 is, we shall show one situation in which it is very good, and one in which it is rather poor. Dia. 1. This shows Alb 1 at its best. With Alb Δ it builds toward a large territory on the right side, while keeping Negru from making anything much of the lower side. It would be a good point for Negru, too, in this formation. Dia. 2. Here Alb 1 is not so good. On the right side Negru Δ keeps Alb from making a satisfactory extension, and on the lower side Negru 6 spoils his chances for getting territory. Even if Negru does not actually play 6, the fact that he could do so is enough to show that Alb 1 is on the wrong point. A better move would be the three-three point tsuke described in section 38.
Kikashi Dia. 3. After the basic joseki, if Alb wants to interfere with Negru 6 in the previous diagram, he should play kikashi at 1 in this diagram. Alb 1 by itself is enough to get in Negru’s way, but if Alb does not mind giving up sente, be can follow with Alb ‘a’ and confine Negru securely to the corner.
Alb 3: a variation Dia. 4. In one variation of this joseki, Alb plays 3 here and cuts with 5. His plan is to use 5 and 7 as sacrifice stones to help him build up his outer position. Dia. 5. While giving up his two stones, Alb gets to play 9, 11, and 13 in sente, after which he connects at 15. Negru immediately plays kikashi at 16 on the chance that this stone may come in useful later, and Alb 17 finishes the joseki. This technique of sacrificing two stones to make a strong shape is worth knowing, since it can be used anyplace along the side of the board. This variation seems to be a favorite with amateurs. Professionals, however, tend to shy away from it, because even though Negru’s corner is not very big, it is absolutely safe; Alb cannot so much as make a ko threat against it. Professionals do
not like to see their opponents’ positions become so solid if they can help it.
Alb 5: variations Dia. 6. Alb can connect this way with 5, instead of at ‘a’. There is little to choose between the two moves. Dia. 7. Alb 5 here is another possibility. Since it threatens Negru’s eye shape in the corner, he had better play 6 at once, and Alb can finish with 7. If 5 and 7 give Alb a good territorial framework on the right side, as they do in this diagram, then they are good moves. Otherwise, however, they would be open to suspicion, since Negru has gotten to play 6 in sente.
and it is better for him to jump down to 2. Dia. after which he could play ‘a’ instead of 2 and make a base on the right side. 9. Even if it dies. . planning to exchange the corner for a base on the right side. 8. because it enables Negru to play ‘a’ or ‘b’ effectively. Instead of 1 in Dia. 8. How then should Alb proceed? go Dia. but he would find himself tightly shut into the corner. and then Negru extends to 4. Alb 3 defends.Negru plays tenuki It often happens that Negru lets Alb’s keima without an answer. Now Negru’s countermove is the diagonal play at 2. Negru Δ is not going to waste. Another idea would be for Negru to try to get a stone on the point ‘b’. Something else to keep in mind after the last diagram is this combination. Alb 1 in this diagram is one possibility. Negru should refrain from playing unnecessarily at ‘a’ or ‘b’ in Dia. 10. Alb can play 1 at the threethree point. As long as he thinks he might want to use this sequence. Negru could still make his stone Δ live. Dia. with which Negru can break out of the corner. 8. which threatens the hane at ‘a’.
making eye shape. letting Alb kill the corner with a fourth stone. and Alb’s best reply is to draw back at 3 Negru 4 may seem strange. and even if he plays tenuki again. As the last three diagrams make clear. then capture the cutting stone. leaving his corner stone to be attacked again.In conclusion The tenuki variations of this joseki are important. Alb’s keima is a move with a large-scale meaning. he will not have made an unfair trade. and there will be many times when Negru will want to counter it from the outside. . SECTION 37 Alb’s second way of answering Negru’s kakari is the outer tsuke at 1 in the diagram above. The hane at 2 is correct. but it is Negru’s plan to have Alb cut at one of them or the other. he still has lots of ways to fight. since it leaves the double cutting points ‘a’ and ‘b’.
. and with his good eye shape he can leave this part of the board and play elsewhere. 3. then Negru can play the point 12. The most common variation of this joseki has Alb cutting on the outside at 5. and Alb taking the corner. Negru capturing the cutting stone. Dia. Negru has sente. blocking Alb from the center. If Alb answers as shown.Alb cuts on the outside Dia. Considering that Alb has played one more stone than Negru. If Alb does not answer Negru 10. Negru can also continue with 10. then Negru has built up his position in sente. the exchange is fair. Dia. 2. 1. However.
5. his position would be markedly better than in Dia. taking the corner. and Negru should be able to live on the right side with 7. Dia. 4. Because of Negru Δ. This play does not threaten the life of the Negru stones. . in which Alb follows the cut at 5 with 7 and 9. 1. If Negru does not play 10 as above. The 1-2 exchange hurts Negru’s eye shape and pushes him down along the side. trying for an outer wall instead of the corner. This variation can be something of a puzzler because of the ko. allowing Negru to connect at 2. and is profitable to Alb. he may have to prevent the invasion by capturing at 4 immediately when Negru plays 1. Alb has a kikashi at 1. and having played 7. 6 shows another variation of the joseki. Another reason for playing Negru 10 in the last two diagrams is that it makes possible Negru 1 in this diagram. to forestall a stronger attack. Alb has to answer Negru 3 at 4 instead of at 5. If Alb cannot kill the Negru stones. but Negru Wants to defend at 2 anyway. Dia. Negru should not play 8 at 9.Dia. because then Alb would cut at ‘a’.
etc. If Negru mistakenly played 4 in the usual way. After the 5-6 exchange Alb has various possible moves—’b’. avoiding Alb’s cut. (or just as happily cut on .—but he has poor eye shape and Negru’s stones are working effectively. Variation Dia. Alb would happily cut and take the corner. Negru 2 is still good. Naturally he must make sure that the shicho works. 9. and Alb has countered with the tsuke at 1. 7 shows the variation in which Alb cuts on the inside with 5. squeezing Alb from both sides. Negru has made a squeeze play at Δ. 8. Dia.Alb cuts on the inside Dia. but this time Negru should play 4 on the second line instead of at ‘a’. ‘c’.
No matter how big and strong Alb’s positions in Dias. Negru 2 and Alb 3 are fixed. SECTION 38 Alb’s third way of answering Negru’s kakari is the inner tsuke in the diagram above. is fairly important. which are shown below. . and is a good move even though it is played on the second line. Negru Δ would then lose its attacking force. An extension to or around 5. In conclusion There is a go saying which tells us to ‘capture the cutting stone’. This joseki provides good illustrations of both of them. and would be left too close to the strong Alb position for comfort. giving Alb some room on the side. Negru has good eye shape and sente and a perfectly equal result. and another which says that ‘pon-nuki is worth thirty points’. For Negru 6 there are several possibilities. and make a stable position. including tenuki. 7 worked). Negru 4 makes a strong shape.the other side if the shicho in Dia. 1 to 7 may look.
1.Negru plays 6 Dia. Alb plays 9 so as to provoke Negru 10 and give Himself a good excuse to connect at 11. and Alb is very pleased to have swelled his area on the right While aiming a spearhead into Negru’s territories on the lower and left sides. 2. 1 of section 6. Negru 2 and Alb 3 are joseki. Negru must extend "high with 6. 4. and now Negru has to figure out what to do about the Alb stone left on the lower side. This is a more aggressive choice for Negru 6. 3. Here Alb would play 1. reaching a little farther to the left. Negru often plays 6 here. it gives the same position as in Dia. He has reached a firm shape. Negru 6: tenuki If Negru does not make one of the moves in the last three diagrams. This is one possibility for Negru 6. Alb will look for a chance to attack as in one of the next few diagrams. Dia. Dia. After 7 and 8. Dia. With his first three stones on the second and third lines. .
Negru must reply at ‘b’ or be killed by a Alb play at that point. We have been through that pattern before. Later. Negru may prefer to fight back with 2 and 4 in this diagram. Alb 5 is a good connection. Alb will play ‘b’. (in section 9). If Negru now plays ‘a’. ‘a’ is Alb’s sente. which are also joseki. Alb 7 and 9 are necessary for making shape on the lower side. . 5.Dia. and seen that it does not work for Negru. So Negru will play 6 this way. Dia. and start a fight in the center. and then Negru 10 and 12 are necessary to live in the corner. 6.
This gives him good eye shape. Here. hitting right at Negru’s sore spot. Dia. . and although Negru’s position on the lower side is none too strong. Now he will attack with 1. so as to make full use of his shimari. 4. Continuing with 3 and 5. he has sente to play 8. and 7 are natural. and prepares for a possible counterattack against 2. he builds a vast area across the lower side. If Negru prefers to ignore Alb’s original tsuke at 1. Alb 3. When Negru plays 2 closer. Alb should change his tactics slightly by playing 5 as shown. Negru 2: tenuki Dia.Dia. and still Negru’s group is not safe. 8. there is no great problem about it. we see him playing 2 on the center point on the right side. 9. With the situation in the lower left corner reversed. 5. for instance. 7. Alb’s aims are different from in Dia.
Dia. and both have their places in the opening. Negru could strengthen himself in sente with 6 and 8. Both styles are joseki. If Alb played 5 as here. Alb’s plays in this section stress development along the side. now he is only going for a modest side position. 10. In conclusion While the joseki of the preceding two sections stressed development toward the center. That is. . whereas before Alb played as though the envisioned areas stretching high and far across large portions of the board. leaving Alb without certain eye shape in the corner.
. Diagonal tsuke (kosumi-tsuke): a diagonal play which is also a tsuke.GLOSSARY OF TECHNICAL TERMS Note: The parentheses give Japanese alternatives for English terms. A player has gote if his opponent has the initiative. Atari (check): an immediate threat to capture. Diagonal play (kosumi): an extension like the one in the diagram. Gote (go-teh): A move is gote if it does not evoke an answer from the opponent. Double hane (nidan bane): Two successive hane plays. or pronunciation of Japanese terms. or English alternatives for Japanese terms. Gote is the opposite for sente.
but the expectation is that it will turn out to be valuable later on. The virtue of a kaketsugi is that it makes some eye shape. After it has been answered.Hane (ha-neh): A move which bends around an opponent’s stone. . a kikashi play is typically ignored for a while. The drawback is that Negru can play ‘a’. outside the main flow of play. (usually). Kakari (approach): a move that approaches a single enemy corner stone from the outside. Kaketsugi (hanging connection): a connection like the one in the diagram. Keima (knight’s move): see the diagram Kikashi: a forcing move made.
Sente (sen-teh): A move is sente if it calls for an answer. as in the diagram. Nobi Ogeima (large knight’s move): as in the diagram. etc. Shicho (ladder): a zig-zag pursuit. . threatening to make it fail. that is. if it is his turn and there are no threats he need answer. A player has sente if he has the initiative. cross-cut. Shicho-breaking move: a stone played in the path of a potential shicho.Nobi (no-bee): an extension away from an opponent’s tsuke.
but not in contact with any friendly stones. Squeeze play (hasami): a play that attacks by preventing the opponent’s extension down the side. Tesuji (teh-soo-djee): the best play in a local position. and turns elsewhere. Squeeze-tsuke (hasami-tsuke): as shown in the diagram Tenuki (teh-noo-key): A player plays tenuki if he ignores his opponent’s last move. The diagram shows a typical example. but it does make a base around which it is hard for the opponent to gain a foothold. Tsuke (tsoo-keh): a play made in contact with one of the opponent’s stones. A shimari does not exactly secure the corner. a tactically sound move. .Shimari (closure): a two-stone corner formation.
**G6 Strategic Concepts of Go by Nagahara Yoshiaki 6-dan Some of the basic concepts of go and the middle game are analyzed. 415-964-7294. .. Japan or in North America from Ishi Press International. All the josekis that you need to know until you reach expert level. Covers the fundamental ideas of the fuseki (opening). 1 In the Beginning by Ishigure Ikuro 9-dan Required reading for all beginning players. Tokyo. All the books listed below are available from the Ishi Press. A free catalog of go books and go equipment is available on request. Inc. intermediate books with a double asterisk and advanced books with a triple asterisk. Mountain View. endgame and handicap go. *G2 Basic Techniques of Go by Haruyama Isamu 9-dan and Nagahara Yoshiaki 6-dan A general introduction to tactics. *G11 Vol.Bibliography Elementary books are marked with a single asterisk. CPO Box 2126.. 1400 North Shoreline Blvd. Building A7. with a large number of problems that utilize these concepts. 2 38 Basic Joseki by Kosugi Kiyoshi 7-dan & James Davies The ideal introduction to josekis. Tel. California 94043. ELEMENTARY GO SERIES *G10 Vol. fuseki.
Lots of examples and problems. 5 Attack and Defense by Ishida Akira 9-dan & James Davies The basic book on the middle game. 4 Life and Death by James Davies The basics of life and death with over 200 examples and problems. **G14 Vol. *G13 Vol. *G17 Kage’s Secret Chronicles of Handicap Go by Kageyama Toshiro 7-dan The correct way to play handicap go. 6 The Endgame by Ogawa Tomoko 4-dan & James Davies The standard book in English on the endgame. **G19 The Breakthorough to Shodan by Miyamoto Naoki 9-dan Basic principles you need to know if you are going to reach expert level. 3 Tesuji by James Davies The basics of tesujis (tactical brilliancies) with over 300 examples and problems.*G12 Vol. 7 Handicap Go by Nagahara & Bozulich The fundamental principles of handicap go are presented with a problem section. Examples are from handicap games. *G16 Vol. **G15 Vol. Covers the fundamentals of positional judgment as well as other topics. .
by Takemiya Masaki 9-dan Josekis that occur in the middle game with emphasis on the ones that involve attacking and defending comer enclosures. 1: 3-4 Point Josekis ***G22 Vol. the great modern fuseki theoretician. ***G24 Enclosure Josekis. How to attack and kill your opponent’s stones.DICTIONARY OF BASIC JOSEKI. G30 An Introduction to Go. All about building and and reducing large frameworks of territory. 2: 3-4 & 5-3 Point Josekis ***G23 Vol. by Kajiwara Takeo 9-dan Fuseki theory as expounded by Kajiwara. **G26 The Direction of Play. by Kato Masao 9-dan Attacking techniques in the middle game. 3: 5-4. by Kageyama Toshiro 7-dan A chatty and easy to read book about the fundamental principles of go strategy and tactics. **G27 Kato’s Attack & Kill. by James Davies & Richard Bozulich . 4-4 & 3-3 Point Josekis The standard reference work in English on josekis from the point of view of even games. *G28 Lessons in the Fundamentals of Go. **G29 Reducing Territorial Frameworks by Fujisawa Shuko 9-dan An excellent book on the middle game. by Ishida Yoshio 9-dan ***G21 Vol.
**G32 The Power of the Star-Point. **G33 The Chinese-Style Opening. . A collection of nearly 1500 hundred problems for the beginner. It covers every phase of the game and aims to set the novice on the right track with respect to the strategic principles of go. by Nakayama Noriyuki 5-dan. go news from around the world. A panorama of 19th century go in Japan. G41 The Magic of Go. by Kano Yoshinori 9-dan. essays and instructional articles. by Takagawa Shukaku A thorough analysis of the sanren-sei opening pattern. All major Japanese tournament games are presented with detailed commentaries as well as general interest articles. Essay are interspersed with the technical chapter that will broaden your understanding. published since 1977. Invincible: The Games of Shusaku. the golden age of go. The Treasure Chest Enigma. by Richard Bozulich Written for players who have just learned the rules of go. you’ll find it all in this book. edited by John Power. The authoritative go magazine in English. The second part is a collection of unique and fascinating full-board problems that is sure to entertain both beginner and advanced players. A entertaining collection of essays about go and its players. Graded Go Problems for Beginners. The finest go book ever written. by Kato Masao A thorough analysis of the Chinese-style opening pattern. drilling them in the basic tactics of go. Cho Chikun The rules arid strategy of the game are thoroughly covered in a logical step-by-step approach. Volumes 1 to 4. A must for every serious go player. 160 games with detailed commentaries by modern professionals of the greatest go genius who ever lived. computer go and how go relates to intelligence and learning. a quarterly magazine on go. From history to modern tournament play. Go World.*G31 The Second Book of Go.
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