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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
but do not yet really understand. when he plays a stone. individual moves. and concepts that can be put to use in many situations. but from his general feeling for what moves are good in any given situation. He may not know. having read dozens of go books and played and watched thousands of games. or even criticized in. 5 . Joseki books. but relies on his accumulated experience. Amateurs must learn joseki in the same way. or what is going to follow it. at the apprentice stage of their development. Even professional players read joseki books. varying them. 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. Watching these student professionals. A full-fledged professional. joseki books. not as texts to be learned by heart. This gives their games an awkward appearance. and therefore regularly produces moves not found in. He may pull new surprise moves on his opponents. we can see them using and misusing joseki that they have picked up from their reading. should be looked upon as sources of ideas. no longer studies joseki much. coming to understand them. testing them out in their own games. exactly what makes it a good move. He adapts his joseki to the surrounding positions. but he is confident that the subsequent moves will bear out his judgment.joseki—shapes of stones. like other books. starting with sequences they remember from books or from stronger players’ games. and finally being able to play on their own with confidence. He plays joseki not from memory.
We are indebted to the Japanese Go Association for the use of their facilities. we have taken a relatively few number of them and tried to explain them. applying what appears in one place to positions arising in other places without having to be told. We expect the reader to use his head a little. and to Richard Bozulich of the Ishi Press for offering suggestions on parts of the manuscript. most of the diagrams and ideas in it were supplied by Kosugi in a series of consultations stretching from April to October. and not taking what he reads to be blanket statements covering all situations. Tokyo.This book has been designed to encourage that development: rather than just compile long lists of joseki. Concerning the authorship of this book. The text was written by Davies. October. 1972 Kiyoshi Kosugi James Davies 6 . and show how they should be altered to meet varied situations. who also contributed what diagrams he could. 1972.
…………………………..................…………...…………... 3 Chapter 1: 3-3 point joseki ......... part 1 ............ 12 Chapter 2: 3-4 point joseki...........TABLE OF CONTENTS Preface . 26 7 ..........
. 60 8 ...…………..Chapter 3: squeeze plays .................
invasion and tsuke …………..............135 9 .. kakari ………...................119 Chapter 5: 4-4 point joseki....Chapter 4: 4-4 point joseki...
.. 226 Glossary of technical terms ..Chapter 6: 3-5 point joseki .............242 10 .......………….............………...……….............. 194 Chapter 7: 4-5 point joseki .......
and three of them—his father. He now lives with his wife in the suburbs of Tokyo. Tokyo. ____________________________________________________ JAMES DAVIES was born in 1945 in Philadelphia. Under his father’s tutelage. go-playing family. he became a professional shodan in 1957. only to have a mathematics professor interest him in the game of go. His parents and all six of his brothers and sisters know how to play go. 11 . and was promoted to 5-dan. which determines a professional player’s rank. he is a regular contributor to Go Review magazine.ABOUT THE AUTHORS ___________________________________________________ KIYOSHI KOSUGI was born in 1939 in Tokyo into a large. reached 2-dan the next year. He graduated from Oberlin College in 1967 and entered graduate school at the University of Washington. mother. where his go playing has advanced to the amateur 5-dan level. and 3-dan the year after that. Besides writing for the Ishi Press. At present he lives in Ota-ku. In 1967 he took second place in the second division of the Oteai tournament. Besides go. In 1970 he came to Japan. and younger brother— are professional go players. with his wife and two daughters. he likes to read and play mah-jong. He is known to foreign go visitors to Japan for his good command of English and his lively sense of humor.
when professional players have come to make frequent use of three-three point joseki. This used to be considered a poor play. but that belief has been dispelled in the present century. where it is harder to find security. it does not give much help in developing into the center. as in Dia. the simplest joseki start with a stone on the three-three point. 12 . The virtue of the stone in Dia. 1 is easy to understand: it denies Negru access to the corner. 1.CHAPTER 1 Three-three point joseki INTRODUCTION Generally speaking. tucked so far back in the corner. The drawback of a play on the three-three point is that. 1. The two sections of this chapter will show what happens when Negru approaches the Alb stone in Dia. If Negru attacks. he will have to build his position in the center or along one side of the board.
reinforcing the corner. It is worth quite a lot for Alb to push back against this particular kakari with 2. but it is often altered to fit surrounding circumstances. by adding a stone at 1 or ‘a’ in Dia. SECTION 1 Negru 1 is our first example of a kakari. reaching out into the center. and Negru 5 are often played differently. 2. Negru 3. In particular. We shall examine the meaning of the moves in the basic joseki. and then look at some of the variations. Alb 4. and Negru 3 to 5 are the standard continuation. Alb makes a modest amount of corner territory. is of great value. Such a move. while Negru gets a center-facing position. a move which approaches an isolated enemy corner stone from the outside. and preparing for wide extensions on both sides. then sooner or later Alb will want to make a shimari. This is the basic joseki pattern.If Negru does not get around to playing against Alb’s stone. 13 .
see section 19. but it does prevent Alb 1 in this diagram. Therefore Negru 3 in the basic joseki is another important move. for if Alb leaves it out and Negru gets a chance to play 3. then although Alb can still live in the corner. Dia. 1.The basic joseki Dia. Negru 5 in the basic joseki is easier to leave out than the three moves which preceded it. a move which prepares both to attack the Negru stones and to make territory on the left side. then Negru 1 becomes almost useless. 2. 3. Alb 2 in the basic joseki is a big move. Alb 4 is important for the same reason. Dia. he will be confined much more tightly than before. 14 . If Negru omits 3 and Alb gets to play 4. This formation is better for Alb than just a shimari would be.
4. Negru 1 here is a big move. Alb 4: variations Dia. Here is one variation in the basic joseki. Sometimes it is best to play 1 instead of Δ. and stopping Alb from enlarging his corner in that direction. 15 . Negru 7 prepares to wall off the left side at ‘a’. To prevent Negru 1 in the last diagram. Alb often continues the basic joseki by playing 6. although that gives Negru sente. 6.Dia. After the joseki. 5. so Alb usually plays 8 at ‘b’. preparing to make territory and eye shape on the lower side. leaving Negru to take ‘c’ or some other point. Dia.
and Alb wedged in at 7. and Negru 2 and 4 made a nice reply.. Dia. After 5. Alb attacked Negru Δ with 1. Negru jumped out to 6. Negru can finish the sequence with 13. Negru makes a one-point jump Dia. Compare his prospects in this diagram with what they would be if he could make a shimari at 3. but . taken from a professional game. 16 . 8. this is a situation where Negru might play 5 at ‘a’ for a faster get-away into the center.. 9. Negru 1 is especially appropriate when Alb has made two extensions like Δ from his corner stone. Either way is joseki. he cannot get a lot of territory here. giving himself some room for eyes and getting ready to attack Alb Δ. Alb can attack the stones Negru has played. in this situation Alb might well play 4 and so on to take territory on the left side. Incidentally.Dia. By way of introducing some of the other variations in this joseki. Against Alb 5. but unless by some chance he succeeds in actually capturing them. let’s examine this sequence. Instead of following the basic joseki pattern. 7.
He could not very well attack the Alb stones in the middle of the lower side. because they could connect to the left hand corner at ‘a’. and it would have been hard for Negru to do much of anything with 6 and Δ. 10. 17 .Dia. If Negru had played 6 here Alb would have skipped out to 7.
Later Negru could play ‘a’ or ‘b’ in sente. 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. such as Negru ‘d’. even if Alb first played ‘c’. In one variation of this joseki. 18 . Dia. but in the present game that would let Negru get a big point at 8 on the right side. 12. But it would not have been good for Negru to play 8 after Alb 7 here. for him to break into the lower side.Dia. and there would remain ways. 11.
but however he invades. he cannot get the worry-free position he had in Dia. So the actual game continued this way. Alb 13 looks like the best point. 11 is a joseki move for Alb. 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 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. 13. Dia. 14. Next Negru was able to live on the lower side by playing ‘a’ and ‘b’.Dia. 19 . 13. since Alb does not want to be pushed toward Negru’s strong wall in the lower right.
there are other similar kakari which we shall look at. ‘b’. Also. SECTION 2 It often happens that Negru wants to approach Alb’s stone from one side or the other. As a rule. When his aim is to destroy Alb territory. Depending on the situation. 20 . Negru should make a kakari like 1 when his purpose is to do something constructive on the left side.In conclusion These sequences can be used not only in the corner. but whenever a stone anywhere on the third line is attacked with a shoulder-hitting move like Negru 1. Since such shoulder-blows are one of the common ways of reducing large potential territories. however. the patterns of this section turn up frequently in the opening and early middle game. ‘c’. the shoulder-hitting kakari of section 1 is better. or ‘d’ instead of at 2. or he may choose not to answer Negru 1 at all. instead of attacking at ‘a’. Alb may answer Negru 1 at ‘a’. instead of Negru 1. The exchange of Negru 1 for Alb 2 forms a simple joseki.
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.
in the next section we shall see an alternative choice for 3 which builds more toward the center and lower side. and in fact Negru can get all the corner territory by playing 2. Negru 2 is a tsuke and Negru 4 is a hiki. Alb plays 3 if he is interested in the right side. 29 . so this joseki is usually called the tsuke-hiki joseki. Alb 5. the spacing of 5 and 7 being Rood.SECTION 3 Alb 1 tries more for a position on the outside than for corner profit. and Alb 7 are one way to finish it. but of course there are variations. Negru 6.
By and by Negru may annoy playing ‘c’ himself. 2. If Alb wants sente he can play tenuki after Negru’s hiki. Sometimes Alb plays 6 as shown as to be able to play ‘a’ later.Some variations Dia. Negru can make a solid connection with 5 and then extend to 7. 3. aiming at ‘d’ in the corner. so the way to build solid as Alb by . The basic joseki ends in Alb’s gote. Dia. but it is not as Alb ‘c’. 1. 30 here. Dia. In this situation. as shown here. for if Negru cuts at 1 in this diagram Alb can still make a position for himself with 2 and 4. Negru. Alb 6 gets in of Negru ‘b’. the spacing between 7 and Δ is also just right. however. has much greater prospects on the lower side and in the center than before. The point ‘b’ may become another good extension for Negru later on. and so is suitable if Alb wants territory on the lower side. keeping the three-line interval between 7 and 5. (or ‘a’).
It is futile for Negru to play 1 after Dia. 5. He must play 6 right after Alb 5 if he wants Alb to answer it at 7. Dia. 5.Dia. instead of just ‘a’. but not as much as Alb. Negru can play 6 and 8. Negru Δ turns out to be almost completely wasted. (or 6 and ‘a’. 6. Of course Negru is getting territory too. and Negru 6 should turn out to be useful in the fighting to come. Then after Alb 9 he can attack with 10. 4. 31 . 4. Alb will reply at 2. and so Negru could be satisfied. Alb could even apply this sequence in answer to Negru 6 in Dia. but then Negru Δ would not be on the board. Dia. After the kaketsugi at 5 Alb need not always extend at ‘a’. Thinking of this. In this situation he might choose to make a shimari at 7 instead. or 6 and ‘b’). building a wall which works beautifully with his shimari.
32 . while the lower side is still open. In this situation. making a quick escape. Alb should jump out into the center with 5 instead of playing ‘a’. and Negru Δ begins to look very weak. he can make shape as shown. Negru takes the vital point at 6. again it is not so important. and if Negru cuts at ‘a’ and captures another stone. The loss of Δ costs Alb very little. Alb 7 establishes room for two eyes on the right side. (Alb 9 at 10). 8. Alb need not fear this Negru 6. and then he must change his tactics accordingly. When he jumps out to 5. Even if he is unable to capture the cutting stone in shicho. 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. Sometimes Alb is unable to extend up the right side. Dia. 7.Dia. for example.
10. Dia. 9. That 1. happy with the exchange of 13 for ‘c’. too.A common opening pattern on the right side Dia. Negru 13 is a big point. Of course Alb can defend with ‘c’. gives Negru the chance to invade at good for Alb to reply by pressing 2 and 4. but then Negru will play ‘a’. It is not so from above with underneath at 5. so maybe Alb should play 14 at ‘a’. Here is one common opening pattern in which the joseki we have just been studying is often played. since Negru can connect and the hane at ‘a’ still threatens 33 . although Negru ‘a’ would be big. Alb. The reason that Negru 13 is so big is that it prepares for an invasion at ‘b’.
Dia.Dia. leading to a ko. If Negru plays 3 at ‘c’ Alb will play ‘a’. Negru had better be sure of his ko threats before starting this fight. Now Alb is ready to play either ‘a’ or ‘b’ to connect his position. and if Negru plays 3 at ‘d’ Alb will play ‘b’. 34 . If Negru is determined to make trouble he can play tsuke at 3. Alb can play 8 at ‘a’ or ‘b’. Alb ‘e’ has become a strong move for later on. Alb 2 here is the correct answer to Negru 1. At the same time. 12. 11.
But on the other hand. He can still fight in his separated shape. but must submit to being cut in two as shown here. Thus Alb 1 is quite large. Dia. but it will be hard for him. since he gets a strong corner while Alb’s shape is still open to attack. 13. If Alb lacks ko threats he cannot play 4 and 6 in the last diagram. In conclusion This is a simple and satisfying joseki for Negru. and it is easier for him to develop a really large territory than it is for Negru. so there is nothing unfair about it. for after it the invasion at ‘a’ is not likely to pose any threat at all. 35 . 14.Dia. There are many opening situations where it is a reasonable choice for both Players. Alb comes out of it with a higher position.
while Alb is vulnerable to a hane at ‘b’. for Negru has a serious weakness in the cutting point at ‘a’. Negru defends his weak point at 6. 36 . but now Alb slides along the top with 3 instead of playing hane at ‘d’. After Negru 8. We shall concentrate on Negru ‘a’ and ‘b’. and ‘d’. 1. Dia. ‘c’. ‘a’. 2. and he can also play tenuki. Alb has good plays at ‘a’ and ‘b’. working toward a large territory across the lower side. This joseki is known as the nadare. No variation is possible in Negru 4 and Alb 5. and Alb does likewise at 7. It does not stop here. which means avalanche in Japanese.SECTION 4 This joseki starts out like the one in the last section. Negru 6: simplest variation Dia. Negru has four choices for his next play. ‘b’. With this shimari in the lower left corner it is a good idea for Alb to make the kaketsugi at 9.
this is the same situation as before.Dia. but now Negru can easily make a position on the side with 10 and 12. If he plays it here. Dia. 37 . 5. Now it is obvious that there is too little territory below Alb 9 and too much open space above it. With the joseki turned on its side. Alb 9 is not a bad move. except that Alb has only a single stone in the other corner. Dia. 4. Alb must be careful not to play 9 too close to the lower right corner. 3. Negru will just push out with 10 and 12. Negru can attack with 10. but the fight is a fair one. both the Negru and the Alb groups being weak. So Alb may prefer to make a play like 9 here.
This play enlarges Alb’s wall and. 6. 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. 7.Dia. The other key point for Alb is at 9. 8. Dia. Alb can play kikashi at 1. Negru’s best response is 2. reduces Negru’s prospects on the right side. 38 . but this exchange by itself hinders Negru in the expansion of his territory along the right side. Do you see the relation of ‘a’ to Alb ‘b’? Dia. If Negru fails to answer Δ. by preventing Negru ‘a’. If Negru answers Alb 9. he should do so at 10.
9. Dia. 39 . Dia. Negru 12 is a good tesuji and Negru 16 takes the corner. forming the so-called small nadare joseki. One idea for Negru’s next move is ‘a’.The small nadare joseki Dia. Negru 10 threatens to capture all the Alb stones. this is another possible variation. Dia. and Alb 11 defends. but the cutting point at ‘a’ remains. threatening both ‘a’ and ‘b’. Alb 9. and after this the joseki continues with a fight involving the weak Negru stones in the center. Alb cuts and makes a position for himself on the right side. After Alb 11. 11. Negru attacks with 6 and Alb counter attacks with 7. 12. 10. is the key to this variation.
he must play as shown here. 13. Dia. and of course ‘b’ is his sente on the right side. 14. and 18. 16. but on the other hand if the shicho favors Alb. What happens if Alb plays nobi with 11? The feasibility of this move depends on a shicho.Dia. So if the shicho favors Negru. Next Alb should take the vital point at ‘a’. If the shicho works. Alb loses everything. taking the corner. If Alb plays 13 at 16. Negru can crawl out at 12. and when Alb cuts at 13 Negru attacks with 14. Alb 11 is impossible. When the shicho is against Negru. then Negru 13 captures the corner stones. this diagram is not very good for Negru. and this is not so good for Alb either. 40 .
Finally there is this double hane variation. Perhaps you can figure out what happens if Alb does not answer Negru ‘a’. Dia. joseki. 15. then this diagram shows the simplest way. so Alb will often answer it by playing tenuki. 41 .Negru 6: the other two variations Dia. Another idea is to exchange 7 for 8 and then tenuki. This move is not as aggressive as the hane at ‘a’. (big nadare). In conclusion Alb is offering Negru a modest amount of corner and side territory in return for a wall. including a whole family arising from the o-nadare which we have not mentioned. 16. without playing 9. which leaves Negru with good plays at ‘a’ and ‘b’. basically a simple idea. but there are many complicated variations to the nadare joseki. Negru 6 here forms the so-called o-nadare. If Alb does continue with the joseki.
We shall look at all three of these possibilities. (if Alb fails to play 10 then Negru can play there himself and completely encircle Alb’s corner). not to be found in this book. in which Negru plays 3 at ‘a’. is sente if played at the right time. (threatening ‘d’).SECTION 5 In answer to Negru’s kakari at 1. Alb 6: first choice Dia. The sequence up to Negru 5 is the usual joseki. as well as a variation in which Negru plays 5 at ‘c’. 42 . The tsuke at 6 secures the corner territory. threatening to continue with ‘b’. although there is a difficult variation. the tsuke on the outside is also possible. 1. or he can leave the shape as it is. Let’s start with the two ways of playing Alb 6. You may be impressed with Alb’s large profit in this sequence. After Negru 5. Alb can continue by playing ‘b’ or ‘c’. but Negru has sente. and strength to use on the right side and in the center. Alb’s position is not solid: Negru can play ‘a’. and in addition Negru ‘c’.
Alb 6: second choice Dia. 2.). Instead of 8 in Dia. and after Alb 8 Negru typically makes some move on the lower side to reduce the amount of Alb territory there. but Negru is also stronger. etc. and he may be able to put Negru 9 to use later. 3. Alb can still play ‘c’ later on to take the corner. he may push Alb a bit farther. although 13 at ‘a’. Dia. 43 . Before doing so. to build up his own strength over the right side. Alb ‘b’. The idea behind this Alb 6 is to build a wall over the lower side. Alb has a higher wall than before. and 15 at ‘b’ are other possibilities. 2. The sequence may continue this way. Alb can play the double hane shown here if he likes. (to take sente). (Negru ‘a’.
and although the ensuing semeai in the corner may be difficult. Alb is confined to a small corner. but since he gets to play a shicho-breaking move in the upper right corner. In this sequence. If Alb lets Negru have the next play after the basic joseki. 5. 4. Negru can still confine Alb with these plays. which is not finished. if played correctly it ends in Negru’s defeat. 44 . Continuing from the last diagram. 6. Dia. Dia. he is not so badly off. If the shicho does not work.Alb plays tenuki Dia. if Negru plays 7 at 8 then Alb will play 8 at 7. and Alb 2 to 8 are the correct response. Negru captures two stones in shicho. then Negru will play the tsuke at 1.
8. After all. 2 or 3. Here is one situation in which Negru should play 5 instead of ‘c’. 9. Dia. Alb will get too much territory on the lower side. Negru has sente and can build territory on the right side. You may wonder why Alb doesn’t play 10 here. and from Δ he can easily invade the lower side. This variation of the joseki continues with Alb cutting at 6 and taking the corner.Negru 5: variation Dia. and Negru 11 an important kikashi. for if he plays ‘c’ and gets into Dia. doesn’t that allow him to take sente? 45 . 7. Alb 10 is a tesuji in this shape. Dia. making ‘a’ Alb’s gote.
or ‘c’. 10. 46 . makes it difficult for him to form eye space on the lower side gracefully. after which this joseki has three variations. In conclusion This simple joseki. but then a second attacking move at ‘a’.(in Dia. Sometimes Alb plays tenuki after it. Yes. but then Negru can play 1 and 3 here sente). can occur not only as shown in the corner. so its basic moves are well worth learning. which do terrible damage to the corner. but anywhere along the side of the board. which is a favorite with the famous professional player Sakata. or tenuki. but it is no less a good move. or thereabouts. Negru can play ‘b’. SECTION 6 The keima at Negru 2 is a less forcible response to Alb 1 than the tsuke moves we have studied previously. Therefore Alb usually continues with 3 and 5.
Negru 8 and 10 are consistent with Negru 6. then again Negru can attack at ‘a’. Negru can play kikashi with 1. 2. 1. or in the direction of. flattening out Alb’s territory on the lower side while expanding his own area. 7. If Alb fails to extend to. Dia. This Negru 6 is suitable for building territory on the right side.Negru 6: first variation Dia. Later on. 47 . since it leaves Negru with no weak points. and are typical follow-up moves to this joseki.
In this particular situation Alb might extend on the fourth line to 7. is thought to be a good way to start the attack. Alb may never get a chance to exploit this weakness.Negru 6: second variation Dia. in line with the general principle of not playing in contact with the stones to be attacked. The drawback of Negru 6 is that it leaves the possibility of Alb ‘b’. but with his weak group on the lower side to look after. The original keima. Dia. for Alb can make excellent shape by following the sequence up to 13. In comparison with the last diagram Negru has made more corner profit. Negru Δ is looking very weak. (Negru Δ). The tsuke at Negru 2 is much less effective. but Alb is already out into the center. 48 . as in this diagram. This Negru 6 is more suitable for attack and is especially good when Negru already has stones on the sides. and the right side is still open to Alb ‘a’. 3. 4. so as to make a quick march into the center at ‘a’ next. The idea is to keep Alb weak by interfering with his eye space along the lower edge. which threatens Alb ‘c’.
attack with 7 in this diagram. Negru should play neither ‘a’ nor 7. after Alb 5. or for that matter Negru might play 2 at 6. but should play 6 to help his stone Δ. for then Negru would defend his shape with 8.Negru 6: tenuki Dia. Alb now plays 7 in the corner. Alb ‘c’. There are other ideas in this situation: Alb might be inclined to play 3 at ‘c’ to attack at once. but it would be a mistake for Alb to try to counter. but Negru can defend his position with 8. 5. 49 . This is much better for him than Alb 5. Here is one case in which. Maybe we are pointing out the obvious. Negru ‘a’. to keep Negru from taking that point and also preparing to play ‘b’ and capture two stones. to forestall such action. Dia. 6. leaving both Alb 7 and the three stones in the corner weak.
or some such point. and it prepares for a wide extension on the lower side. Aggressive action often starts slowly like this. when you appreciate that fact you will have learned something about go. it makes ready to put pressure on Alb 1. by extending up the right side to ‘a’. ‘b’. Alb usually answers it. if at all. 50 . It has three purposes: it prevents Alb from making another attack on the corner. the diagonal play at Negru 2 is the simplest reply. but there is nothing peaceful about Negru’s intentions in playing it. SECTION 7 When Alb makes a kogeima kakari with 1.In conclusion The keima response to Alb’s kakari looks like a quiet move.
In this case Alb 2 at ‘a’ would be far too timid. Dia 2. Alb has a solid fortress in the upper right corner. In this sequence Alb makes his most ambitious defense.When the diagonal play is needed Dia. 1. then Alb will land on the vital point at 1. and his territory takes on gigantic proportions. but Negru has brought the situation under control. If Negru fails to make the diagonal play. and Negru 1 is urgently needed to keep the Alb territory on the right side from growing too large. Alb ‘b’ would be better. Here is an example of one kind of position in which the diagonal play is particularly necessary. but with the strength he has in the upper right. Alb should try for the greatest possible territory by playing 2 as shown. 51 .
Let’s take a closer look at Negru 1 and Alb 2. he should play ‘a’. This is not at all good for Alb. Negru will press him with 1. There are two ways for him to attack. Negru may also play tenuki. Alb plays tenuki Dia. and ‘d’ and ‘e’ are other possibilities. If Alb makes the next play after 2. 52 . Negru has many ways to proceed from this exchange. The exchange of 1 for 2 by itself is usually good for him. 4. Alb’s strength in the upper right goes completely to waste. and Negru has a wall to use for building territory over the lower side.Now let’s see what Negru can do if Alb doesn’t answer his diagonal play. 3. ‘b’ and ‘c’ are similar. If Alb plays tenuki after Δ in this position. Dia. We have just shown ‘a’.
making good shape on the outside. 6. 5. but he also has gote. Dia. Because of the nearness of Negru Δ there is no sense in playing 1 at 2 to build a wall.Dia. Alb will usually capture the cutting stone. If Negru pushes through and cuts. 53 . Negru has the corner. This is not bad for Alb—note the endgame point left for him at ‘a’. Here Negru 1 and 3 are appropriate.
he will soon have to play ‘a’ to live in the corner. Sometimes Negru may want to attack from the side instead of playing as in Dia. Against this Negru 1. Negru can confine him with 3. he should play 2. Alb could run out at 3 if he had any chance of counterattacking. Here is one likely setting for such a move.Dia. It may be better for him to look for eye space than just to run away into the center. Dia. 54 . and if so. Even though he can fight a little bit on the outside with Δ. but is not really so smart of him to do so. 7. but Negru might get to play ‘a’ and Alb could find himself fighting a running battle without any base on the side. It is possible for Alb to resist Negru 3 with Alb 4. 4. but he lives comfortably with 4 and 6. 8.
9. the diagonal move is of basic importance. Whereas in Dia. If Alb defends on the right side at 2. 1. 10. which opens up the possibility of a connection underneath at ‘b’. 55 . Dia. It would be better for Negru first to play ‘c’ and then think about 1. which give Negru the cut at ‘a’ to worry about. If he plays 5 to defend against it. absolutely necessary in situations like Dia.Another example Dia. Alb’s four-line extension to Δ may look unsafe. then Negru can extend toward the shimari with 3. If Alb plays 2 on the lower side. In conclusion Although most of the joseki stemming from the kogeima kakari involve squeeze plays and are postponed to the next chapter. here it is just one among many possibilities. but it is easy to understand. 1 Negru 1 was the only good move. then Alb answers at 6. Considering that there is still room for Alb to extend upwards from Δ to ‘c’. Alb has 2 and 4 to play. but if Negru invades at 1. then Negru can attack on the right side at ‘a’. he is in no danger.
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. so Alb 1 is reserved for situations where Alb has a special need to occupy the right side. his corner is larger and safer. but then Alb has an easy way to handle the corner. and has more potential for development. as we shall see in section 18. Of course in those situations Negru may want to answer Alb 1 by playing at or around 3. After Alb 3. Negru can simply defend the corner at 2. 56 .
however. 2. Alb 1 and 3 do something to reduce the effectiveness of Negru’s shimari in the upper right corner. After 4. Or he can hit them from the outside. making profit on the edge while attacking. 3. 1. although it is at least temporarily out of style.Dia. Dia. Negru has various strong-arm tactics to use against Alb’s two stones. looking for profit in the center. but Negru can still make a good extension to 4. He can hit them from underneath by playing Negru 1. Negru 1 to 7 in this diagram would be appropriate if there were an extension like Δ on the board. after which Negru can neither make much territory in front of his shimari nor attack Alb. Dia. then Alb will approach closer at ‘a’. If he does not play 4. 57 . The ogeima kakari is understandable in this position.
If Alb played 3 correctly at 5 and Negru played 4. 58 . If 3 is played on the third line. After 6 his stones have better shape than they could possibly get in Dia. not 3. 4. and the space between Alb 3 and 5 and Alb Δ is too narrow. 5. 4. Negru will lose no time in striking with 4.Dia. There is a good reason for his playing 3 on the fourth line instead of the third. This time Alb uses 1 and 3 to attack on the right side. Alb would answer with ‘a’. Dia.
and Negru could not attack. Negru 2 is a good reply. 59 . which we are coming to in section 18. In conclusion The ogeima kakari looks rather lukewarm so far. 6. but if Alb were allowed to play at 2 himself. Alb’s real intention is usually to provoke a squeeze play. he could make territory in the center. If after the basic joseki Alb advances on Negru’s corner with 1 here.Dia. It is not that Negru’s eye shape is endangered. and then he has some good maneuvers.
letting Alb extend unhindered along the side. 1). The squeeze plays on the fourth line are the creations of the present century. ‘b’. the newest. and ‘a’. Negru ‘e’. ‘d’. 60 . Squeeze plays are particularly often used against the kogeima kakari. and ‘e’ are others. they did not become really popular until the post-World-War II era. (Alb 1 in Dia. In this chapter we come to the joseki in which Negru stops that extension with a squeeze play. around 1700.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. 1 is one squeeze play. and the most thoroughly studied. ‘c’. a famous Japanese professional go player. in fact. was not much played until a year or two ago. Negru 2 in Dia. Negru ‘c’ was introduced by Dosaku. 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. Negru ‘a’ and ‘b’ are the oldest.
and that is the subject of the last section of the chapter.Squeeze play joseki are difficult. and happens to be currently the most popular. (section 17). 61 . but the joseki proceeding from it are not yet really well worked out. ‘d’. so we are leaving it out of this book. is often met with a squeeze play. too. and branch out into a large number of variations. Negru ‘b’ is too much like Negru 2 to need a separate section. Negru ‘f is a modern play often made against Alb 1. 1. Squeeze plays can also be used against other kakari. 2. To keep this chapter from being longer than it is. such as Negru 2 against Alb 1 in Dia. The ogeima kakari. (sections 9 to 13). since it is played when the side is important. which is the most representative squeeze play. we will concentrate on Negru 2 in Dia. and Negru ‘e’ is too new for us to be able to say much about. and ‘c’. Sections 14 to 16 contain brief surveys of the joseki starting with Negru ‘a’.
as in section 7. 62 . without having to worry about his strong stones in the upper right corner. If Negru wants to keep Alb from making a large territory on the right side by playing ‘g’ in Dia.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. where Alb has only one stone in the upper right corner and Negru can aim to attack it. as in Dia. but he can not take away all of Alb’s territory. a squeeze play would be above criticism. nor make much territory of his own there. he can easily do so. where it serves both to attack Alb’s stone and to extend from a Negru position in the other corner. 4. 4. 1. then a squeeze play is no longer so good. 5. and by attacking Negru ‘g’ Alb can build up strength for use in other directions. it is better for Negru to play at 1. 3. If we reverse the colors up there. however. In Dia.
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. After jumping well out into the center with 2. 63 . but there is a lot of flexibility in his position. he can play at the 3-3 point to get eye shape in the corner. Alb jumps between Negru’s stones at 2. he can pressure Negru’s two stones on the lower side. he can do any of four things: he can attack Negru 1. There is not a solid connection between Alb’s two stones. or he can do nothing at all. We shall take up these four possibilities one by one after looking at two of the variations in the basic joseki.
he can play these moves after the last diagram. The Negru stone in the corner is not dead. 2. If Negru uses 3 on the right side. and in fact Negru can even allow Alb to play another stone against it. If Alb plays ‘a’ Negru can still cause trouble by playing ‘b’. but while he is living in the corner. 1. but sometimes it may be more important for Negru to defend the right side than to play 3 on the lower side.Two variations Dia. as you will see in the next diagram. Alb will play 4. not Negru. Dia. who can make territory on the lower side. If Negru wants to. Alb is getting stronger on the outside. This is a very large shift in circumstances. 64 . and now it is Alb.
and ‘c’ but it is Negru’s turn. Dia. After Negru 5 he is ready to cut at either ‘a’ or ‘b’. Alb has good points at ‘a’. Dia. Now back to the basic joseki and the four possibilities left after it. This is the usual continuation. It may be joseki. but the fighting gets difficult. Alb can next play ‘b’. in which both sides make good shape. 3. and not much is known about it. Negru can slice into Alb’s position this way. Instead of playing 3 as in the basic joseki.Dia. 65 . or he can play 6. There is also this messy continuation. 5. a recent invention. 4. ‘b’.
if Alb plays 3. Negru 2 is the usual defense. Alb 3 prevents the cut. When Alb has a stone in the upper right corner he need lose no time in playing 1. Attack on the right Dia. so before jumping further out into the center he must do something to tighten the connection between his stones. 6. 7. Here is one of them. and 8. making a good extension while attacking. 8. or ‘b’). Alb should not allow this. Dia. since it threatens to cut Alb. 66 . There are several ways in which he can do so. 6.1. Negru will cut him with 4. For example. Dia. and the sequence up to 11 is a good way for both sides to continue. (or ‘a’.
Pressure Dia. If Negru accepts the invitation by playing 2. if Negru jumped out too hastily by playing 4 at ‘a’. Negru does not have to follow the easy course of the previous diagram. inviting Negru to help himself to some territory along the third line. but then ‘a’ is a large point for Alb. then Alb 5 at 4 would give him plenty to worry about. Incidentally. Before making his attack Alb can play 1. Of course Negru can play 6 at 9. 9. then this sequence may follow. 67 . and now when Alb attacks with 9 he has a big wall to push Negru’s stone against. Alb 5 is a way of making good shape in this kind of situation.2. Dia. for he can push through and cut with 2 and 4 here. 10.
Negru has to answer at 8. 12. Alb has to play 7. the fighting follows no set course. 14. Negru cuts at 10. Dia. Dia. After Negru 12. After this. Negru should answer 5 with 6. You may be wondering why Negru does not answer 5 with 6 in this diagram. but when Alb plays 11 Negru is hardly likely to have any ko threats big enough to fight the ko. Dia.Dia. This kind of thing can go on all the way down the side of the board. with Alb getting tremendous thickness. 11. 68 . Alb counters with 7 and 9. and Alb can exchange 9 for 10 before running out into the center at 11. 13. but this play has no merit. Alb plays the same tesuji as before at 13.
3. considering that Alb has sente. Alb 5 then takes the corner. But instead of playing 4 on the 2-2 point. 69 . Alb can connect by playing ‘a’ and ‘b’. Negru usually takes the opportunity to cut off Alb’s center stone. as in this diagram. and then 1 and 3 become appropriate. 16. Defense Dia. for if Negru plays 6 at 7. The exchange up to Negru 10 is a fair one. If Negru answers with 2 and 4. then a Negru stone on that point spoils his shape. There are times when Alb must think of defense rather than attack.) Dia. (If he omits 7. 15. Alb can make eye shape with 5 and 7.
In conclusion We have here the basic defense against the squeeze play—Alb jumps up into the center. he generally begins by playing 1 to block Alb from the corner.4. 17. and continues with 3 and 5. 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. 70 . so if Negru plays one of them Alb plays the other and all is well. The danger in a diagonal jump is that the opponent will come through the middle of it. If Negru answers at 9. Next Alb has good points at ‘a’ and ‘b’. If Negru gets to attack Alb’s two stones after the basic joseki. Negru attacks Dia. Alb 6 makes good shape. separating Negru’s stones and preparing to attack on either side. Dia. 18. although it may look a bit strange. Alb pushes on with 10.
There is another variation in which he gives up his stone on the right side.We shall see this strategy repeated numerous times in the rest of this chapter. getting a good position on the lower side in return. a kind of reverse strategy often found in go. the keima at 1 is a move with a definite purpose. sacrificing solidity for speed of development. The unique feature of the joseki in this section is that Alb makes a two-space jump. Negru plays 2 if he is willing to engage in a running battle. We shall explain both of these variations. 71 . It puts heavy pressure on the lower side in preparation for a heavy attack on the right side. which left both sides with many options. SECTION 10 In contrast to the two-point jump of the last section.
Dia. Alb has to play 7. Negru plays 6 to keep Alb from making eye shape. and so must run out into the center. In this diagram. and 11.Running battle Dia. Alb should only play the keima when he is in an attacking position on the right side. 2. then his position would not be so attractive. The Negru and Alb groups both lack eyes. 1. 9. 1 is fairly necessary. . This puts him in a strong position because . If Negru just jumps upward with 6 here. when he attacks with 5 he is making a good extension from his stone in the upper right corner. for instance. and how it continues from there is up to you. . Alb can make shape with 7. If the stone up there were Negru instead of Alb. 72 . Negru 6 in Dia.
73 . but when he does so he is not making territory—he is just defending—and Alb 7 is a big move made in sente. 4. and then protect the right side with 6. 3. Dia. He is threatening to carry out this sequence. Negru can play 4 this way. which gives him a safe group between two vulnerable Negru ones. forcing Alb 5.Dia.
Alb 5 is a skillful way of handling Negru’s tactics. 5. Instead of playing as above.Exchange Dia. 7. Here is another version of the joseki. Dia. The joseki ends this way. Dia. Negru 8 is necessary to capture Alb Δ. the alternative mentioned at the head of the section. 74 . it would be more circumspect of Negru to push through and cut with 2 and 4 in this diagram. 6. 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. with both sides getting good positions.
After these strong-arm tactics. Whether or not Negru can successfully push through there and cut or not depends on a shicho. Alb should defend with 13. Alb can push him around with 7.Dia. In conclusion Alb’s keima at 1 is a rather aggressive move. and Negru should do likewise with 14. If the shicho favors Negru. he can play 1 here. having two reasonably good side groups while Negru has just a small corner and some weak stones in the center. Dia. You will learn more about this joseki in section 31. see what happens when Negru answers it at 6. remember the tesuji at Alb 5 in Dia. and this time he gets much the better of it. 8. which we ask you to figure out for your-self. This is another fair trade. and 11. but Negru can dodge around it if he decides it would be best not to get into a running fight. Alb must give thought to Negru ‘a’. 75 . 9. 5. Dia. For the sake of explaining it a little more. The tesuji of Alb 5 is worth remembering. But if the shicho favors Alb. 9. 10. For the present.
76 . Alb has accomplished his purpose of separating Negru’s stones. ‘a’ remains a big point for either side.. (Another idea is to attack at once at ‘b’). Alb 3 is not without its aggressive intentions. If Negru fails to play 4 . So far we have seen two examples of this strategy in the two-point jump and the keima. it is natural to run out into the center. Negru 2 is the simplest response to it. so instead of running further out into the center at ‘a’. it is better for him to slide into the corner at 3.. All the same.SECTION 11 In answer to any squeeze play. preparing to counterattack on one side or the other. At this point. A third is the diagonal play at 1 featured in this section.
There is no good way for Negru to answer Alb 1. 3.. taking away Negru’s room for eyes at the side. Following Negru 8 . 1.. but while he is struggling to occupy a small territory on the side. 77 . Negru is becoming strong around the outside. board. Negru can answer it at 2 or 5. Alb manages to live. it is most annoying to have a large. Alb can attack with 1 in this diagram. Alb Dia. But with Negru Δ on the 1 loses its sting. Dia. which is more important.The reason for Negru 4 Dia. and Alb’s corner group is suffering. 2. drifting group of stones like this.
The right way to attack Dia. If Negru does not feel like fighting. 4. or at some point in the lower left. Notice a tesuji which occurs in this shape: if Negru later plays ‘a’. but Alb plays 3 and jumps out into the center at 5. After exchanging 6 for 7 Negru takes a good point at 8. to fight. 78 . 5. but then Alb can play at 9. If Alb wants to attack on the lower side after the basic joseki. Alb 3 is a sacrifice stone. he can answer Alb 1 with 2 in this diagram to connect along the lower side. he should play 1 here. This time he has done his damage to the lower side and gotten out into the center as well. Dia. Alb will answer at ‘b’. Negru can answer strongly at 2.
The sequence begun in the last diagram ends in this way. 1 is also a big point for Alb. 4 to this. If he has a good chance to play it. 1 is a big point for Negru. Alb has built up a lot of power in the center while pressing Negru’s territory down to the edge of the board. as will be seen in the next diagram. and it protects Negru Δ. it revives the possibility of Alb ‘a’. 4-6. For another. Dia. 79 . It prevents the nonsense of Dias. it enlarges Negru’s territory. Usually Negru prefers Dia. For one thing. A large point Dia. or in something similar. it prepares for an attack on the single Negru stone on the right side. 7. 8. 6.Dia.
The Alb stones in the basic joseki are almost indestructible. Alb can live easily by playing 1 in the corner. Alb 4 gives the Alb stones excellent eye-making potential. but in gote.Dia. 12. Negru had better answer Alb 1 by playing 2 right on top of it. 9. he gains corner profit. Alb is safe Dia. 80 . Dia. Even if Negru gets in the two moves Δ shown in this diagram. 10. Considering the presence of Alb Δ. The invasion ends in Alb’s getting the corner. If Negru attacks this way. Dia. 11.
This gives him corner profit. Alb confronted Negru’s stones at 14 and Negru took the key point in the corner at 15. but Alb is more out into the center than before. and Alb made the diagonal move at 12. Negru made his squeeze play at 11. Alb attacked at 16. This professional game illustrates another of the variations of the basic joseki. for a reason explained in the next diagram. and answered Negru 17 by connecting underneath at 18. 13.Variations Dia. but now Negru played 13 instead of ‘a’. 14. 81 . Dia. One variation in the basic joseki occurs When Negru plays 2 at the three-three point to keep Alb out of the corner.
In this situation. Negru’s reason for playing ogeima at 1. if Alb played 4 after the last diagram. however. even if it does mean playing on the two-three point. and then use sente to make another attack against the stone in the lower right. instead of kogeima at ‘a’. the sliding move into the corner. Dia. was that if Alb played 2. 82 . 16. In squeeze play joseki there is often competition for room to make eyes at the side of the board. In conclusion Taken together. (If he did not care so much about sente. and it is well worth Alb’s while to take what room there is. he could play 3 instead of ‘b’. he could play 5 at ‘a’ to reduce his loss in the corner). 15. these variations illustrate the main themes of the joseki. The drawback of the ogeima is that it leaves the weak point at Alb 4. Negru would answer it at 5. The key move is Alb 3 in the basic joseki diagram.Dia. Negru 3 is a stronger attack on the Alb stone in the lower right corner than ‘b’ would be.
he can do so with the diagonal tsuke at 1. but Alb has ways to deal with that.SECTION 12 When Alb wants to settle the situation. Let’s begin our study of this joseki by looking at Negru 6. for which there is another choice. Negru can cause trouble by playing 2 at 3. which are shown at the end of this section. Alb plays 3 and 5 and is safe in the corner. If Negru responds at 2. the usual move. 83 .
4. then attack at 5. If he gets ‘a’ or ‘b’ in addition to 1. Dia. Dia. With Negru Δ low. Dia. aiming to slide under to ‘a’. If Alb simply plays 1. This diagram shows the reason for Alb 1 and 3 in Dia. Negru has a good reply at 2. 3. Alb can attack at 1. This variation is biased toward defense on the lower side. then Negru’s group is short of eye space. instead of at ‘a’. 84 . When playing Δ. 2. 1. However. With Negru Δ on the fourth line. An important variation in the basic joseki occurs when Negru plays 6 on the third line. 3. Negru has to choose between defending one side and defending the other. Alb cannot attack so well on the lower side.Negru 6: third line or fourth? Dia. he can play kikashi at I and 3.
Here Negru plays it to get Alb’s reaction before extending toward the shimari in the upper right corner. 5. Negru has three ways to attack the Alb group.Negru takes the offensive After the basic joseki. which are shown in the next four diagrams. as regarding both territory and the safety of the Negru and Alb groups. 85 . Negru 1 is a large point in the corner. but then ‘b’ is almost sente for Negru. Alb 2 makes good shape and leaves open the possibility of an invasion at ‘a’. Dia.
Alb 2 here is another way of answering Negru 1.Dia. Alb ‘c’. If Negru is concerned with the center. He cannot get out into the center past Negru 1—for instance. but then Negru would not play 1. a vital point in this shape. working towards a large territory on the right side. 86 . Dia. although in a way Alb is reducing the value of his own shimari by pushing Negru toward it. he can attack with 1 here. 8. 6. Alb 2 would be more appropriate if the shimari in the upper right corner were Negru. Negru ‘d’. Dia. Alb can reply at either ‘a’ or ‘b’. Alb would respond by taking the big point in the corner. Instead. 7. he would play 1 from this direction.
While Negru makes some territory on the lower side. and after Alb 5 it gets complicated. in some other direction. . Negru 2 at the three-three point Dia. Next Negru can play ‘a’. or ‘c’. indeed. and a weakening of his own. Alb gets out into the center and prepares to attack the stone Δ. which is the cutest of the three. ‘b’. . Now we come to the variations in which Negru plays 2 on the three-three point. Dia. and not before he can make an intelligent choice among the three of them. It follows that Negru should not launch into any of these attacks without reason. 9.As you can see. One way for Alb to proceed is shown here. he provokes a strengthening of Alb’s position. Negru should cut at 4. 87 . if Negru attacks from one direction. We shall confine ourselves to Negru ‘a’. But the fun comes when Alb plays 3 here to put up a fight for the corner. but first . Negru’s attacks in the last four diagrams are far from being killing attacks. 10.
a strange-looking play. is not very good. 14. 10. 10. Before getting involved in the difficulties which follow Dia. you can probably see what is coming next. There is only one branch in this variation. Dia. The finish of this variation: Alb’s wall is imposing. we should point out that Negru 4 in this diagram. After these moves. Alb should answer at 7. Dia. 13. but Negru has a good point left at ‘a’. 11. 88 . and Alb must play 9 and 11. Alb has a powerful reply at 5. Dia. Negru must play 8 and 10. Continuing from Dia. 12.Dia. if Negru plays 6. but the only good one Alb has. (instead of the cut at 7).
Negru’s next play is usually either ‘a’.In conclusion Complicated variations aside. giving Negru a chance to put another stone into the corner. Alb’s purpose in this joseki is to gain safety in sente before moving on to some other part of the board. 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. but against any squeeze play except. Alb 1 and the rest can be used not only against the twopoint squeeze play shown in this section. which lets Alb live easily but gains outside strength. which drives Alb out into the center. perhaps. the one point-squeeze play on the third line. 89 . or ‘b’.
but Alb has possibilities at ‘a’ which he is trying not to disturb. This explains the weakness that exists after Dia. After Alb 9 it is Negru’s turn. Dia. When Negru plays 1 at the three-four point.Negru plays tsuke at the three-four point Dia. and then Alb can think about attacking on the right side. but he has lots to worry about: his stones on the outside are weak and his corner is not yet alive. Negru generally plays 5 at ‘b’ to defend against Alb ‘a’. 1. 2. 90 . Alb 4 may look like a feeble move. this is the expected result. 1.
6. and so Alb may have to play ‘b’ instead. When Negru plays 1 here. and Negru plays double hane at 5 and 7. he can omit Negru 13. 2 by playing 3 here. Negru can avoid having to worry about the possibility of Dia. or play 11 at 13. (see Dia. 91 . 4. 5. Dia. Negru connects at 3. Alb takes the corner with 4. The only drawback of this shape is that if Alb later gets to attack at ‘a’. Negru will find himself cramped in the corner. but that play depends on a shicho. it is not hard for Alb to make two eyes in the corner or on the right side. 3. In another variation. Dia. Negru plays tsuke on the outside Dia. Negru’s double hane in the last diagram enables him to make a perfect wall on the outside. Negru plays 3 at 4. and he has sente if Alb connects the ko. 9). Alb plays 2. Here is one variation. For Alb 2.Dia. If Negru is worried that Alb might not connect and wants to be sure of sente. ‘a’ is the most desirable point.
it is more prudent of Negru to play 6 than ‘a’. Alb makes a counter-squeeze play Dia. then of course he is more than happy with this result. so if Negru plays 2 and Alb plays 3. If it is. Dia. Dia. but now 92 . Alb 7 and Negru 8 are the same as before. After Negru 5 this variation gets complicated Alb is barred from the corner. 6 on the previous page. These are the basic variations. Negru has all sorts of weaknesses for Alb to aim at. but if it is not. (although ‘a’ is not impossible). A similar situation occurs when Alb plays 2 at 4 and Negru plays 3 at 5. Alb 1 in this diagram is not a tenuki. now lets see how they apply in a couple of actual situations. but he can make shape on the side by playing ‘a’ or ‘b’. the sequence of Dias. 10. Alb cannot play 2 unless the shicho in this diagram is good for him. but a countersqueeze play. 8. When possible. Since Alb 1 is so close. Here is one possible continuation from Dia 7. 7 and 8 has to be modified a bit. 7. In comparison with Dia. then he is in great trouble. 9. Alb pushes in between the Negru stones at 2 to put some cutting points into Negru’s shape.Dia.
Dia. 93 . This time Negru 1 is correct. In answer to Alb 1. Negru ‘c’. Alb ‘d’. Alb 4 to 12 are one way to proceed from here. Negru has no good move.Alb simply plays 9 instead of ‘b’. After Alb 3. This is because Alb ‘b’. Negru 2 at the three-three point is bad. Alb’s stone is farther away Dia. Here Alb has a stone out at Δ on the lower side. Negru ‘e’ would weaken Alb 1 too much. 12. Negru should play 3. 11. and if Alb plays 2. Let’s see how this affects the joseki.
13.15. If he wishes. Negru ‘a’ would be too close to it to be efficient.Dia. Dia. for after the usual joseki shown here. Negru 5 offers no resistance to Alb’s movements in the center. which does not bode well for the fighting that should develop from Alb 6. 94 . 14. Alb Δ makes Negru 1 a doubtful move. On the third line. Alb can answer Negru 1 more loosely at 2. Negru cannot make good use of his wall. If Negru plays keima at 3. Dia. inviting this exchange. then after Alb 4 he wants to play 5 as shown to confront Alb Δ while defending against Alb ‘a’. however.
but he is by no means giving up the corner. Dia. If Negru answers Alb 1 by capturing Alb Δ then Negru Δ becomes greatly weakened. Alb can play another tenuki and let Negru have 3. Dia.A second tenuki Dia. After Dia. 16. 95 . He still has ways of breaking up Negru’s position. and Alb has again cut into Negru’s prospective territory. Alb can probably live with this sequence. provided that Negru is not too strong in the surrounding area. The order of Negru 1 and 3 may be reversed. starting with Alb ‘a’. too. In conclusion By playing tenuki. 16. When Negru plays 1. he still has good chances of reviving his original stone. of course Alb is giving Negru a local advantage. 18. 17. Even when he plays tenuki twice.
starting with the former.SECTION 14 After spending the last five sections on the two-point high squeeze play. Alb can answer at ‘a’. or ‘d’. as always. or at ‘b’. 96 . (which works out about as in section 10). ignore Negru 1. for it gives Alb the least room in which to operate. Negru 1 above is the most aggressive of them all. we will use this section and the next two to look at three other squeeze plays often used against the kogeima kakari. We shall restrict ourselves to Alb ‘b’ and ‘d’. ‘c’. or he can.
2. but Negru fights back with 5. If a chase into the Alb has a kikashi at ‘a’ he can use. Dia. 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. Alb’s one-point jump to 2 is the most generally useful answer to Negru 1. When Negru plays 3 on the is also joseki. and now it seems natural for Alb to attack the other side with 4. then there need be about playing 4. for in the running fight to come. on the lower side. be making third-line territory. 1. Negru ‘b’). Negru defends the lower side with 3.Alb 2: one-point jump Dia. and Negru will than fourth-line 97 . which no reservations center develops. third line. he is likely to find himself pushing Negru along the fourth line. rather territory. (Alb ‘a’.
Alb can answer it at 7 instead of 10. Dia. When he plays 4 in the last diagram. Alb may prefer to play 4 this way. and he can make an eye for his group by playing ‘c’ when the time comes. If Negru plays 9 first. Be careful of the order of 7 and 9. trying to avoid a running battle. 98 . 4. 3. At the end of this diagram Alb is in a position to attack either at ‘a’ or at ‘b’.Dia. But when Negru plays keima with 3. this sequence is what Alb expects.
Dia. although you can probably see some of the possibilities for yourself. it is common for Alb to attack from that direction with 4. but this can get very difficult. 5. Alb 6 and 8 are a good combination. Instead of passively playing the previous sequence. Negru naturally answers with 5. 7. The joseki usually ends about like this. Dia. Alb has good shape for making eyes on the right side. bending around Negru 5 and protecting the cutting point at ‘a’. Dia. 99 . Negru can push through and cut with 5 and 7. 6. Even though Negru plays 3 to defend the lower side. We will not even try to go through the variations.
especially considering the possibility of Alb ‘a’. which is alive. In one of them. but in the present circumstances Negru’s strength in the upper right goes to waste. This is joseki. He cannot use it to attack Alb’s group. Negru wants his territory on the right side to be as large as possible. so he plays 1 as far down as he can. Alb resists by pushing Negru back toward his strong position in the upper right with 2. Although it is always hard to say which squeeze play would be best. 8.Alb 2: tsuke Dia. and Alb cuts at 6. Dia. here is one situation in which Negru 1 looks appropriate. Negru plays 5 to defend the lower side. 9. After Alb 4 there are essentially two variations. and he has not made much territory with it. 100 .
Alb can attack on the lower side at 6. 101 . In conclusion When Negru makes his squeeze play as close as this. So in this case Negru had better choose the other variation and connect at 5. Negru’s simplest course is to live in the corner with 7 and the rest. except that it is played on the fourth line. Alb has five different ways to answer it. marked ‘a’ to ‘e’. SECTION 15 This squeeze play is like the one in the previous section. as seen in many of the diagrams of this section. 10. but at the same time it becomes possible for Alb to push back on Negru in one way or another.Dia. of which ‘c’ and ‘d’ are the most interesting. he is putting maximum pressure on Alb.
1. Negru can play it on the three-three point. Negru can play 7. and 11 to strengthen his position. 2. Both Negru ‘a’ and ‘b’ threaten a hane at ‘c’.Alb 2: one-point jump Dia. 3. 102 . or he can carry on as in one of the next two diagrams. and in the corner ‘b’ is a very large point. straight up between Negru’s two stones. Negru jumps out to 5. After this diagram Negru can play tenuki. Instead of playing 11 as in the last diagram. and if Negru has a lot of strength in the upper right corner we imagine Alb playing ‘a’ instead of 4. after which Alb will probably play on the lower side to counter Negru’s wall. however. he might play 5 at 6 to start a fight. This gains corner profit. taking no chances. Alb 2. Negru can attack at ‘a’. 9. Dia. If Negru has some strength in the upper right corner. but now Negru’s ‘a’ is not as menacing as before. In the usual joseki Alb attacks at 4. and Alb connects underneath at 6. Dia. looks like the most natural answer to Negru 1.
Alb has ‘b’ or ‘c’ to play. 103 . One thing he can do is to play 4. but Alb has not made eyes yet either. hoping Alb will answer at ‘b’. although he also has some cutting points. Before playing 5 Negru should think about playing ‘a’ in the corner. Alb cannot ignore it. After Negru 7. By the way. another good move. Negru 3 is one good answer to it. Negru’s three stones on the right side do not have eye shape yet. Negru cannot answer Alb 2 at ‘b’ because of Alb ‘a’. and now Alb can continue by attacking Negru 1. and this is joseki. After 9. 6. and the sequence shown here is joseki. 5. 4. or he can leave the position as it is. Negru 5 here is a lighter answer to Alb 4. On the lower side. Negru has more room on the right side. Dia. since he has a good play at ‘a’ to use if Negru attacks. Alb might continue at ‘a’.Alb 2: keima Dia. Dia. When Negru plays keima with 3. too. He often does this last. The keima at 2 is more flexible than the one-point jump.
which threatens ‘a’. Alb is alive in the corner. Here is one joseki stemming from a Alb tsuke at 2. but he may not want to provoke Alb ‘c’ by doing so. Alb 2: tsuke Dia. And here is a similar one starting with the tsuke at the three-three point. 11. since he may need to connect at ‘c’. 8. Dia. Negru can prevent it by playing ‘b’. (which forces Alb ‘a). and he fights on the outside by playing 10. to live on the right side. A more complicated joseki occurs when Negru answers Alb 4 by cutting with 5. 104 . 7. 9. and 9. Dia. This sequence is a simple joseki. and the joseki usually ends with Negru 17. 10. Continuing from the last diagram. Dia. so as to live quickly in the corner. In the early endgame Alb ‘a’ is a very large play. Alb can answer Negru’s keima at 3 by playing 4 at the three-three point.Dia. Negru plays kikashi at 11 before defending the lower side. 7.
105 . 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. as can be seen from the joseki shown in this section.In conclusion Negru 1 is the most forceful of all the squeeze plays. Plays farther up the side than Negru 1 or ‘b’ are possible. We are skipping over Negru’s squeeze plays at ‘a’ and ‘b’ for reasons mentioned in the introduction to this chapter. SECTION 16 Our discussion of the kogeima kakari ends with Negru 1. the three-point low squeeze play. Because of this.
For example. he can settle for making good shape in the corner with the sequence that starts with 2 and ends with Negru 7 or ‘a’. Many players would play 1 at 4. if there is a Negru shimari in the upper right corner. 1. 1. as shown. Alb has a shimari in the upper right corner.Two Common joseki Dia. to avoid this kind of attack. This would be appropriate if. 106 . but his stone is under attack all the same. One way to meet Negru 1 is with the twopoint jump to 2 and the counter-squeeze play at 4. or on the point between 1 and 4. If Alb is not in a position to take the offensive. In this shape Negru can get some room for eyes by playing ‘a’. Alb would certainly prefer this way to Dia. 2. Dia.
Tenuki Dia. which changes things considerably. When Alb plays keima at 4. 5. Negru frequently plays a move like 3. For Alb 4 there are three possibilities—’a’. Keima Dia. 107 . 1 or 2. ‘b’. 4. instead of following Dia. Negru can make shape in the corner with 5. When Alb plays 8. Here is a situation in which the three-point squeeze play is often made. The sequence up to Negru 9 is almost like the one in Dia. 3. Dia. and after another atari at 11 he connects at 13. Negru must not connect at 10. for then Alb 9 would leave him with no eye shape. and ‘c’—which we shall look at in turn. He has to play atari at 9. 2. but Alb can play 8 at 9. Since Alb 2 does not really put much pressure on Negru 1.
but Negru has a big wall and sente to make a wide extension on the lower side. 6. Alb makes a satisfying amount of territory as Negru pushes him along the side. 7.Dia. The fighting might continue this way. Now we come to the diagonal play at Alb 4. 8. Alb cuts at 14 and Negru has to play 15. (This does not mean that Δ was a bad play to begin with). 108 . to give himself more room on the lower side. Notice that Alb would now prefer to have Δ at ‘a’. so he will fight with 5 and 7 instead. Diagonal play Dia. Negru can no longer accomplish much by playing ‘a’ in the corner. Dia. Continuing.
but it provokes Negru 5. and Alb needs to defend. and it gets complicated. This is the most aggressive way to attack. Continuing from Dia. but here. After settling his own position. this is one possibility. Dia. Negru is aiming at the point ‘a’. Another way for Negru to answer Alb 4 is to dive into the corner at 5. 11. he can do so by playing 4. a defensive way of playing. 2). This is joseki in some situations. it is rather cowardly. After Alb 8. considering that Negru has two stones in the upper right corner. (just as in section 13. Dia. 10. 10. 109 .Dia. If Alb wants to keep Negru out of the corner. and with his two-stone wall Negru can cap Alb’s stone on the right side at 7. 9. Tsuke Dia. Negru plays 9 to build a living position.
‘d’. Running fight Dia. Against Alb 3. Alb strikes on the right side at 9. one which makes it a bit hard for Negru to get good shape on the right side. Negru 2 is the oldest. If Negru connects at ‘a’. then 110 . Alb’s defense is at 7. Alb can reply to it with ‘a’ or ‘b’. Dia. One way to continue is with 10 to 13. and the only one that is going to find its way into the present book. Alb will attack him with ‘b’. a double-threat move which prepares for either Alb ‘a’ or Alb ‘b’. either of which separates the two Negru stones. or ‘e’. or with a tsuke at ‘c’. Negru announces his intention to engage in a running fight by playing 4 and 6. 2. That makes them especially useful as invasions between the kakari stone and a position in the adjacent corner.In conclusion This and other long-range squeeze plays give both sides a fair amount of room to work with. If Negru defends the lower side with 8. 1. The last of these is the subject of this section. for instance. 1 and 3. Alb 13 is a solid play. or if Negru plays ‘b’. SECTION 17 Of the squeeze plays that can be used against Alb 1 above. as in Dias.
‘b’.Alb has ‘a’. In the present joseki. and this sequence is joseki. if Negru does not want to assume a separated shape. In Dias. similar to the many other running fights that have appeared so far in this chapter. Negru still plays 12). Negru can handle this onslaught with 10. and similar to ones that develop when Alb plays 3 at ‘a’. 111 . which can lead to a hard and desperate battle. as in some others. however. If Negru defends the right side with 8. then Alb attacks on the lower side with 9. In another variation Alb uses 13 to cut at ‘a’. there is a way for him to avoid it. 1 to 3 we have a typical running fight provoked by a squeeze play. as we shall see next. or ‘c’ in the diagram at the head of this section. (If Alb tries to play 11 at ‘a’. 3. Dia.
Negru can next play either ‘a’ or ‘b’. both of which. unfortunately. Alb should reply with a counter-atari at 9. lead to complications. Alb’s only way to fight is to push in between Negru’s two stones at 7. 4.Negru moves to connect Dia. and Alb can finish it by playing 17. or by making a wide extension on the lower side. 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. 5. 112 . Negru plays 8 underneath Dia. When Negru plays atari underneath with 8.
Alb plays 9. Considered in isolation. When Alb plays atari at 9. then Negru can play 10. Dia. 7. At this point the joseki branches into two variations. Negru has a chance to capture with 10. 9. but then Alb does likewise. 8. 6. that improves things somewhat.Dia. 113 . Dia. If Alb can capture the stone in shicho by playing ‘a’ instead of 13. and while Alb captures one stone on the right side. Negru plays 8 from above Dia. but Negru is still happy. And now there is the case in which Negru plays 8 from above. If Alb just connects with 9. Negru has the stronger position. this exchange is good for Alb. and he can cut off Alb 15 by playing ‘a’. Alb captures at 13 and Negru captures at 14. In the simpler one. but Alb has sente. and Negru has no choice but to play 10 and 12. this exchange is generally good for Negru.
but then Alb continues to develop on the right side with 17. This diagram shows the first possibility. say. or he can give them up by pushing through with ‘b’ and onwards. and the fight goes on. then the variation in Dia. These moves are not hard to understand. He can connect his two stones at ‘a’. and Alb would like to avoid it. and the battle continues until they become stabilized. he can do so by playing 13. If there is. Negru connects at 18. a Negru shimari in the upper right corner. Negru gets the corner with 14 and 16. 10. This second possibility we leave you to figure out for yourself. 9 would be rather good for Negru. Depending on a shicho. Now again Negru has two choices. 11. Alb continues at 19. capturing Alb 15 in return. (see Dia. 12). Dia. 114 . At the end of this diagram there are three weak groups on the board.Dia.
only one variation. he can choose the variation of Dias. In conclusion Alb cannot play 13 if the shicho shown here works If Negru wants to embark on a protracted running fight. Alb can handle the situation with a tsuke at the threethree point.Dia. he can choose from among the other variations of this joseki. After the cross-cut at 5 there is. 115 . for Negru. If he wants to strike a bargain with Alb and settle the situation quickly. SECTION 18 In the last section of the chapter we see Negru making a squeeze play against the ogeima kakari. for a change. 1 to 3. 12.
2.The idea behind the ogeima kakari Dia. forming a safe position which greatly reduces the effectiveness of Negru’s strength. The ogeima kakari is appropriate when Negru has a large. 3. If Negru answers it at 2. but he knows that 3 and 5 will give him a good position in the corner. 1. By comparison. it is not as easy for Alb to handle his stone. Dia. Dia. strong position in the upper right corner. 116 . Alb rather expects a squeeze play like 2. Alb will be quite satisfied to extend up the right side at 3. if Alb plays a kogeima kakari at 1 and Negru makes the same squeeze play at 2.
then connects at 10. Negru can play tenuki after Dia. one thing he can do is to exchange 12 for 13. Dia. Be careful of the order of Negru 6 and 8. Negru plays atari at 6 and 8. but whatever the strategic merits of Negru’s position on the right side. If Negru reverses the order of 6 and 8. To continue with the joseki. This is simple.The joseki Dia. 4. 5. Dia. Alb will play 9 and dominate the corner by capturing Negru 6. Alb 11 is a possible stopping-place for the sequence. 6. 117 . 4. after the crosscut at 5. but if he keeps on. his opponent has taken the corner.
Negru can stubbornly play 4 and 6 to make Alb fight on the right side. In conclusion This section illustrates the kind of thinking that makes for good go strategy. Especially considering the closeness of Δ. Dia. 7.Dia. Alb anticipates Negru’s squeeze play and deals with it by giving Negru what he wants on the right side. should that become necessary. 8. 118 . but Alb has nothing to complain of as he springs out into the center. taking his own profits in the corner where the taking is easier. It is not hard for him to make two eyes on the side. which could go about like this. Negru may want to play 12 on the lower side to provoke some fighting.
On the other hand. at the very beginning of the game. The difference is that now Alb has enough room to invade at 1 in Dia. or when there are some Alb stones near enough to be endangered by a newly-created. 1 and a similar play. 1. but in this chapter we will be talking only about Alb 1 in Dia. Such an exchange can be bad for Alb if made. 2. if Alb stays away from the corner too long. like the Negru one in Dia. Let’s look at a couple of situations in which the threethree point invasion is appropriate. 1 is not always a good play. Negru will close it off by adding another stone. Of course a kakari is still possible. strong Negru position. 119 . is in a considerably different position from one played closer in to the corner. centerfacing wall. Alb 1 in Dia.CHAPTER 4 Four-four point joseki: invasion and tsuke INTRODUCTION A stone on the four-four point. Negru can hold Alb to a small territory in the corner and along one side while building himself a strong. say. instead of making a kakari from the outside. 1. Alb 1 in Dia.
If Alb lets Negru play 3 in Dia. Negru will come out of the joseki with a good deal of probable territory on the outside. for it will eat up more than half of Negru’s prospective territory. 3. Negru area. Here Alb 2 is especially destructive. then there will be no easy invasion route left open into the huge. (This does not mean that Negru 1. Dia. 5 shows the same idea on a smaller scale. which aims into Alb’s territory on the side. 4. the three-three point is the key point for reducing it. but that cannot be helped. 120 . 6. but then Alb would be happy to play 2). as in Dia. is a bad play.When Negru makes a double wing formation around his stone. Negru could more or less secure his corner territory with 1 in Dia.
the three-three point invasion is a weapon for taking away the opponent’s territory. In 121 . the kakari to be studied in the next chapter is better. then. For building territory. but generally it is easy to see which is better. The problem. How is a three-three point invasion answered? Almost always a contact play like Negru 2 in Dia. the invader can expect to get only a small area for himself. 7 or 8 is best. becomes which side to push on.As these two examples may hint.
8 Negru has no extension.Dia. each in an appropriate setting. on the upper side. In this section we will show the major ones. so he plays 2 to get what little he can on the left side. so naturally he plays 2. ‘Block in the direction of your widest extension’ is the general rule. SECTION 19 There are a good many variations to the three-three point invasion. 7. 122 . for instance. and no chance to make territory. In Dia. Negru has more room for territory on the upper side than on the left side. And what comes after Negru 2? Let’s take a look.
however. 1.Basic variation Dia. building a wall in the center which here works well with the stones marked Δ. 123 . Negru holds Alb down into the corner. This sequence might be called the basic variation. has gotten to play the fairly large hane at 9 and can later push out further from the corner at ‘a’. although it is not the most common. Alb. Double hane Dia. If Negru wants to stop his opponent from getting so much profit in sente. he can play this double hane. 2. all this in sente. as he usually does. Three variations follow.
In the second variation Alb plays 7 and 9 as before. He can also play on the point ‘e’ to good effect. Negru plays this way if he has no particularly good use for sente. then Negru can play 14. 4. and the Dia. 124 .Dia. and Alb can hardly help but connect the ko at 13. Alb plays atari at 7. ‘a’. For example. Negru builds his wall in sente with 8. and then play ‘d’ in sente because of the threat of Alb ‘a’. In the first one. 10. but this time Negru chooses to take the corner in gote with 10 and 12. and 12. 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’. or if he needs the corner to secure room for two eyes. 3. or some other point on outside. Alb can play ‘c’.
as in this diagram. Dia. 5. then ‘b’ will be a good point for Negru. for example when Negru’s extension on the upper side is wider than his extension on the left. if Alb wants to play another stone in this area he has a good point at ‘a’. 6. 125 . After Negru 14. Negru 4: hane in the corner In the variations so far Negru played his fourth move at the open end of Alb’s stones. In the third variation Alb breaks out of the corner by playing 7 and 9 on the upper side.Dia. which exploits the dead stones left in the corner. Here. for instance. in the corner. so he answers Alb 3 at 4. Alb uses this joseki when the upper side is more important than the left. If he plays tenuki. threatening a double atari at 10. which of course he can do with his pon-nuki shape. Negru has no prospects on the left side. but there are times when it is better to play hane at the other end. where Alb is very strong. taking sente and defending the largest possible amount of territory on the upper side.
the usual joseki when Negru has a stone at Δ. If Alb wants to avoid the hane of Negru 4 in Dias. making a large ko. 6 and 7. and 5. the hane at 4 is again appropriate. Dia. 10. This ko is. Dia. Alb has to be careful not to play 11 until Negru has connected at 10. like . 8. 7.Dia. 9. Alb should be ready to answer with 7. Alb plays hane first Dia. he can do so by playing 3 and 5. Dia. then Negru might be able to kill the corner by playing 10 at 13. 3. on the upper side. If Negru plays 6. When Negru has an extension to Δ on the left side and wider one. When Negru Δ is as close in as this. for Alb does not have enough room to live in any other way. Alb can still play 1. in fact. The joseki continues as shown in this diagram and the next. Negru 6 deprives the Alb group of room for two 126 . for if he exchanged 11 for 12 first. and Alb has just enough room to live in gote in the corner. 11. This gives him the cut at ‘a’ or the squeeze-tsuke at ‘b’ to aim at.
Diagonal play Dia. Alb 7 does not quite assure him of two eyes in the corner. We leave this life and death problem for you to work out on your own.eyes. If Negru plays 4 and 6. Alb can live with the hane at 5. and his corner may yet live. but even dead stones can be put to use. Dia. 127 . Alb will aim at the points ‘a’ and ‘b’ as before. 12. 14. then Alb can get room for eyes by hopping down the side to 7. Dia. When Negru has added a stone at Δ. Or if Negru blocks Alb’s extension down the side. the diagonal play at Alb 3 becomes the proper way to live. 13. but Negru cannot attack as long as the cutting point at ‘a’ remains undefended.
the invader can live quite easily. but Alb ‘a’ aims only at living in the corner. as you have seen in the last section. one way of attacking it is with the tsuke at Alb 1. while Alb 1 has more to do with the outside. SECTION 20 When Negru has made a two-stone shimari based on a stone at the four-four point. Another way. seeing how it works in combination with a kakari from the outside.In conclusion This is what to expect of a three-three point invasion made out of the blue. In the next chapter we will return to this invasion. 128 . 10 and 11. as in either of the two diagrams above. so to speak. Except in cases such as Dias. is with a three-three point invasion at ‘a’.
If Negru plays ‘a’. 129 . 1.The usual answer to Alb 1 is either ‘a’ or ‘b’. then he may be able to keep Alb in the corner. Dia. and what follow are only the most common of them. if there are other Negru forces in the area. the standard joseki calls for Alb to play hane at 3. The same pattern can arise from an attack on an ogeima shimari based from the three-three point. to ‘a’. 3. Inner hane Dia. Negru plays 6. and Alb extends on the left side to 7 or. Dia. Negru and Alb connect at 4 and 5. When Negru has the formation shown here. Alb 1 has a way of leading to very complicated sequences. 2. If Negru plays ‘b’. but there will be cutting points left in his shape which Alb can take aim at from the outside. Let’s start by considering the case in which Negru answers Alb 1 by defending his corner with 2. In the simplest continuation. then Alb can develop a position on the left side while slightly reducing Negru’s corner territory.
The order of playing 3 and 5 is important. If Alb reverses them. Dia. 7. 3. If Negru protects against the former by playing 10 in the next diagram . and so Alb does not have room for a satisfactory extension on the left side. Alb 7. 6. Here Negru has a stone at Δ. 7. Dia. inviting Negru to start a ko fight. and a ko fight.Dia. 130 . Negru ‘b’. and 9. then Negru can play 6. into the center. What if Negru answers Alb 3 by cutting at 4? This too is joseki. Instead of following Dia. or he can play ‘a’. . If Negru does not play 6. . Dia. This gives him a very nice base from which to extend down the left side or. again expecting Negru 6. 4. Alb ‘c’. as here. threatening both ‘a’ and ‘b’. Negru ‘d’. depending on the surrounding positions. He need not be afraid of the cut at ‘a’—Alb ‘a’. or he can jump out to ‘b’. Alb will make a wall with 11 and 13. The way for Alb to handle it is to play 5. he now makes a kaketsugi at 5. and Alb dies—and Negru 6 prevents Alb from extending into the center. 5. Alb can get eye shape by playing there himself.
since he is not afraid of Negru’s playing 6 at ‘a’. and Alb does not want to invade at the three-three point for fear that Negru will get too much territory on the outside. In this variation Negru plays 4 instead of ‘a’. 9. If Alb simply extends to 5. There are a good many other variations besides the ones above. 8. Negru can pressure him with the sequence from 6 to 10. But here Negru has an ogeima shimari. and now Alb can play 3. 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.Dia. Dia. This joseki is frequently used when Negru has an extension like Δ. 131 . but has the advantage that Alb cannot play 6 in sente. This gives up points in the corner.
Next Negru plays 6. Dia. when Negru has a one-pointjump shimari. Dia.Outer hane Dia. although ‘a’ and ‘b’ are other possibilities. 132 . There is a second way for Alb to play counter-hane with 3. which is sometimes correct. 10. and Alb lives in the corner. If Negru connects at 4. We leave you to find for yourself what happens if Negru plays atari at ‘b’ instead of 4. and can aim to cut at ‘a’ later. the standard joseki calls for Alb to play counterhane. with the cut at ‘a’ or the squeeze-tsuke at ‘b’ left as sizeable threats. then Alb’s connection at 5 is the usual play. as shown here. In this diagram Alb gets a good life in the corner. 11. 12. Once again.
Sacrificing two stones. Dia. 13 Dia. 15. 131 133 . and then live by crawling along the second line. etc. This is one of the more complicated variations.). Alb can play 11. a tesuji worth taking note of. 14. Alb can play 17 here. then a crawling battle develops on the left side. If he cannot afford to live so humbly. the outcome of which will be determined by the presence or absence of other stones in its path. If Negru plays 18 as shown. Negru ‘b’. 13. Dia.Dia. but Alb can cope by cutting at 7. (Alb ‘a’. 13. then Alb plays 18 and gets up to the third line and out into the open. Negru seems to be trying to kill all the Alb stones when he plays 4 and 6. If Negru answers at 19. and 15 in sente.
surprisingly complicated family of variations starts when Alb plays ‘a’ instead of 5. The mutual connections at 4 and 5 form one joseki. an important tool for getting into a territorial framework based around a stone on the four-four point.Dia. and Alb can live safely with 7 to 13. The joseki shown here is about like the one in Dia. Following the last diagram. except that now Alb gets his best result by playing nobi with 3 instead of hane. He has something to aim for in the cut at ‘a’. Another. It is. Dia. 134 . Alb can also play 3 like this. 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. Dia. however. Negru will play 6. 18. In conclusion The tsuke at 1 yields far more complications than the simple three-three point invasion of the last section. but we leave that for a more advanced book. The last combination of possibilities is when Negru has an ogeima shimari and answers Alb 1 from the outside. 16. As before. 10.
The first is that from 1 Alb can slide into the corner by playing ‘a’. Alb can go right to 3. when Alb plays against a stone on the four-four point. and Alb comes skipping out of the corner at 11. 2. so he has to make do with the shapeless tight connection at 10. The second reason is that Alb 1 works well with an invasion at ‘b’. Alb 1 in Dia. if Negru answers Alb 1 with a squeeze play at 2 in Dia. he is more concerned with making shape on one side or the other than with ravaging the corner territory. Negru would like to make a kaketsugi by playing at the point on which Alb 1 rests. but he cannot. After Alb 9. For example. More often than not. 1 is the best kakari to make against a stone on the four-four point. All other things being equal. but it need not go to waste. however.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. moves which make an immediate penetration into the corner. Alb can play 135 . for two reasons. and then he will make a kakari from the appropriate direction.
Negru may answer at 3. which is mostly Negru’s domain. and frequently the conditions dictate some choice other than Alb 1 in Dia. Alb would like to deal quickly with the left side. expecting Negru ‘b’. Later. Usually he plays his kakari at 2. If Alb made a kogeima kakari. a common opening position. as at 2 in Dia. he can play another ogeima kakari at ‘a’. (or right away). 1.‘a’. 3. he could not expect to keep sente. But a kakari is made in order to develop on the side. and he has a useful move at ‘b’. In Dia. and Negru’s corner territory will not be unduly large. too. 4. but Alb can then leave the left side as it is and turn elsewhere. After Negru 3 he would still have to defend against the possible invasion at ‘c’. 136 . then turn to some other part of the board where he has more of a chance to make territory. attacking Negru’s eyeless group.
reducing Alb’s left side to easily manageable proportions. and Alb can continue with 3. and starting to make a large area of his own on the upper side. as in Dia. Negru would answer with 2 and 4. 6.Dia. If Alb played a kogeima kakari. 137 . Negru 2 is the usual answer. 5 shows one kind of position in which Alb should make a high kakari at 1. using his wall in the lower left to develop a huge potential area.
because Negru can always jump out to ‘d’ to keep Alb from getting any territory on the left side. 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. then after Negru 2 he would be vulnerable to an invasion behind 1. Compare this with Negru ‘a’. 138 . There would be no point in playing 1 on the third line. where it will be of use in the fighting to come in the center. The choice of Alb 1 is easily understood.In Dia. Better to have 1 up on the fourth line. say at ‘b’. (at ‘c’). If Alb played any higher up.
but if there are some additional Alb stones in the surrounding area.There is a wide choice of ways to answer a kakari. supporting an extension to 1. ‘a’. Another weakness is that Alb may sooner or later play 3 in Dia. who will have to care for two weak groups while Negru attacks from his own strong one. or to one of the points marked x. 23. The chief weakness in this move is that Alb can still invade the corner easily at ‘a’. Now let’s look at a few more. Negru 2 makes a good base for jumping out into the center. then Alb 3 becomes very effective. Considered in isolation. 10. 139 . 8 are reasonable answers to Alb 1 in various circumstances. or ‘b’ in Dia. 11. aiming to slip under Negru’s stone to ‘b’. and it will be treated in sections 21. in Dia. 9 is the one-point jump at Negru 2. all of the points marked in Dia. Besides starting to build territory on the upper side. and 25. Dia. 11 is not very good for Alb. The standard answer to a kakari at 1. You have already seen a couple of them in the preceding diagrams. 24.
for defensive purposes. Negru can make a secure corner enclosure with 4. Negru 2 in Dia. Alb ‘b’.In Dia. It aims at making a larger corner territory than Negru ‘a’. in Dia. 14. threatens an invasion at ‘c’. Then if Alb attacks with 3. Negru 2 is often used when Alb plays 1. but it is not as strong on defense. and it is still used. for instance. 12. or ‘a’. With the Alb stone so 140 . Negru would do well to play 2 on the third line instead of at ‘a’. for instance. 13 used to be the standard reply to Alb 1.
This Negru 2 and the Negru 2 in Dia. Negru 2 secures the corner. It would be an over concentration of strength. and Alb could easily invade at the three-three point. 141 . and so there is not so much point in his playing 2 at ‘b’. 12 will be mentioned alongside the one-point jump in sections 21. 15 we have a good case where Negru 2. or Negru ‘a’. is correct. Negru should play this way whenever he already has a strong formation around the middle of the upper side. and of course it also attacks Alb 1. Negru 2 in Dia. and 25.far removed from the corner there is not much point in Negru’s advancing toward the center. 24. In Dia. 16 would be incorrect here.
142 . 17. 19 is also made for constructive purposes. A kakari is not as pressing an attack as the three-three point invasion or the three-four point tsuke. Squeeze plays are common. and nothing too serious will happen if Negru lets Alb attack a second time. an interesting idea that we will be looking at in section 27. A squeeze play may be used to keep Alb from building territory on the side. Finally. one common answer to a Alb kakari is no answer at all. too. as in Dia. The squeeze play in Dia. and we shall study these double-kakari joseki in sections 28 and 29. or to construct Negru territory there. as in Dia. 18.The tsuke responses to a kakari are treated in sections 22 and 26. Alb usually makes his second move from the other side.
easily defended positions. in which Negru answers Alb’s kogeima kakari with a one-point jump to 2. let’s get Alb’s main weakness out of the way first. The variation on the right.SECTION 21 Basic joseki 21 If we survey recent Japanese professional games. and Alb makes a two-point extension to 5. Negru defends at 4. If Negru does not mind solidifying Alb’s position. is quite similar and will also appear in this section. Observe that Alb’s stones in the basic joseki are all on the second or third line. 1. in which Negru makes a kogeima with 2. it seems that the most frequently used four-four point joseki is the one on the left above. Alb’s weakness Dia. (next page) Since we will have lots to say shortly about Negru’s weaknesses in this joseki. 143 . Both sides get stable. he can make it even harder for Alb to reach the center by playing the moves in this diagram. Alb slides into the corner at 3. This means that it is not so easy for him to extend upwards into the center.
Just from the standpoint of corner territory.Dia. 2. On the upper side Dia. 2 in this diagram and the last is such a big point that Negru should seize any reasonable excuse to play it. Even when Negru has made the defensively stronger kogeima. Alb has a good move at 1. Negru 2 is usually the correct answer to Alb 1. he will find himself short of eye space. The drawback of this move is that it gives Negru a good attacking point at ‘a’. he can play 1 here instead of extending on the third line. 4. Dia. since if Negru lets Alb play both 1 and 2. A Negru extension to the point ‘a’ is a large move. If Alb wants a higher position. 144 . If Negru does not get around to playing ‘a’. it is a good idea for him to answer 1 at 2. 3. it can almost be considered as part of the basic joseki.
5 at 8 still gives him a big profit. Alb has made a big gain as compared with a Negru play at 1. 145 . If Negru fails to answer Alb 1 in the previous diagram. let’s see what happens when Alb plays 1. he may fall victim to this sequence. If Alb cannot afford to have his two stones on the left side cut off. Later.Alb plays the key point in the corner Dia. but that gives Alb the play at ‘b’. Occasionally Negru plays 4 at ‘a’ to make eye shape. Dia. although this solidifies Negru’s corner somewhat. 6. 5. Dia. by playing 2. he can gain some more by exchanging 3 for 4. 7. This is more a middle game move than an endgame move. Since it is so large. Even if Negru does answer Alb 1. although it is usually too slow to be worth playing in the opening.
Alb easily connects to his stone on the upper side. If Negru connects at 3. 146 .) Now it is too late for Negru to make eye shape by defending at 1. To point up one of the principal dangers in this joseki. suppose that Negru has let Alb play both of the stones marked Δ in Dia. 8.Dia. Negru could follow this way if he had exchanged Negru ‘a’ for Alb ‘b’ before playing 1 in Dia. 9. Dia. and Negru is in trouble. 8. since Alb can play 2. (What we have to say here applies equally to the case where Negru Δ is on the fourth line. 8. but of course that would strengthen Alb on the upper side.
plays Another idea is to play 3 and 5 this way. There is one major variation in this joseki: instead of defending his corner. we will see what happens when Negru prevents Alb 3. coupled with the extension down the left side or the play at the three-three point in Dia. In conclusion The key move in this joseki is Alb 3. 11.Alb Dia. letting Alb take the three-three point with 5. Negru is in trouble again. Alb plays 9 at ‘a’ or ‘b’. or at 10. Variation in the basic form Dia. 11. 10. 147 . gives Alb plenty of room for two eyes. The simplest continuation is the one shown. which slides into the corner and. but when hane at 8. In the next section. Negru can play 4 on the outside. a straightforward exchange of corner territory for an outer wall. In other variations.
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. but they have little offensive meaning. which leave Alb less room to make trouble in the corner. When to play the diagonal tsuke Dia. 1. 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. Negru 2 is standard practice.SECTION 22 When Negru wants to keep Alb from playing the keima of the last section. When there is a Negru stone at or around Δ. 148 . are sometimes appropriate instead of Negru 4. he exchanges 2 for 3 above before jumping out to 4. preparing for a capping play at ‘b’. Negru 4 is also an attacking move. Negru ‘c’ or Negru ‘d’. but it is obvious that his three stones are badly overcrowded.
2.Dia. If Negru lets Alb broaden his base by sliding into the corner at 3. Negru can continue his attack as shown. 149 . Dia. the Alb stones will be much safer. 3. Compare Alb’s narrow shape here with what is in the next diagram.
The space between Alb 1 and 3 and Alb 5 is still too narrow for comfort. 150 . Notice that Alb plays 5 on the fourth line. If he played 5 on the third line. Dia. will become a good maneuver for Negru. for Alb is afraid to extend any farther down the side than to 5 because of Negru’s thickness in the lower left corner. Negru ‘c’. getting ready for activity in the center. Negru 2 and 4 are also appropriate here. 4. Here is a common opening position in which the diagonal tsuke is used.Dia. 5. 6. his position would be too cramped. which defends the corner while damaging Alb’s shape. and Negru could attack from the outside at ‘a’. Dia. Later on Negru ‘a’. Alb ‘b’.
Dia.The three-three point invasion We now come to the problem of Alb’s invasion at the threethree point in this joseki. 8. Negru should reply at 2. Alb should have waited until his stones on the left were a little bit safer. but . Alb 1 in Dia. 7. 7 was played too early in the first place. When the Alb stones on the left side are still weak. Negru 2: first variation Dia. Indeed. Alb can live on the upper side by playing 3 and 5. the three-three point invasion is a bit dangerous. we are going to spend some time going through the fairly complicated family of variations. and it is not going to be much fun for Alb to take care of his original three stones on the left side. Negru is alive in the corner and has become very strong on the outside. 151 . . and after Negru 14 Alb still needs another play on the upper side. and since it is so common. . The joseki continues this way.
10. Especially with Alb Δ on the board. and Negru 2 in Dia. it is important for Negru to preserve some eye space in the corner.Dia. Alb broke out along the upper side. In the last two diagrams. Another way for Alb to play is shown here. but there remains the possibility of Alb ‘a’ or ‘b’. the Alb position is safe beyond all attack. attacking them. Negru 2: second variation Dia. Now Negru confines Alb to the corner. Usually Alb plays the three-three point invasion when his stones on the side are still a bit weak. and that he can do by sacrificing one stone in the way shown. Sometimes. is the best reply. 152 . but Negru lived in the corner and was left with no weak points at all to worry about. and the Negru stones do not have two eyes yet. however. 7. 9. and then Negru should play 2 as follows. starting with the diagonal play at 5 instead of the previous move at 6.
he should exchange 1 for 2. In this kind of position. He is aiming at the point ‘a’. Dia. but his eye shape was already secure. Alb gets to make a pon-nuki in sente. 13. 10. Dia. 153 . is that there are weak points like ‘b’ and ‘c’ in the corner. the corner is safe. After this.Dia. This time Negru connects at 4 instead of playing hane at 5. The only drawback of this joseki. 12. Alb may not bother to answer at 2. as compared with the one in Dia. so it does not matter very much. but that is another matter. Here we have another joseki starting with Negru 2. 11. if Negru has a chance to do so before Alb comes crashing into the corner. of course.
After answering Negru 2. 14. waiting for the right moment to put Alb 1 to use. There are yet other ways to answer the three-three point invasion. 7. and of course there may develop the possibility of Alb ‘b’. but he is going to suffer from Negru 4.Negru 2: other variations Dia. but he can make shape with 5. 15. The exchange of 1 for 2 has not cost Alb anything. 16. His extension to 9 is safe because ‘a’ is his sente. and he can leave the corner as it is with a clear conscience. A similar idea is to reverse the order of 2 and 4. Dia. Alb may be able to live in the corner with 3 and 5. This is sometimes the best move. or at ‘a’). Alb can no longer live in the corner. and 9 on the upper side. 154 . (or by playing 3 at 5. One final answer to Alb 1 is the connection at 2. this diagonal play is often a strong move. but unlike the moves studied previously. Dia. it in no way strengthens Negru’s position or attacks Alb’s.
155 . and the rest of this section will be spent looking at some of the various extensions and their meanings. The point of extension varies. it is not unusual to find Alb just making an extension of his own on the left side. Alb can live in the corner by playing 1 to 9. although 3 above is the one most often correct. 17. SECTION 23 When Negru extends to 2. and Negru 8 undermines his position on the left side. He lives rather small. Alb should look for the earliest good opportunity to challenge Negru at the threethree point. according to circumstances. In conclusion Aggression is the theme of this joseki. of course. At the right time. (or ‘a’ or ‘b’).Dia. and Negru should not be afraid to trade his territory for a chance to attack on the outside.
Dia. but although this move has some value in cramping Alb’s style. the usual vulnerable point of an extension on the fourth line like Alb 3. 156 . Alb does not want to extend any farther than 3 for fear of an invasion between 1 and 3. is almost worthless to Negru since Alb can jump out to ‘b’ from the lower left corner. but Negru can build a large prospective area in the center with the joseki up to 8. What if Alb plays into the corner with 3? This may not be necessarily a bad move. as you will remember from the last section. 2. Dia. Alb can still invade the corner at the three-three point. Notice that ‘a’. 1 shows one setting for the joseki above. Negru can play kikashi at 4.
As the mid-point between Alb 1 and Δ. Dia. Here. This is about like Dia. Alb 3 seems to strike the right balance on the left side. however. except that now Alb has played 3 on the third line for reasons shown in the next diagram. With the present Alb structure. ‘a’ might seem like a better extension than 3. Dia. he will have to do so between 3 and Δ. 4. The joseki of section 21 would be another good choice. if Negru invades.Dia. 157 . 1. and there will be two strong Alb stones on either side of him. Another setting for Alb 3. 3. If Alb played 3 on the fourth line. Negru 6 would become too good an attacking move. but there would be room for a Negru invasion between Alb 1 and Alb ‘a’. Dia. 5. 6.
8. because that greatly lessens his chances for a successful invasion at ‘a’. which in this particular case seems to be right. Dia. To extend any farther than 3. Here Alb makes a three-point extension on the third line. A two-point extension is thinkable. 9. but then Negru could play 4 and 6. and Alb’s position would be too narrow. would be just a bit reckless. however. Negru should not play 1. but with the upper left corner open and an extension from Alb 3 to Alb ‘b’ still possible. Dia.Dia. Alb should be able to handle Negru ‘a’ well enough. There is some danger from a Negru invasion at ‘a’. 7). 158 . (after Dia. 7.
This strongly defends the corner. Negru can invade at ‘a’ and almost surely capture the upper one of Alb’s stones. Alb’s invasion is the subject of the next section. 11. mainly because the corner is still open. 12. Instead. we see Alb making a five-point extension. Often the main point of this joseki becomes whether Negru gets to defend the corner. as compared with his cramped one in Dia. With this much open space on the side. 159 . In conclusion Alb’s immediate extension down the side leaves a rather unsettled position.Dia. as in Dia. 10. 10. Dia. The reasoning is that if the exchange of 4 for 5 is made later. Dia. Alb will have a satisfactory shape. and if Alb fails to play 2. 10 or 12. he should look for an opportunity to play 1 here. before Alb invades it at the three-three point.
160 . and then Alb can come out of the corner to 9 on the upper side. but he can afford a moderate loss there since he has completely taken over the corner and the upper side. Alb 1 is an alternative to Alb ‘c’. it may be because he wants to keep open the possibility of playing 1. or ‘b’. Negru cuts Alb 1 off from the outside with 2 and 4. and so is Negru ‘c’. Dia. and Alb invades at the three-three point. and when Alb does not play ‘c’. Negru has extended to Δ. Negru plays 8 to take command on the left side.SECTION 24 In this section we will consider what happens when Alb has made a kakari. ‘a’. Alb lives with 7. but is forced to connect in bad shape at 6. which prevents them. 1 shows the most typical joseki. Obviously Alb had better consider what is going to become of the left side before starting in on this joseki. Later Alb may be able to do something on the left side by playing ‘a’ or ‘b’. Both Alb 1 and Alb ‘c’ are quite large.
3. on the one hand. 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. Instead of letting Alb run out along the upper side as in the last diagram. Alb can sometimes fight by playing ‘a’ or ‘b’. and can hope for territory between it and the wall he builds. Negru ‘c’. This is suitable mainly when Negru already has a stone somewhere around the middle of the upper side. The drawback of this idea is that even though Alb’s corner is not alive after Negru 16. 161 . Negru can reduce Alb’s corner to seki in sente. 17 is an interesting move. leaving Negru to deal with the cutting stone Δ as best he can. 2. Alb ‘b’.Dia. Or Alb can just play 17 to live. but then Alb can push out at ‘d’. Negru can play ‘d’ in sente. On the other hand. but then Alb plays ‘a’ and gets the maximum possible amount of corner territory. Dia. starting with Negru ‘a’.
He can play 10 and 12 here to hold Alb into the corner. then jump out to 9.Dia. but just play the important point at 10. 162 . or some good reason for hanging on to his territory on the upper side. since he has given up the corner and gained nothing on the left side. 4. and what he can do to prevent it is to play kaketsugi at 5. Presumably he will not try. should he get to play it. 6. Negru cannot cut the connection between 9 and the corner because of Alb 5. When Negru has a stone at Δ. Negru should do this only when he has some particularly good use for sente. and Negru ‘a’ looks bigger. A completely different way for Negru to deal with Alb’s corner invasion is to let Alb connect to the outside. Alb may not want him to play as in the last two diagrams. Dia. In this joseki ‘a’ is left as a large endgame point. The exchange of Negru 6 for Alb 7 is played to make sure that ‘a’ will be Alb’s gote. 5. but in this case these plays come too close to Negru Δ to be worth much. Dia. making territory on the upper side. in return for sente.
8. Because of this. 7. 163 . Up to Alb 7. After Alb lives with 9 and 11.Dia. Negru cannot always play this way. Alb may be not so willing to invade as he was when Negru Δ was on the fourth line. Here we see the three-three point invasion into the kogeima formation made by Negru Δ. however. 1. Dia. making excellent shape on the outside. see the next two diagrams. Negru can often continue by playing 8. the moves are the same as they were in Dia. Negru defends his cutting point with 12.
When Alb has a stone at Δ. After Negru 16. 10. Instead of trying to block Alb. This time he crawls out at 5 before playing the hane at 7. When Negru makes the ogeima extension at 2.Dia. 12. 11. Dia. pressing from above and then playing 10 to defend his shape. The joseki continues with Alb living in the corner in sente and making shape on the left side with 13 and 15. 9. a Alb extension on the left side and a very wide Negru one on the upper side are to be expected. Negru should play 8 this way. 164 . it is joseki for Alb to invade the corner immediately at 3. even though Alb is not yet alive in the corner. Negru is in considerable danger after the cut at 11. Dia. Dia.
There is the compensating advantage that Alb can. 165 . so rather than burden himself with weak stones there. letting Negru have the point 9. 6. perhaps. Alb would have no room to extend on the left side if he followed Dias. In conclusion Such is the size of the corner that the invasions of this section are played quite early. and that he will not be giving Negru too grand a territory there. 13. and 8. generally in the late opening stage of the game. he plays 4. play ‘a’ later and cut off Negru Δ.Dia. Alb should not hesitate to jump into the three-three point. Provided that making territory on the outside is not essential to his overall strategy. The three-three point invasion is often used to answer a squeeze play. This time. 11-12.
Another possibility would be to invade at the three-three point and take the corner. else Alb takes the same point. but then 166 . The purpose of this move is to make shape on the left side when there is not room enough for an ordinary extension. Negru almost has to play 2. 1.SECTION 25 After a Alb kakari and a Negru extension. Alb 1 could be used in the presence of Negru Δ. the tsuke at Alb 1 is another possibility worth considering. and then there are two possibilities for Alb 3. Alb 3: first variation Dia.
because Negru can cut at ‘a’. and even then he may not like this result. he can next capture the corner with ‘b’. and when Alb plays 5. Sometimes there is another way for Alb to answer Negru 4. as shown in this diagram and the next. 167 . Alb 3 and Negru 4 are both good.Alb would lose any chance of attacking Negru Δ. Dia. If Alb ignores a Negru ko threat be can cut at ‘a’. and provided he has a ko threat of his own big enough to keep Negru from then taking and connecting the ko. Dia. a big ko fight is in the offing. 2. Alb should only play this way if the shicho in which the sequence ends works for him. 3. aggressive moves.
who can get excellent eye shape with ‘b’. but at the same time Negru’s corner has become secure. While cuts at 7. At the end of this diagram Alb has made an eye. and pushes at 11 to give himself some room for the outside group. but then Alb could extend to T. but then Alb would develop upwards with 9 and 11. Dia. then . 7. More aggressive than the previous Negru 4 is the move shown here. 4. Negru 8 at ‘e’ would be another possibility. Dia. 6. which aims at handling the situation without re-course to ko fights or shicho. but this makes life too simple for Alb. Negru can play atari at 6. Another possibility for Alb is the hane at 3. 168 . connects at 9. . One better way for Negru is to play a second hane at 4. Faint-hearted Negru players sometimes answer Alb 3 by connecting at ‘a’. 5. and there remain the points ‘c’ and ‘d’ at which Negru can attack. By playing this atari and pushing through at 6. Dia. .Alb 3: second variation Dia. Now when Alb plays 5. Negru separates Alb’s stones into two weak groups. Negru could answer Alb 7 by capturing.
(starting with Alb ‘a’. The exchange shown here is often played before making an extension down the left side.Dia. Dia. Notice the possibility of ko left behind. 10. There is also a hane variation. 9. When Alb has played his kakari at Δ. 169 . Negru ‘b’. Other settings for the tsuke Dia. 11. the three-four point tsuke is the usual way for him to bite into the corner. Dia. Another way is for him to give up the corner but make shape on the outside. 8. since it keeps Negru from playing a similar tsuke at ‘a’. One way for Alb to continue is to live in the corner with 13 and 15. in which Alb plays 3 to trade the corner for the outside. Alb ‘c’). Of course this leaves his outside stones pretty weak.
he leaves Alb a lot of room to play around in the corner. his position can be attacked with some force at ‘a’. In conclusion Bear in mind that in most cases. Negru 4 is a strong and sure answer. when he is threatened with annihilation. Although he can now play tenuki. when Negru answers Alb’s kakari simply by extending.Dia. This is the standard joseki for making shape on the left side when Negru has played an ogeima extension at Δ. 12. and Alb plays 5. Alb cross-cuts at 3. If Negru seems to come out ahead in some of these sequences. (Negru 2 is a tsuke 170 . the purpose of the tsuke is not to make territory. A joseki that solidifies the corner immediately is the tsuke-osae above. SECTION 26 As has been seen in the last few sections. it is an indication that Alb should save them for use in real emergencies. but to defend against attack. and 9 in sente. 7.
) After playing atari with 5. Negru can also just answer 7 at 8. 2. 171 . it behooves Alb to defend one of his cutting points. This leaves him the possibility of playing ‘a’ later. If Alb plays 11 at 12. with a ko left behind for later. although there is the danger that Alb may play ‘b’ before Negru gets into action. When Alb connects here with 7. Dia. Alb 7: first variation Dia. or even ‘b’. hence the name. 1. Negru can capture one stone in sente.and Negru 4 an osae. Negru gets to play ‘a’. on the left side. and he has at least three choices as to how to continue. then extend along the upper side to or in the direction of 12.
Alb 7: third variation Dia. This looks very good for him.Alb 7: second variation Dia. he has an excellent opportunity to cut at 8 instead. The cut at ‘a’ is another possibility to consider if the conditions are right. too. Another move that defends the left side territory. Alb 7 is one move that Alb employs when he is in a position to make the left side his territory. again Negru usually extends to 8. is this Alb 7. When Alb connects at 7 in Dia. 4. Negru 10 threatens Negru ‘a’. Negru can answer by protecting his corner at 9. and then Negru captures a Alb stone with 12. 172 . so Alb has to play 11. 3. and one which threatens an incursion into the corner. 3. but if he is willing to risk a loss there.
7. Here Alb already has a stone at Δ when he plays his kakari. Alb 3: another possibility Dia. but needless to say.Dia. and that makes the tsuke-osae especially appropriate. and Negru has gained a definite advantage. Dia. His corner is better defended by 12 than it was in the previous variation. Alb will play 2 and live. Actually. Negru can also play atari with 10 instead of blocking at ‘a’. In this diagram Alb Δ conies out at least one line too close to the Alb wall to be efficient. 5. but any of them would produce the same kind of over-concentration as shown in this diagram. Dia. 6. 173 . If Negru plays 2 at 4. it is not as good as it looks. 6 is the beginning of a long and hard fight in the center. Alb could choose one of the other variations studied above. because Alb can invade the corner with 1.
8. Negru will definitely play 4 from underneath. and instead of 7 Alb will have to play ‘a’. Then. Dia. If Negru tried to play 6 at 9. There is a way for Alb to deal with this problem. although it depends on shicho. Negru plays double hane at 10 and 12 in sente. which we have shown here. Negru ‘d’. limiting Alb’s take in the corner and leaving him with some cutting points.Dia. 10. 9. Alb ‘c’. Negru can take a large upper side with Negru ‘b’. he can push in between Negru’s stones at 3. After this. Dia. Alb would cut at 6 and Negru would be in a little trouble. but later he can come back and cut at 1 in the next diagram. and Alb gets to come into the corner at 9. After atari at 4. If the shicho works. Negru must connect at 6. the next order of business for Negru is an extension on the upper side. This is the shicho. even without putting 2 in motion. 174 . If it does not work. There is an interesting sequel to the sequence in Dia. 8.
8 without having a stone already in place around the middle of the left side. In conclusion Negru’s tactics in this joseki may lack the light touch. The tsuke-osae. 12. and then Negru can make shape on the left side. This. but at least he has destroyed most of Alb’s left side territory. is a maneuver that can be played anywhere along the side where Negru has territory to defend. incidentally. as shown in the next diagram.Dia. 11. Negru could do still better. Alb Δ is in his way. 175 . (else Negru plays ‘a’). Negru plays the squeeze-tsuke at 5 and makes quite good shape all around. is why Alb does not normally play Dia. not just in the corner. but the way. but they defend the corner strongly and are often used by professional players. After Negru 3. Dia. If Alb Δ were not on the board. Alb has to capture the stone in the corner. With more open space on the left side.
a Alb stone there would completely reverse the situation. Other cases would call for other squeeze plays.SECTION 27 There are many occasions on which Negru answers a Alb kakari with a squeeze play. The easiest way for Alb to answer any squeeze play is to go in to the three-three point. The last of these cases is illustrated in the sequence above. 176 . To understand the power of Negru 6. or to keep Alb from doing so. look at what happens when Alb tries to push out toward the center with 7 in Dia. and the onepoint squeeze play happens to be a good way to start. Negru 6 is the key move of this joseki. he may want to make territory on the left side. as above. or even to make good shape on the upper side. 1. Negru is trying to make full use of his stone Δ by building a wall facing it.
Alb has maybe ten points in the corner. More simply. with little chance for growth. That leads to this position. Dia. After Alb 13. 2. 177 . play ‘a’ and let Alb try to get away with ‘b’. 1. in which Negru has built a strong wall and can look forward to a large territory on the upper side. he can play ‘b’ himself. he can. if he is strong enough in the area.Alb’s failure Dia. Negru pushes through and cuts on both sides with 10 and 12.
Instead. 3. 178 . 4 is also joseki. but this time his territory on the upper side is not complete until he plays ‘a’. Notice that if Alb plays ‘b’ on the left side. but his prospects for breaking through on the left side are slightly better. Dia. In this joseki Negru can sometimes omit. 10. Alb does not have the way into Negru’s upper side that he had before. 3. The last two diagrams are not joseki. Again Negru makes a good wall with 8 and 10. he is threatening to connect at ‘c’.Joseki Dia. and Negru does not have the chance to play tenuki that he had in Dia. Alb should play 7 in this diagram. although that leaves the threat of Alb ‘d’. or postpone.
for then Alb can get eye space for his group by slipping under Negru’s stones at 5 and 7. Dia. 179 . 1 and 2 is followed. 5. ‘a’ is left as a big point for either side. If Alb had a strong position in the lower left he might answer Negru’s squeeze play with this one-point jump. The danger in playing 3 is that if Negru 2 gets away. When Negru plays 2 there is also a variation in which Alb plays 3 at the three-three point. Alb does not have enough room on the left side to make two eyes. and a sequence something like the one in Dias. In this joseki. The one-point jump is more appropriate when Negru has made his squeeze play on the fourth line.Alb 3: one-point jump Dia. 6. intending to follow with an attack on the left side.
Negru makes his original squeeze play a bit farther from the corner than before. Negru 12 is one way of ending the sequence. This kind of play was studied in section 4. Double kakari joseki are the subject of the next two sections. Negru is aiming at a larger territory than in Dia. In conclusion In answer to any squeeze play. Negru 12 here is another way. There is. If Alb starts to attack the Negru stones with 1. Negru can also just push Alb along by playing 12 at ‘a’. another way— one that is often used in handicap games because it can lead to complications—and that is to make a second kakari. Negru can play tenuki. For that matter. 9. Negru may lose some of his territory. Negru cuts him off from his stone at 1.Negru goes for the left side Dia. He also has the squeeze-tsuke at ‘a’ to use if he gets into trouble. 7. the three-three point invasion featured in most of the diagrams above is rarely a bad move. another way of lengthening his wall. Dia. When Negru makes his squeeze play in order to take territory on the left side. however. 8. he does things a little differently. The main difference is that when Alb invades the corner at 3. if possible. 180 . so as to leave more territory between it and the wall he makes. you may recall. In addition. 7. Dia. but he can counterattack with the sequence shown.
for one reason or another. A second kakari at 3 is a good way for Alb to continue his attack on the corner. 181 . Negru makes no direct answer to Alb’s kakari at 1. 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.SECTION 28 There are many times when. In this section we will see what ways Negru has to deal with Alb 1 and 3.
1. it is natural for Negru to block at 8. the key point for enlarging his left side while reducing Alb’s upper side. Before doing anything else. Negru has made his wall and is in a position to swallow up the left side. especially in handicap games. When Alb plays 7 at the three-three point. 182 . Since this formation is so common. including the Alb stone Δ. and the joseki gets a little complicated. ‘c’. That is the idea behind Negru 4. and Negru 6. however. A second kakari is one way of answering a squeeze play. building up power to use against the weaker one. (tsuke).Tsuke-nobi Dia. 2. we shall take the time to go through the variations from ‘a’ to ‘d’. he has a chance to play ‘a’. and ‘d’. At this point Alb has at least four choices. Dia. ‘a’. Up to Alb 13. The usual counter-measure against this double kakari is to push against the stronger of Alb’s stones. (nobi). for his next play. ‘b’.
If Alb omits 17 in the last diagram. after which a cut at 14 could be answered by Alb ‘c’. Negru has already gotten something out of his kikashi at 14 in that he has played 16 in sente. First Negru plays kikashi at 14. and Negru would have gote. Dia. he may be able to put 14 to use again. 3. Alb might answer by exchanging ‘a’ for ‘b’. Negru can surround him with these plays. and then he takes the key point at 16. 183 .Dia. later. Alb answers at 17 or suffers the fate shown in the next diagram. If he played 16 without playing 14. 4.
Dia. 184 . and this is joseki. By playing 10 Negru gets a high. 6. but let’s leave those. strong position with power on the upper side and in the center. which are a bit tricky. Although it may seem inconsistent with the original idea of going after the left side. This brings up the tsuke at the three-four point.Dia. The end result of this joseki is about like Dia. Later. There are some variations in which Alb plays 9 at 10 and Negru plays 10 at 9. letting Alb live in the corner and on the left with 9. 3. 5. Alb can cut at ‘a’ and take the corner. Negru can also answer Alb 7 with 8 here.
Negru blocks his thrust at 8. Alb does not want to let Negru cut at 11. following the course of Dia. in Dia. 7 and 8 are joseki.Dia. Both Dias. would involve a loss. 2. What if Alb invades the corner with 9? For Negru to answer by playing 10 at 12. 185 . so he connects there and Negru plays 12. 7. but his stones on the upper side are in rather bad shape. 3. Dia. When Alb plays 7 here. then fight on the outside with 14. He need not fear the cut at 9. getting into one of the tricky sequences alluded to earlier. since Alb has already usurped the point 7 which Negru took for himself. Better to play 10 as shown. (he would hardly exchange 7 for 8 if Negru had already cut at 11). for he can live in the corner with 10 and 12. 8. (at 16). After exchanging 7 for 8. At the end of this diagram Alb has the corner.
186 . In one well-established joseki. Negru 10 defends. there is this Alb 7. which Negru must block at 8. by the way.Dia. 9. while Alb makes weak. Negru lives in the corner and gets out into the center. and the sequence continues as in the next diagram. is necessary to keep Alb from invading the corner at ‘a’. See if you can work that out for yourself. Finally. Alb plays 9. 10. but hopefully manageable groups on both sides. Dia. threatening to push through at ‘a’. Negru 18.
The diagonal play at Alb 13 happens to be good in this position. Alb can wall Negru in by playing ‘a’. 11. and Alb’s wall will be a bit flimsy. If Alb captures at ‘a’. When Negru is not interested in attacking either of Alb’s stones. More often Alb connects at 9. Negru can still live in the corner. or he can wait to play on the left side himself. they are not the only ways. he can play tsuke-osae instead of tsuke-nobi to make sure of the corner. Diagonal plays Although tsuke-nobi and tsuke-osae are the most generally useful ways of answering Alb’s double kakari. which is sente since it forces Alb to extend down the left side.Tsuke-osae Dia. letting Negru move out into the center by playing tsuke-nobi at 10 and 12. Dia. After Negru 8. 187 . 12. After Alb 17. but then Negru will cut at ‘b’. Negru can make a living shape in the corner by connecting at ‘a’.
There is also. (or 3 and ‘a’). Negru will push and cut with 3 and 5. (Even a triple kakari. If Alb tries to blockade Negru with 2. with Negru going for the left side. at least he can get a living shape in the corner with the tsuke-osae joseki.Dia. Alb can answer it by playing 2 at the three-three point. 13 is rather like some of the previous ones in this section. 14. for that matter. where he already had the stone Δ. from which he can connect to either of his two kakari stones. 13. is not fatal to the corner stone. He is alive in the corner. The result in Dia. the diagonal move at the three-three point is good. for example. this diagonal play toward the center. and if he does not. When Negru already has stones on both sides. and Alb has two weak groups to try to save. 188 . In conclusion There is little to fear from a double kakari.) 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. Dia.
Negru can make tsuke plays at ‘a’ or ‘b’. The only new idea is the tsuke at ‘e’. where Alb has one stone on the fourth line. he should begin by playing tsuke against the Alb stone on the other side. 13 and 14 of the last section. Often a play at ‘d’. since his only way of coming out into the center is ‘c’. which is not always very good. which are exactly similar to the diagonal plays in Dias. ‘e’. The double kakari formation on the right above is the hardest one for Negru to handle. if Negru wants to attack on one side. We shall see him doing that in the next few diagrams. which are similar in purpose to the tsuke plays before. is much like the one studied in the last section.SECTION 29 The double kakari formation on the left above. He has diagonal plays at ‘c’ and ‘d’. Getting back to the formation on the left. 189 . or T in the corner is preferable.
This sequence can also be used when Negru is not interested in attacking. so he uses the tsuke on the right. Next he might play ‘c’. One way for Alb to respond is with the . Dia. Here Negru plays 1 in order to attack Alb Δ. 2. 3. Now Negru wants to attack on the left side. Then. 1. (Alb would push through at ‘b’). He cannot play 5 at ‘a’. but just wants to make a safe position. he plays 7.Negru plays tsuke Dia. not a large-scale move. but one which makes it easy for him to get two eyes. but after Alb 6 Negru has made a wall which works well with his stone in the middle of the upper side. lengthening his wall and further isolating Alb Δ. Dia. after Alb 6.
Alb can play 4 at the three-three point. Dia. the sequence comes out about like the one just before. and if Alb tries to escape with Δ. Instead of connecting with 4 in Dia. strong position on the upper side by playing this way. but since that would solidify Negru’s shape. 4. There is also the possibility of Negru’s trading the corner for a high. he will be in for a hard running fight.hane at 2 and the kake-tsugi at 4. Dia. . Alb can exchange ‘a’ for ‘b’. 5. It is also joseki for Alb to play at the three-three point immediately after Negru’s tsuke at 1. When Negru blocks at 3. with Alb eyeing the cutting point at ‘a’. Negru 5 takes the corner. 6. or anything else Alb might use to try to break up Negru’s territory. 3. Before connecting at 10. it would mean less chance for success with Alb ‘c’. Dia. letting Negru take the corner.
he will have no trouble managing his stones on the left side. If Alb lacks the ko threats. If not. and Alb might continue with an extension on the upper side. 8. ends with a ko shape.Diagonal tsuke Dia. Whether it is good or bad for Negru depends on whether Alb has enough ko threats to cut at ‘a’ or not. Negru naturally plays 3. in which case he plays Alb 2 in this diagram. the number of possible joseki is much smaller than before. (or tenuki). This joseki. and of course Negru has taken the corner and severely weakened Alb’s stone on the upper side. they may be rather cumbersome. which starts from the tsuke at 1 and the diagonal play at 3. he may want to avoid the result of the previous diagram. Dia. . Double high kakari When both of Alb’s stones are on the fourth line. If he does. 7.
Negru would do best to take the corner at 1. but frequently in even games as well. but Negru 3. and the joseki ends with Negru capturing one of Alb’s original kakari stones. Among professional players. Dia. spoiling Alb’s territory on the upper side. when high-speed opening development was the style. the four-four point is second in popularity after the three-four point for the opening play in the corner. is compensation enough. Alb naturally enters the corner at 2. Negru 5 at ‘a’. The four-four point was much in vogue during the ‘shinfuseki’ period of the nineteen thirties. 9. When Negru comes out toward the center at 1. because ft supports large-scale extensions without the making of a shimari. In conclusion This concludes our study of the four-four point joseki. . 10. an attempt to make a largerscale capture. With Alb Δ on the upper side.Dia. That lets Alb build on the outside with 2. might be better if Negru Δ were closer. They figure not only in all handicap games.
Alb is aiming at the upper side rather than the right side. and in order to make best use of the stone in Dia. 2. his whole opening strategy should proceed along those lines. Firstly. The invasion at 1 in Dia. he is going for quick outside development rather than corner profit. There are three common ways to attack a stone on the three-five point. Negru expects Alb to answer at ‘a’. like the Alb one in Dia. and will be satisfied to make a simple trade of corner profit for an outside wall. (section 30). (section 35). Two things can be said about a stone so placed. (and obviously). Secondly. . is the easiest. by attacking at ‘a’ instead of at 1. 1. 1. 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.
if Alb played there he would greatly expand his area. he attacks at 1 in Dia. 5. Alb has several squeeze and pressure plays to use against Negru 1. we have nothing special to say about the joseki which follow from Alb 2. Negru 3 is the key point. This pattern. (sections 31 to 34). 4 goes unanswered.When Negru wants to get his share of both the corner and the outside. 6. or ‘b’. in Dia. if he wants to make matters complicated. etc. In the rest of this book. Negru can also answer Alb 2 by invading. as at 3 in Dia. (or ‘a’. however. he may answer Negru 1 by just extending to 2. . If Alb’s sole purpose is to develop on the upper side.). often arises when Alb 1 in Dia. of course. 3. and the resulting joseki have a way of becoming complicated.
Or. 8. the opposite of Alb 1 in Dia. described in section 19. 7. although that shimari has a weakness at ‘a’. All three of these plays are strong toward the center but weak in the corner. various players have experimented with Alb ‘b’ or ‘c’ with mixed success. 7. Alb 2 is the usual . Alb can form a shimari with 1 in Dia.If Negru does not get around to making any attack. we shall drop the subject of Dias. is the simplest way to attack a stone on the three-five point. Instead of Alb 1 in Dia. if he wants his shimari to face across the upper side. This move may be compared with the three-three point invasion under a handicap stone. 7 and 8 here. but now the invading group cannot be confined as closely as it was there. an invasion at the three-three point. 8. Since we are not going into shimari joseki in this book. he can play 1 in Dia. SECTION 30 Negru 1. This makes Negru 1 rather attractive.
2. Shows the basic joseki pattern. if Alb plays 8 at 9. but keep in mind such other possibilities as ‘a’. for the ensuing fight will turn out well for him. What can he do? .response. and after Alb 6. but leaves the position as it is in Dia. 1. Alb 4: nobi Dia. he has sente. expanding his corner territory. 1. 2. then Alb may be the one to play next in the corner. In many cases he will make his next play somewhere on the upper side to counter the wall Alb has gotten. Negru pushes along the third line with 3 and 5. In this sequence. Dia. Negru should not hesitate to cross-cut by playing 9 at 8. ‘c’. it is also joseki for Negru to continue with these moves. or tenuki. If Negru does not play Dia. However. ‘b’.
Negru may. 5 shows a third way for Alb to assail Negru’s corner.Dia. is threatening the twin cutting points ‘a’ and ‘b’. 3. in many situations. Alb can capture either the Negru stone on the three-three point or the two Negru stones below Alb 1. If he plays tenuki after this diagram. you can investigate that possibility on your own. is gote. but after them ‘a’ becomes Alb’s sente. To begin with. . 2. Alb 1 is a fairly large move. however. If Negru answers at 2. then Alb. 4. do better to answer Alb 1 at 3 instead of at 2. you can appreciate the value of the moves in Dia. Looking at the last three diagrams. after 3. and Negru is at a loss to find a good answer. Dia. Alb 1 and 3 are gote. Alb 1 here is another possibility. Dia. putting Alb in a position to profit on the right side as well as in the center and on the upper side. Alb 1. Negru’s corner is still perfectly safe.
If Negru does cross-cut at 5. This sequence is not joseki: if the shicho works it is bad for Negru. Negru is alive in the corner. since Negru may be able to cross-cut at ‘a’. but if Alb can capture Negru 5 in shicho by playing 10. Dia. which is a great help to him in managing his stones there. (either of them threatens to kill the comer). On the upper side Alb can play ‘a’ or ‘b’ in sente. With the shicho not working. . Negru 9 is necessary.Alb 4: hane Dia. 6. Unfortunately. 7. this is the standard joseki. and the cross-cut at 5 is wrong. Alb would like to answer with 6 and 8. Alb 12 at ‘b’ is also possible in this joseki. and a fight in the center involving Negru 5 and 13 and the two separated Alb groups is about to take place. he has by far the better position. 8. while if the shicho is broken then Alb 8 and 10 are incorrect. this gets a bit complicated. It would be unfair to leave this joseki without showing what happens when Alb plays hane at 4. instead of nobi at ‘a’. Dia.
11. and Negru will have to reply with 5 to 9. Negru would cross-cut at 5. let’s look at it in operation during an actual game. Before leaving this section’s joseki. When the shicho works for Alb. The shicho is against Alb. 10. this is joseki. As a sequel to the last diagram. Alb cannot do much on the right side. 4. so he has to connect at 8 and follow the sequence shown. Negru invades at 1. Observe that after Alb has played 5.Dia. and 6. and then Negru plays 7. 9. What makes it disagreeable is that with the strong Negru stone at Δ. . on the upper side. Why does Alb let himself be pushed around like this. if Negru tries to cut at ‘a’. but since Alb still has the cutting point at ‘a’. Alb can push his opponent in with the tsuke at 1. If Alb did play hane at 4. Negru’s position is very low. or some such move. Dia. he will definitely play the hane at 4. instead of playing hane with 4 at 5? Dia. His weak stones at 10 and 14 will be nothing but a worry for him. 12. Alb plays 2. Dia. Alb can capture the cutting stone in geta with ‘b’.
The latter is a constructive play. and can be made without hesitation in the earliest stage of the opening. 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. The former is largely a tool for destroying the opponent’s territory.
he cannot be confined to the corner as he was when he played the three-three point invasion. In this section we shall discuss the continuation from the position above. but Alb can still press him down with 2 and 4.SECTION 31 When Negru plays the kogeima kakari at 1. . and consider alternatives which exist to Alb 4 and Negru 5. so as to build territory on the upper side or in the center.
he plays 8 and 10 to turn Alb’s advance and reach a higher altitude. but first he has a chance to play a kikashi of his own at ‘b’. so after Negru 4 he continues pressing with 5 and 7. 1. Negru has to defend at ‘a’. Next. but at this point he has some kikashi to make on the right side.Continuation Dia. If Alb played 17 at 18. The purpose of 13 and 15 is to give Alb profit in the corner. and Alb can later play ‘a’ to take the corner for himself. Alb intends to keep on with his wall by playing ‘a’ or. Dia. This position might appear at the beginning of the game. 2. Dia. . and we leave you to devise subsequent moves for yourself. ‘b’. The sequence continues through Negru 22 and onward. Since Negru cannot allow himself to be pushed forever along the third line. 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. 3. better yet. The effect of Alb’s plays in Dia. Alb’s plan is to cordon off the entire upper side. 2 is that Alb Δ keeps Negru from making any corner territory.
2. and 6. At times this maneuver is necessary. Dia. 4. 5. Negru 4: variation Dia. but it has a big drawback. Negru can then bend Alb around with 2. 8).Dia. After the basic joseki. using the same ideas as in Dia. for he has the possibility of pushing at ‘a’ and cutting at ‘b’ to work with on the right side. he should play 4 this way. Alb may just extend to 1 on the upper side. instead of continuing to push down the right side. Alb 5 is forced. . (see Dia. but Alb need not necessarily complain. 4 shows another way of playing. and then Negru can play on the upper side himself. but starting from the basic joseki position. 6. If Negru wants to keep Alb from making an extension on the upper side.
Now it is Alb. but you may want more of an explanation. An experienced player feels instinctively that Alb 5 in Dia. 6 is necessary.Dia. Negru will take the key point at 2. Dia. his corner can be killed. If Alb extends to 1 after the moves marked Δ and Δ. not Negru. but think what will happen if Negru cuts at ‘a’ or pushes at ‘b’. . while helping Alb very little at all. The drawback is that Alb can play 7 in sente. 7. It is easy to see that the exchange of Δ for Δ is solidifying Negru’s position. 8. If Negru fails to answer. who is in a position to make territory on the right side. With the exchange of Alb 3 for Negru 4 it may seem that nothing special is going on.
If Negru played 10 on the upper side to stop Alb’s extension. he will get into the same kind of pattern as in section 9. Alb ‘a’ would be sente. 9. 11. but it is quite safe. 12 to 14. This variation of the joseki continues up to Negru 10. Alb can vary this joseki by making a one-point jump with 3. Dia. Dia. This way of playing looks a little bit loose. .Alb 3: one-point jump Dia. Dias. 10. If Negru tries to push out with 4 and 6. and Alb should now make a very wide extension on the upper side.
the most notable feature of which is complexity. . (great slanting). (i) Alb presses Negru into a low position on the right side. If he wanted to develop there. this joseki can be used to reduce a developing Negru territory to a moderate size. for Alb can then get a very strong formation by playing ‘a’. joseki.In conclusion The main purpose of Alb’s pressure play at 2 is to build on a large scale toward the center. SECTION 32 Alb 1 above begins the taisha. The taisha is known as the joseki of a thousand variations. (ii) Alb more or less gives up any hope of making territory on the right side for himself. but two other points about this joseki should be borne in mind. Therefore. but one of the squeeze plays in the next three sections. but that is not usually such a good idea. and there is space in this book for only about one percent of them. he would not choose the pressure play at 2. Fear of the taisha prompts some Negru players to tenuki after Alb 1.
. tsuke plays are more in keeping with the spirit of the taisha. which duplicate one of the variations in the last section. If Alb answers at 3. This one can lead to Alb 3 and 5. Negru can again come marching down the side. 2. Then there is only one variation.Avoiding trouble Dia. Second tsuke Dia. Negru may continue his progress down the right side at 6. First tsuke Dia. which bears a close resemblance to the basic joseki of the last section. 3. For Negru 2. Here is another way for Negru to play tsuke at 2. 1. he can play 2 this way. with 4 to 10. If Negru is looking for a simple answer to the taisha.
Dia. 6. but if it does. he must make sure that the shicho works. he has an easy exchange of corner territory for outside strength and sente. In the most typical variation of this variation. creating three cutting points in Alb’s position. . 4. Third tsuke Dia. however. and Alb will cut on the other. Negru has to connect on one side of Negru 4. when Negru separates Alb’s two stones with this tsuke.Dia. Before Negru connects on the outside at 6. Dia. while Negru cuts and gets a large corner. Or Negru can play 4 this way. The real fun begins. 5. 7. After Alb 5. Alb 3 is standard. Alb connects at 7 and makes an outer wall in sente.
but obviously getting a perfectly satisfactory result. When Negru connects on the inside and Alb cuts at 7. Usually Alb continues with this 11. letting Negru capture and connect the ko. .Dia. but he needs some truly large ko threats to carry this off. the simplest continuation sees Negru sacrificing a stone and playing 8 and 10. Dia. 9. starting a ko fight. 8. Negru’s eye shape is not very good. Here there is the gruesome possibility that Alb will play 11 at ‘a’. so an extension like 16 is called for.
Dia. from which they hope to emerge victorious. In conclusion Thus ends our cursory glance at the taisha joseki. More complicated variations follow when Negru answers Alb 7 by drawing out of atari at 8. for it can lead to almost any kind of pattern. This is one of the shorter variations. and ‘c’ for the eleventh move. the taisha has no particular strategic meaning. 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. Generally speaking. but at the end of this diagram Alb can choose from among ‘a’. . 10. ‘b’. and thereafter the variations become too numerous and involved for any but the most devoted to learn thoroughly. 11. The next two moves are fixed. Dia.
and we shall stick to it in this book. Although Negru has various ways of answering it. We shall take them in that order. the diagonal play at 3 will serve the purpose on most occasions. like the taisha of the preceding section. which he may be able to attack. Negru just connects at 7. much as was done in some of the joseki of sections 28 and 29. Alb 6 used to be the only recognized continuation from the basic joseki diagram.SECTION 33 The one-point squeeze play at Alb 2 is. ‘a’ and ‘b’. One is the line of Alb stones on the right side. Another possibility is to play tsuke with Negru 3 against the stronger of Alb’s stones. Alb 4 and Negru 5 are standard after Negru 3. so its variations have been well worked out. In the first one. The time-honored play Dia. 1. and Alb defends on the upper side at 8. There are then two things for Negru to consider in choosing his next move. a difficult joseki. The other is . but for Alb 6 there are two choices.
to be used at 9. Dia. the main advantage of this exchange is that he can connect at ‘a’ if his three stones on the right are attacked. .‘a’. Negru secures the corner with 3 and Alb’s upper side needs defending at 4. If Alb answers at 2. 2. Dia. Therefore Negru sometimes plays 1 before going into action on the outside. and Negru will be left with neither territory nor a place to make two eyes. but makes a wall on the upper side and gets sente. 3. From Alb’s point of view. perhaps. Negru gives up the corner. he can connect to either the upper side or the right side. the weak point in the corner. If Alb plays ‘a’. If Alb plays 2 and so on this way.
6. rather than Negru ‘a’. preparing for an extension to the left.Dia. but it need not be the solid connection. however. Negru 13. . Negru can connect at 17. is correct in this joseki. (The latter reach one line less toward the left. or Negru can use 17 to attack on the right side. in which case Alb may get a chance to cut on the upper side. and 12. Alb answers with 8. Negru has to make some answer to Alb 6 to keep Alb from pushing through at 11. but there is no doubt about its being a sound play. Alb continues with 14 and 16. it is better for him to have 13 and ‘b’ than ‘a’ and ‘b’. Usually. since if Negru later plays ‘b’. Alb 6 in this diagram has been in use for less than a decade.) Dia. 10. The new-fangled play Dia. 4. 5. Negru 7 here also does the trick. in which case Alb should defend the corner by exchanging 18 for 19.
the diagonal tsuke at 7 is one possible answer to it. making Negru 9 into a bad move. 8. Negru 9 at ‘b’ would be no good either. If he plays 9 this way. Dia. Alb 8 becomes a good blockading move. Clearly Negru ‘a’ would now be better than Negru 9. .Although a bit passive. 7. but of course if Negru had originally played 9 at ‘a’. At least he has the cutting point at ‘a’ to aim at. The best continuation from Dia. Dia. for instance. Alb would have answered at ‘b’. 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. Alb will immediately exchange 10 for 11. It would be better for Negru to do nothing at all than to play 9 or ‘b’. 6 for Negru is to play 9 and 11 and allow himself to be surrounded.
Rather than get barricaded into the corner. Negru often answers Alb 6 with an attack on the right side at or around 7. leaving the diagonal tsuke at ‘a’ for possible use later. 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. Alb 8 starts a running fight.Dia. . 9. 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.
however. . just as in the previous section. Alb uses the squeeze play on the third line when he wants to develop on the right side.SECTION 34 The pair of Alb 1’s above can both be classified as two-point squeeze plays. In answer to either of them. there is also the tsuke at ‘b’ to be considered. the most natural thing for Negru to do is to advance toward the center with a diagonal play at ‘a’. and the squeeze play on the fourth line when he wants to develop on the upper side. but they lead to rather different joseki. Against the squeeze play on the third line.
Negru must play 3. The aggressive way for Alb to answer Negru 1 is to come out toward the center with 2. 1. and then Alb lives with 4 and 6. Negru should take the valuable eye space in the corner with 5. Negru is left in a good position to gain territory on the upper side. 3. lest Negru enclose him there. Before Alb has time to do so. Given that Alb’s intention in playing 1 is to develop on the right side. which makes up for his losing the corner. The safe way for Alb to answer Negru 1 is to dive into the corner at 2.The squeeze play on the third line Dia. Alb will look for a chance to play ‘a’ and rob Negru of his eye space. Negru should try to attack with some move like 1 in the next diagram. he will reply to Negru 2 by extending to 3. Dia. 2. Dia. . Now that both sides are out into the center. lest Alb enclose him by playing at the same point. Negru can be expected to close Alb in at 3. and Alb must play 4. The issue now becomes the attack and defense of the one Alb and two Negru stones in the corner.
unless he is in a strong position to attack on the right. the second way of answering Alb’s squeeze play on the third line. 6. instead of 1. too. This brings us to Negru 2. Dia. takes the corner with 10. 5. Alb’s groups are both still in need of attention.If Negru is not in a good attacking position on the upper side. 5. and so is Negru 8. and 7 are natural. Assuming the danger on the upper side to be the more serious. and Negru. Alb plays 9. but his four stones on the right side are rather weak. You will see how that goes in Dia. Dia. Alb 3. . Unless there are some other Alb forces in the surrounding area not only is Alb’s single stone on the upper side in danger. 4. it may be better for him to play 5 in the first place.
are important. having this resource. for instance.The squeeze play on the fourth line Dia. Alb 1. imagine the situation if they were omitted and Alb got in to the two-three point. without going through the preliminaries. at ‘a’. The reason for playing Alb 1 on the fourth line can be seen in the next diagram. 7. By the way. . 3. If Alb had just played 7. Negru 4 and 6. is an excellent point. or whatever point he has his eye on the upper side. Alb 1 would not be so good if Alb Δ had been played on the third line. The purpose served by Alb 1. When Alb puts 1 on the fourth line. Dia. taking the corner. Negru could easily invade. 6. and 5 is to make it hard for Negru to get into Alb’s extension. but now there is not so much open space. Alb has sente and can extend to 7. however. Now. he really has the upper side in mind. ‘a’ is another point for Alb to aim at in this joseki. loosely confining Negru to the corner and linking up Alb’s positions. Alb need not be afraid of being attacked on the upper side. and so he answers Negru 2 by playing 3.
he can play 1. If Negru has some reason for preferring the opposite exchange. the two squeeze plays of this section are less aggressive. the usual pattern has been for Negru to take the corner while Alb develops on the outside. and then take up a possible variation in Alb 4. Following the exchange of 3 for 4. Alb wants to handle the corner with just a few moves. or extend up into the center. . leaving lots of possibilities open for the future. or extend down the right side. We shall look at both ways of extending. SECTION 35 In the three-five point joseki seen so far. inviting Alb to defend the corner with 2.In conclusion Being one line further from the corner than the one-point squeeze play and taisha of the preceding two sections. Negru can play tenuki. however.
but if Alb fails to answer it.Negru 5: extension down the side Dia. Dia. . The three-line interval between Negru 5 and the two-stone wall is correct. 1. which threatens an invasion at ‘a’. Dia. Alb can play 1 himself to forestall a Negru play there. and thereby gain profit at the edge of the board. as he does here. When Negru wants to give himself some room for his stones on the side. In this situation. for example—Negru can play 2 in sente. this extension is good. Dia. Negru can play 1 and so on in this diagram. elbowing his way around Alb’s corner and leaving Alb with the threat of Negru ‘a’ to worry about. 3. At the proper time—in answer to Alb 1. Negru 2 is sufficient defense against the threat of Alb ‘a’. 2. See if you can work out the effect of Negru ‘a’ for yourself. 4. Negru 2 in the last diagram is not absolutely sente.
This time. 5. Here Negru already has a stone on the side. lest Negru’s side territory grow too large. by provoking Negru 2 he is reducing the value of his possible extension to ‘a’. he should go into the center. 6. so if he wants to make an extension. Alb should definitely exchange 8 for 9. Negru 5: extension into the center Dia. Negru 5 to 7 are standard joseki plays. The two-point jump to 5 is also joseki. that will be a good point for Negru to take. .however. Dia. If Alb omits 8.
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.
Alb 3 defends. Instead of 1 in Dia. Alb 1 in this diagram is one possibility. planning to exchange the corner for a base on the right side. 8. 8. Something else to keep in mind after the last diagram is this combination. Now Negru’s countermove is the diagonal play at 2. with which Negru can break out of the corner. Negru Δ is not going to waste. because it enables Negru to play ‘a’ or ‘b’ effectively. but he would find himself tightly shut into the corner. 8. Alb can play 1 at the threethree point. 9. Negru should refrain from playing unnecessarily at ‘a’ or ‘b’ in Dia. and then Negru extends to 4. . which threatens the hane at ‘a’. and it is better for him to jump down to 2. Another idea would be for Negru to try to get a stone on the point ‘b’. Dia. How then should Alb proceed? go Dia. As long as he thinks he might want to use this sequence. after which he could play ‘a’ instead of 2 and make a base on the right side.Negru plays tenuki It often happens that Negru lets Alb’s keima without an answer. Dia. Even if it dies. 10. Negru could still make his stone Δ live.
he still has lots of ways to fight. . leaving his corner stone to be attacked again. he will not have made an unfair trade. 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. making eye shape. SECTION 37 Alb’s second way of answering Negru’s kakari is the outer tsuke at 1 in the diagram above. then capture the cutting stone. and there will be many times when Negru will want to counter it from the outside.In conclusion The tenuki variations of this joseki are important. Alb’s keima is a move with a large-scale meaning. since it leaves the double cutting points ‘a’ and ‘b’. and even if he plays tenuki again. The hane at 2 is correct. As the last three diagrams make clear. but it is Negru’s plan to have Alb cut at one of them or the other.
Considering that Alb has played one more stone than Negru. blocking Alb from the center. then Negru has built up his position in sente. and with his good eye shape he can leave this part of the board and play elsewhere. Negru can also continue with 10. If Alb does not answer Negru 10. If Alb answers as shown. 2. 1. .Alb cuts on the outside Dia. the exchange is fair. Dia. The most common variation of this joseki has Alb cutting on the outside at 5. 3. and Alb taking the corner. Negru capturing the cutting stone. However. Negru has sente. Dia. then Negru can play the point 12.
1. his position would be markedly better than in Dia. If Negru does not play 10 as above. and having played 7. 5. in which Alb follows the cut at 5 with 7 and 9. to forestall a stronger attack. This play does not threaten the life of the Negru stones. and Negru should be able to live on the right side with 7. and is profitable to Alb. Dia. If Alb cannot kill the Negru stones. Alb has a kikashi at 1. allowing Negru to connect at 2. he may have to prevent the invasion by capturing at 4 immediately when Negru plays 1. because then Alb would cut at ‘a’. trying for an outer wall instead of the corner. This variation can be something of a puzzler because of the ko. taking the corner. Negru should not play 8 at 9. 6 shows another variation of the joseki. . The 1-2 exchange hurts Negru’s eye shape and pushes him down along the side. but Negru Wants to defend at 2 anyway. Alb has to answer Negru 3 at 4 instead of at 5. Dia.Dia. Another reason for playing Negru 10 in the last two diagrams is that it makes possible Negru 1 in this diagram. Because of Negru Δ. 4.
After the 5-6 exchange Alb has various possible moves—’b’.—but he has poor eye shape and Negru’s stones are working effectively. If Negru mistakenly played 4 in the usual way. Dia. squeezing Alb from both sides. Negru 2 is still good. and Alb has countered with the tsuke at 1. 8. Naturally he must make sure that the shicho works. ‘c’.Alb cuts on the inside Dia. (or just as happily cut on . Variation Dia. etc. Negru has made a squeeze play at Δ. Alb would happily cut and take the corner. 7 shows the variation in which Alb cuts on the inside with 5. avoiding Alb’s cut. 9. but this time Negru should play 4 on the second line instead of at ‘a’.
giving Alb some room on the side. is fairly important. and another which says that ‘pon-nuki is worth thirty points’. Negru 4 makes a strong shape. An extension to or around 5. which are shown below. 1 to 7 may look. Negru has good eye shape and sente and a perfectly equal result. and would be left too close to the strong Alb position for comfort. and make a stable position. 7 worked). In conclusion There is a go saying which tells us to ‘capture the cutting stone’. Negru 2 and Alb 3 are fixed. Negru Δ would then lose its attacking force. SECTION 38 Alb’s third way of answering Negru’s kakari is the inner tsuke in the diagram above. including tenuki. . This joseki provides good illustrations of both of them. and is a good move even though it is played on the second line. For Negru 6 there are several possibilities.the other side if the shicho in Dia. No matter how big and strong Alb’s positions in Dias.
This is a more aggressive choice for Negru 6. . 3. With his first three stones on the second and third lines. reaching a little farther to the left. Dia. Negru 6: tenuki If Negru does not make one of the moves in the last three diagrams. 1 of section 6. 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. it gives the same position as in Dia. This is one possibility for Negru 6. 4. Negru 2 and Alb 3 are joseki. After 7 and 8.Negru plays 6 Dia. and now Negru has to figure out what to do about the Alb stone left on the lower side. Dia. Dia. 2. He has reached a firm shape. Negru must extend "high with 6. Negru often plays 6 here. 1. Alb will look for a chance to attack as in one of the next few diagrams. Here Alb would play 1.
. If Negru now plays ‘a’. and start a fight in the center. Negru may prefer to fight back with 2 and 4 in this diagram. So Negru will play 6 this way. We have been through that pattern before. Alb 7 and 9 are necessary for making shape on the lower side. which are also joseki. ‘a’ is Alb’s sente.Dia. (in section 9). and then Negru 10 and 12 are necessary to live in the corner. Alb will play ‘b’. 5. Alb 5 is a good connection. 6. Negru must reply at ‘b’ or be killed by a Alb play at that point. Later. and seen that it does not work for Negru. Dia.
hitting right at Negru’s sore spot. Continuing with 3 and 5. there is no great problem about it. and 7 are natural. and although Negru’s position on the lower side is none too strong. he builds a vast area across the lower side. If Negru prefers to ignore Alb’s original tsuke at 1. 9. Negru 2: tenuki Dia. Alb’s aims are different from in Dia. Alb should change his tactics slightly by playing 5 as shown. Dia. . 5. for instance. This gives him good eye shape. 4. and still Negru’s group is not safe. 7. 8. Here. With the situation in the lower left corner reversed. When Negru plays 2 closer. Now he will attack with 1. so as to make full use of his shimari. we see him playing 2 on the center point on the right side. and prepares for a possible counterattack against 2. he has sente to play 8.Dia. Alb 3.
now he is only going for a modest side position. Both styles are joseki. Alb’s plays in this section stress development along the side. Negru could strengthen himself in sente with 6 and 8. In conclusion While the joseki of the preceding two sections stressed development toward the center.Dia. That is. If Alb played 5 as here. whereas before Alb played as though the envisioned areas stretching high and far across large portions of the board. and both have their places in the opening. . 10. leaving Alb without certain eye shape in the corner.
Double hane (nidan bane): Two successive hane plays. or pronunciation of Japanese terms. A player has gote if his opponent has the initiative.GLOSSARY OF TECHNICAL TERMS Note: The parentheses give Japanese alternatives for English terms. Gote (go-teh): A move is gote if it does not evoke an answer from the opponent. Diagonal tsuke (kosumi-tsuke): a diagonal play which is also a tsuke. Diagonal play (kosumi): an extension like the one in the diagram. Atari (check): an immediate threat to capture. or English alternatives for Japanese terms. Gote is the opposite for sente. .
outside the main flow of play. Kaketsugi (hanging connection): a connection like the one in the diagram. (usually). The drawback is that Negru can play ‘a’.Hane (ha-neh): A move which bends around an opponent’s stone. . but the expectation is that it will turn out to be valuable later on. Kakari (approach): a move that approaches a single enemy corner stone from the outside. a kikashi play is typically ignored for a while. After it has been answered. Keima (knight’s move): see the diagram Kikashi: a forcing move made. The virtue of a kaketsugi is that it makes some eye shape.
threatening to make it fail. if it is his turn and there are no threats he need answer. Shicho (ladder): a zig-zag pursuit. as in the diagram. Nobi Ogeima (large knight’s move): as in the diagram. etc. . A player has sente if he has the initiative. Sente (sen-teh): A move is sente if it calls for an answer.Nobi (no-bee): an extension away from an opponent’s tsuke. Shicho-breaking move: a stone played in the path of a potential shicho. that is. cross-cut.
Shimari (closure): a two-stone corner formation. but it does make a base around which it is hard for the opponent to gain a foothold. The diagram shows a typical example. a tactically sound move. 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. A shimari does not exactly secure the corner. . but not in contact with any friendly stones. Tesuji (teh-soo-djee): the best play in a local position. Squeeze play (hasami): a play that attacks by preventing the opponent’s extension down the side. Tsuke (tsoo-keh): a play made in contact with one of the opponent’s stones.
intermediate books with a double asterisk and advanced books with a triple asterisk. ELEMENTARY GO SERIES *G10 Vol. All the josekis that you need to know until you reach expert level. **G6 Strategic Concepts of Go by Nagahara Yoshiaki 6-dan Some of the basic concepts of go and the middle game are analyzed. Japan or in North America from Ishi Press International. Covers the fundamental ideas of the fuseki (opening). *G2 Basic Techniques of Go by Haruyama Isamu 9-dan and Nagahara Yoshiaki 6-dan A general introduction to tactics. Tokyo. . fuseki.. *G11 Vol. CPO Box 2126. 1400 North Shoreline Blvd. Building A7.. All the books listed below are available from the Ishi Press. 415-964-7294. 2 38 Basic Joseki by Kosugi Kiyoshi 7-dan & James Davies The ideal introduction to josekis.Bibliography Elementary books are marked with a single asterisk. endgame and handicap go. with a large number of problems that utilize these concepts. A free catalog of go books and go equipment is available on request. Tel. 1 In the Beginning by Ishigure Ikuro 9-dan Required reading for all beginning players. Inc. Mountain View. California 94043.
*G13 Vol. **G14 Vol. . *G17 Kage’s Secret Chronicles of Handicap Go by Kageyama Toshiro 7-dan The correct way to play handicap go. 5 Attack and Defense by Ishida Akira 9-dan & James Davies The basic book on the middle game. Lots of examples and problems. Covers the fundamentals of positional judgment as well as other topics. 6 The Endgame by Ogawa Tomoko 4-dan & James Davies The standard book in English on the endgame. 3 Tesuji by James Davies The basics of tesujis (tactical brilliancies) with over 300 examples and problems. Examples are from handicap games. **G15 Vol. *G16 Vol. 4 Life and Death by James Davies The basics of life and death with over 200 examples and problems. 7 Handicap Go by Nagahara & Bozulich The fundamental principles of handicap go are presented with a problem section.*G12 Vol. **G19 The Breakthorough to Shodan by Miyamoto Naoki 9-dan Basic principles you need to know if you are going to reach expert level.
2: 3-4 & 5-3 Point Josekis ***G23 Vol. ***G24 Enclosure Josekis. How to attack and kill your opponent’s stones. **G26 The Direction of Play. **G29 Reducing Territorial Frameworks by Fujisawa Shuko 9-dan An excellent book on the middle game. by Takemiya Masaki 9-dan Josekis that occur in the middle game with emphasis on the ones that involve attacking and defending comer enclosures. 3: 5-4. by James Davies & Richard Bozulich . 1: 3-4 Point Josekis ***G22 Vol. **G27 Kato’s Attack & Kill. 4-4 & 3-3 Point Josekis The standard reference work in English on josekis from the point of view of even games. All about building and and reducing large frameworks of territory. the great modern fuseki theoretician. by Ishida Yoshio 9-dan ***G21 Vol.DICTIONARY OF BASIC JOSEKI. *G28 Lessons in the Fundamentals of Go. by Kageyama Toshiro 7-dan A chatty and easy to read book about the fundamental principles of go strategy and tactics. by Kato Masao 9-dan Attacking techniques in the middle game. by Kajiwara Takeo 9-dan Fuseki theory as expounded by Kajiwara. G30 An Introduction to Go.
computer go and how go relates to intelligence and learning. Invincible: The Games of Shusaku. by Kano Yoshinori 9-dan. drilling them in the basic tactics of go. essays and instructional articles. From history to modern tournament play. by Takagawa Shukaku A thorough analysis of the sanren-sei opening pattern. A must for every serious go player. by Kato Masao A thorough analysis of the Chinese-style opening pattern. go news from around the world.*G31 The Second Book of Go. G41 The Magic of Go. Cho Chikun The rules arid strategy of the game are thoroughly covered in a logical step-by-step approach. Essay are interspersed with the technical chapter that will broaden your understanding. by Richard Bozulich Written for players who have just learned the rules of go. 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. Go World. . Graded Go Problems for Beginners. A entertaining collection of essays about go and its players. by Nakayama Noriyuki 5-dan. the golden age of go. published since 1977. 160 games with detailed commentaries by modern professionals of the greatest go genius who ever lived. Volumes 1 to 4. **G32 The Power of the Star-Point. **G33 The Chinese-Style Opening. edited by John Power. The finest go book ever written. you’ll find it all in this book. a quarterly magazine on go. The authoritative go magazine in English. The Treasure Chest Enigma. A collection of nearly 1500 hundred problems for the beginner. A panorama of 19th century go in Japan. All major Japanese tournament games are presented with detailed commentaries as well as general interest articles. The second part is a collection of unique and fascinating full-board problems that is sure to entertain both beginner and advanced players.
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