This action might not be possible to undo. Are you sure you want to continue?
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
joseki—shapes of stones. but from his general feeling for what moves are good in any given situation. Amateurs must learn joseki in the same way. He adapts his joseki to the surrounding positions. and concepts that can be put to use in many situations. but relies on his accumulated experience. having read dozens of go books and played and watched thousands of games. we can see them using and misusing joseki that they have picked up from their reading. joseki books. but he is confident that the subsequent moves will bear out his judgment. no longer studies joseki much. exactly what makes it a good move. starting with sequences they remember from books or from stronger players’ games. like other books. individual moves. testing them out in their own games. when he plays a stone. coming to understand them. He plays joseki not from memory. Joseki books. or what is going to follow it. should be looked upon as sources of ideas. Even professional players read joseki books. or even criticized in. He may pull new surprise moves on his opponents. at the apprentice stage of their development. 5 . and finally being able to play on their own with confidence. This gives their games an awkward appearance. varying them. A full-fledged professional. Watching these student professionals. and therefore regularly produces moves not found in. 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. but do not yet really understand. not as texts to be learned by heart. He may not know.
and to Richard Bozulich of the Ishi Press for offering suggestions on parts of the manuscript. Concerning the authorship of this book. Tokyo. who also contributed what diagrams he could. and show how they should be altered to meet varied situations. applying what appears in one place to positions arising in other places without having to be told. The text was written by Davies. most of the diagrams and ideas in it were supplied by Kosugi in a series of consultations stretching from April to October. October. 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. 1972. and not taking what he reads to be blanket statements covering all situations.This book has been designed to encourage that development: rather than just compile long lists of joseki. 1972 Kiyoshi Kosugi James Davies 6 . We expect the reader to use his head a little.
.. 26 7 .…………………………. part 1 .......………….......... 3 Chapter 1: 3-3 point joseki .... 12 Chapter 2: 3-4 point joseki..................TABLE OF CONTENTS Preface .………….......................
. 60 8 .................Chapter 3: squeeze plays ..…………...
. invasion and tsuke …………......Chapter 4: 4-4 point joseki......119 Chapter 5: 4-4 point joseki...........135 9 .. kakari ………................
....………….....242 10 ....………...……….............Chapter 6: 3-5 point joseki ................. 194 Chapter 7: 4-5 point joseki ... 226 Glossary of technical terms ............
where his go playing has advanced to the amateur 5-dan level. Besides go. 11 . His parents and all six of his brothers and sisters know how to play go. Besides writing for the Ishi Press. He is known to foreign go visitors to Japan for his good command of English and his lively sense of humor. he likes to read and play mah-jong. he became a professional shodan in 1957. In 1970 he came to Japan. reached 2-dan the next year. He graduated from Oberlin College in 1967 and entered graduate school at the University of Washington.ABOUT THE AUTHORS ___________________________________________________ KIYOSHI KOSUGI was born in 1939 in Tokyo into a large. Tokyo. ____________________________________________________ JAMES DAVIES was born in 1945 in Philadelphia. He now lives with his wife in the suburbs of Tokyo. and was promoted to 5-dan. and younger brother— are professional go players. he is a regular contributor to Go Review magazine. and three of them—his father. only to have a mathematics professor interest him in the game of go. and 3-dan the year after that. with his wife and two daughters. Under his father’s tutelage. In 1967 he took second place in the second division of the Oteai tournament. go-playing family. At present he lives in Ota-ku. which determines a professional player’s rank. mother.
The drawback of a play on the three-three point is that. when professional players have come to make frequent use of three-three point joseki. The virtue of the stone in Dia. If Negru attacks. 12 .CHAPTER 1 Three-three point joseki INTRODUCTION Generally speaking. The two sections of this chapter will show what happens when Negru approaches the Alb stone in Dia. but that belief has been dispelled in the present century. tucked so far back in the corner. as in Dia. he will have to build his position in the center or along one side of the board. This used to be considered a poor play. where it is harder to find security. it does not give much help in developing into the center. 1 is easy to understand: it denies Negru access to the corner. the simplest joseki start with a stone on the three-three point. 1. 1.
Negru 3. 2. while Negru gets a center-facing position. Alb makes a modest amount of corner territory.If Negru does not get around to playing against Alb’s stone. Such a move. reinforcing the corner. We shall examine the meaning of the moves in the basic joseki. and Negru 5 are often played differently. by adding a stone at 1 or ‘a’ in Dia. In particular. and Negru 3 to 5 are the standard continuation. then sooner or later Alb will want to make a shimari. a move which approaches an isolated enemy corner stone from the outside. Alb 4. This is the basic joseki pattern. It is worth quite a lot for Alb to push back against this particular kakari with 2. and preparing for wide extensions on both sides. and then look at some of the variations. is of great value. 13 . reaching out into the center. SECTION 1 Negru 1 is our first example of a kakari. but it is often altered to fit surrounding circumstances.
2. but it does prevent Alb 1 in this diagram. Dia.The basic joseki Dia. Dia. Alb 2 in the basic joseki is a big move. This formation is better for Alb than just a shimari would be. 14 . a move which prepares both to attack the Negru stones and to make territory on the left side. 1. for if Alb leaves it out and Negru gets a chance to play 3. Therefore Negru 3 in the basic joseki is another important move. see section 19. then Negru 1 becomes almost useless. Negru 5 in the basic joseki is easier to leave out than the three moves which preceded it. Alb 4 is important for the same reason. then although Alb can still live in the corner. If Negru omits 3 and Alb gets to play 4. he will be confined much more tightly than before. 3.
so Alb usually plays 8 at ‘b’. preparing to make territory and eye shape on the lower side. After the joseki. 15 . Sometimes it is best to play 1 instead of Δ.Dia. Negru 1 here is a big move. 5. leaving Negru to take ‘c’ or some other point. Alb 4: variations Dia. although that gives Negru sente. Alb often continues the basic joseki by playing 6. 6. Here is one variation in the basic joseki. Dia. To prevent Negru 1 in the last diagram. and stopping Alb from enlarging his corner in that direction. Negru 7 prepares to wall off the left side at ‘a’. 4.
but . Negru 1 is especially appropriate when Alb has made two extensions like Δ from his corner stone. Instead of following the basic joseki pattern. Negru can finish the sequence with 13. 9.. taken from a professional game. Compare his prospects in this diagram with what they would be if he could make a shimari at 3. After 5. Incidentally.. Dia. let’s examine this sequence. and Alb wedged in at 7. he cannot get a lot of territory here. and Negru 2 and 4 made a nice reply. but unless by some chance he succeeds in actually capturing them. 8. Negru jumped out to 6. Alb attacked Negru Δ with 1. this is a situation where Negru might play 5 at ‘a’ for a faster get-away into the center. giving himself some room for eyes and getting ready to attack Alb Δ. 7. 16 . Negru makes a one-point jump Dia. By way of introducing some of the other variations in this joseki. Either way is joseki. in this situation Alb might well play 4 and so on to take territory on the left side. Against Alb 5. Alb can attack the stones Negru has played.Dia.
and it would have been hard for Negru to do much of anything with 6 and Δ. 10.Dia. He could not very well attack the Alb stones in the middle of the lower side. 17 . because they could connect to the left hand corner at ‘a’. If Negru had played 6 here Alb would have skipped out to 7.
but in the present game that would let Negru get a big point at 8 on the right side.Dia. In one variation of this joseki. and there would remain ways. such as Negru ‘d’. because then Alb 9 would have taken a large lower side and left Negru Δ very weak. But it would not have been good for Negru to play 8 after Alb 7 here. Alb plays 7 as shown to take territory on the lower side. 18 . 11. Dia. even if Alb first played ‘c’. for him to break into the lower side. 12. Later Negru could play ‘a’ or ‘b’ in sente.
So the actual game continued this way. 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. 13. Next Negru was able to live on the lower side by playing ‘a’ and ‘b’. Alb 13 looks like the best point. 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. he cannot get the worry-free position he had in Dia. 11 is a joseki move for Alb. since Alb does not want to be pushed toward Negru’s strong wall in the lower right. but however he invades. 13. 14. 19 . Dia.Dia.
‘b’. however.In conclusion These sequences can be used not only in the corner. Also. Alb may answer Negru 1 at ‘a’. Negru should make a kakari like 1 when his purpose is to do something constructive on the left side. As a rule. Depending on the situation. 20 . the patterns of this section turn up frequently in the opening and early middle game. Since such shoulder-blows are one of the common ways of reducing large potential territories. instead of attacking at ‘a’. or ‘d’ instead of at 2. but whenever a stone anywhere on the third line is attacked with a shoulder-hitting move like Negru 1. the shoulder-hitting kakari of section 1 is better. or he may choose not to answer Negru 1 at all. instead of Negru 1. there are other similar kakari which we shall look at. When his aim is to destroy Alb territory. ‘c’. SECTION 2 It often happens that Negru wants to approach Alb’s stone from one side or the other. 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.
so this joseki is usually called the tsuke-hiki joseki. in the next section we shall see an alternative choice for 3 which builds more toward the center and lower side. and Alb 7 are one way to finish it. Negru 6. but of course there are variations. Alb 5.SECTION 3 Alb 1 tries more for a position on the outside than for corner profit. 29 . the spacing of 5 and 7 being Rood. Alb plays 3 if he is interested in the right side. Negru 2 is a tsuke and Negru 4 is a hiki. and in fact Negru can get all the corner territory by playing 2.
Some variations Dia. The basic joseki ends in Alb’s gote. the spacing between 7 and Δ is also just right. Sometimes Alb plays 6 as shown as to be able to play ‘a’ later. keeping the three-line interval between 7 and 5. and so is suitable if Alb wants territory on the lower side. but it is not as Alb ‘c’. so the way to build solid as Alb by . In this situation. Negru can make a solid connection with 5 and then extend to 7. 1. Dia. If Alb wants sente he can play tenuki after Negru’s hiki. Alb 6 gets in of Negru ‘b’. as shown here. Negru. Dia. (or ‘a’). has much greater prospects on the lower side and in the center than before. 2. 3. By and by Negru may annoy playing ‘c’ himself. however. 30 here. aiming at ‘d’ in the corner. The point ‘b’ may become another good extension for Negru later on. for if Negru cuts at 1 in this diagram Alb can still make a position for himself with 2 and 4.
Dia. 5. 4. After the kaketsugi at 5 Alb need not always extend at ‘a’. Thinking of this. or 6 and ‘b’). (or 6 and ‘a’. He must play 6 right after Alb 5 if he wants Alb to answer it at 7. and Negru 6 should turn out to be useful in the fighting to come. Alb will reply at 2. instead of just ‘a’. Negru Δ turns out to be almost completely wasted. It is futile for Negru to play 1 after Dia. 6.Dia. Negru can play 6 and 8. Alb could even apply this sequence in answer to Negru 6 in Dia. Then after Alb 9 he can attack with 10. Of course Negru is getting territory too. building a wall which works beautifully with his shimari. and so Negru could be satisfied. but not as much as Alb. 31 . 4. Dia. but then Negru Δ would not be on the board. 5. In this situation he might choose to make a shimari at 7 instead.
Dia. and then he must change his tactics accordingly. again it is not so important. (Alb 9 at 10). Alb should jump out into the center with 5 instead of playing ‘a’. Alb 7 establishes room for two eyes on the right side. and if Negru cuts at ‘a’ and captures another stone. 8. making a quick escape. Sometimes Alb is unable to extend up the right side. Even if he is unable to capture the cutting stone in shicho.Dia. The loss of Δ costs Alb very little. while the lower side is still open. Negru takes the vital point at 6. When he jumps out to 5. 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. In this situation. and Negru Δ begins to look very weak. for example. 32 . 7. he can make shape as shown. Alb need not fear this Negru 6.
Of course Alb can defend with ‘c’. although Negru ‘a’ would be big. Negru 13 is a big point. so maybe Alb should play 14 at ‘a’. Alb. Dia. 10. gives Negru the chance to invade at good for Alb to reply by pressing 2 and 4. The reason that Negru 13 is so big is that it prepares for an invasion at ‘b’. since Negru can connect and the hane at ‘a’ still threatens 33 .A common opening pattern on the right side Dia. It is not so from above with underneath at 5. 9. Here is one common opening pattern in which the joseki we have just been studying is often played. happy with the exchange of 13 for ‘c’. but then Negru will play ‘a’. too. That 1.
Alb can play 8 at ‘a’ or ‘b’. 12. Alb ‘e’ has become a strong move for later on. Now Alb is ready to play either ‘a’ or ‘b’ to connect his position. At the same time. 11. Negru had better be sure of his ko threats before starting this fight. If Negru is determined to make trouble he can play tsuke at 3. leading to a ko. If Negru plays 3 at ‘c’ Alb will play ‘a’. 34 . Alb 2 here is the correct answer to Negru 1. and if Negru plays 3 at ‘d’ Alb will play ‘b’.Dia. Dia.
There are many opening situations where it is a reasonable choice for both Players. for after it the invasion at ‘a’ is not likely to pose any threat at all. But on the other hand. 35 . but it will be hard for him. 13. Alb comes out of it with a higher position. but must submit to being cut in two as shown here. Thus Alb 1 is quite large. He can still fight in his separated shape. so there is nothing unfair about it. since he gets a strong corner while Alb’s shape is still open to attack. and it is easier for him to develop a really large territory than it is for Negru. Dia. If Alb lacks ko threats he cannot play 4 and 6 in the last diagram. 14. In conclusion This is a simple and satisfying joseki for Negru.Dia.
Negru defends his weak point at 6. It does not stop here. which means avalanche in Japanese. working toward a large territory across the lower side.SECTION 4 This joseki starts out like the one in the last section. and he can also play tenuki. and Alb does likewise at 7. Alb has good plays at ‘a’ and ‘b’. ‘c’. After Negru 8. We shall concentrate on Negru ‘a’ and ‘b’. ‘b’. 2. ‘a’. Negru 6: simplest variation Dia. Negru has four choices for his next play. No variation is possible in Negru 4 and Alb 5. Dia. 36 . With this shimari in the lower left corner it is a good idea for Alb to make the kaketsugi at 9. while Alb is vulnerable to a hane at ‘b’. This joseki is known as the nadare. 1. and ‘d’. for Negru has a serious weakness in the cutting point at ‘a’. but now Alb slides along the top with 3 instead of playing hane at ‘d’.
3. but the fight is a fair one. Dia. So Alb may prefer to make a play like 9 here. this is the same situation as before. Alb 9 is not a bad move.Dia. Dia. Alb must be careful not to play 9 too close to the lower right corner. Now it is obvious that there is too little territory below Alb 9 and too much open space above it. 4. If he plays it here. With the joseki turned on its side. 5. 37 . Negru can attack with 10. both the Negru and the Alb groups being weak. but now Negru can easily make a position on the side with 10 and 12. Negru will just push out with 10 and 12. except that Alb has only a single stone in the other corner.
he should do so at 10. Do you see the relation of ‘a’ to Alb ‘b’? Dia. 6.Dia. This play enlarges Alb’s wall and. by preventing Negru ‘a’. 38 . but this exchange by itself hinders Negru in the expansion of his territory along the right side. If Negru answers Alb 9. Dia. If Negru plays 10 here he leaves a serious weak point at ‘a’ which Alb can exploit if he has a stone further up on the right side. Alb can play kikashi at 1. reduces Negru’s prospects on the right side. 8. The other key point for Alb is at 9. If Negru fails to answer Δ. 7. Negru’s best response is 2.
and Alb 11 defends. this is another possible variation. Negru 12 is a good tesuji and Negru 16 takes the corner. is the key to this variation. Dia. forming the so-called small nadare joseki. Alb cuts and makes a position for himself on the right side. Negru attacks with 6 and Alb counter attacks with 7. 12. 9. 39 . 11. One idea for Negru’s next move is ‘a’.The small nadare joseki Dia. Alb 9. but the cutting point at ‘a’ remains. Dia. Negru 10 threatens to capture all the Alb stones. After Alb 11. threatening both ‘a’ and ‘b’. Dia. 10. and after this the joseki continues with a fight involving the weak Negru stones in the center.
Alb 11 is impossible. 40 . Dia. and this is not so good for Alb either. taking the corner. but on the other hand if the shicho favors Alb. this diagram is not very good for Negru. So if the shicho favors Negru. What happens if Alb plays nobi with 11? The feasibility of this move depends on a shicho. and 18. and when Alb cuts at 13 Negru attacks with 14. When the shicho is against Negru. Alb loses everything. Next Alb should take the vital point at ‘a’. he must play as shown here. If the shicho works. then Negru 13 captures the corner stones. 14.Dia. and of course ‘b’ is his sente on the right side. 13. If Alb plays 13 at 16. 16. Negru can crawl out at 12.
15. but there are many complicated variations to the nadare joseki. which leaves Negru with good plays at ‘a’ and ‘b’. 41 . without playing 9. (big nadare).Negru 6: the other two variations Dia. so Alb will often answer it by playing tenuki. Another idea is to exchange 7 for 8 and then tenuki. Negru 6 here forms the so-called o-nadare. then this diagram shows the simplest way. This move is not as aggressive as the hane at ‘a’. joseki. 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. Finally there is this double hane variation. If Alb does continue with the joseki. 16. Dia. basically a simple idea. Perhaps you can figure out what happens if Alb does not answer Negru ‘a’.
The tsuke at 6 secures the corner territory. as well as a variation in which Negru plays 5 at ‘c’. and strength to use on the right side and in the center. is sente if played at the right time. After Negru 5. Alb can continue by playing ‘b’ or ‘c’. not to be found in this book. threatening to continue with ‘b’. and in addition Negru ‘c’. in which Negru plays 3 at ‘a’. but Negru has sente.SECTION 5 In answer to Negru’s kakari at 1. (threatening ‘d’). You may be impressed with Alb’s large profit in this sequence. (if Alb fails to play 10 then Negru can play there himself and completely encircle Alb’s corner). Alb’s position is not solid: Negru can play ‘a’. the tsuke on the outside is also possible. although there is a difficult variation. or he can leave the shape as it is. 42 . We shall look at all three of these possibilities. Alb 6: first choice Dia. Let’s start with the two ways of playing Alb 6. The sequence up to Negru 5 is the usual joseki. 1.
Alb can play the double hane shown here if he likes. Dia. 2. Alb ‘b’. The idea behind this Alb 6 is to build a wall over the lower side. The sequence may continue this way.). etc. to build up his own strength over the right side. 2. but Negru is also stronger. and 15 at ‘b’ are other possibilities. and after Alb 8 Negru typically makes some move on the lower side to reduce the amount of Alb territory there. (to take sente). Alb can still play ‘c’ later on to take the corner. (Negru ‘a’. although 13 at ‘a’. and he may be able to put Negru 9 to use later. 3. Before doing so. he may push Alb a bit farther. Instead of 8 in Dia. 43 .Alb 6: second choice Dia. Alb has a higher wall than before.
Continuing from the last diagram. if Negru plays 7 at 8 then Alb will play 8 at 7. If Alb lets Negru have the next play after the basic joseki. 4. but since he gets to play a shicho-breaking move in the upper right corner.Alb plays tenuki Dia. and Alb 2 to 8 are the correct response. Dia. and although the ensuing semeai in the corner may be difficult. which is not finished. 5. Alb is confined to a small corner. if played correctly it ends in Negru’s defeat. In this sequence. he is not so badly off. 6. If the shicho does not work. Dia. 44 . Negru can still confine Alb with these plays. Negru captures two stones in shicho. then Negru will play the tsuke at 1.
doesn’t that allow him to take sente? 45 . Dia. Negru has sente and can build territory on the right side. and Negru 11 an important kikashi. After all. You may wonder why Alb doesn’t play 10 here. 2 or 3. Here is one situation in which Negru should play 5 instead of ‘c’. 9. This variation of the joseki continues with Alb cutting at 6 and taking the corner. for if he plays ‘c’ and gets into Dia. Alb 10 is a tesuji in this shape. 7. making ‘a’ Alb’s gote. Alb will get too much territory on the lower side. 8. and from Δ he can easily invade the lower side.Negru 5: variation Dia. Dia.
can occur not only as shown in the corner. Negru can play ‘b’. or tenuki. but anywhere along the side of the board. or ‘c’. so its basic moves are well worth learning. 46 . Sometimes Alb plays tenuki after it. In conclusion This simple joseki. Yes. makes it difficult for him to form eye space on the lower side gracefully. 10. but it is no less a good move. which is a favorite with the famous professional player Sakata. Therefore Alb usually continues with 3 and 5. SECTION 6 The keima at Negru 2 is a less forcible response to Alb 1 than the tsuke moves we have studied previously.(in Dia. but then a second attacking move at ‘a’. but then Negru can play 1 and 3 here sente). after which this joseki has three variations. or thereabouts. which do terrible damage to the corner.
7. If Alb fails to extend to. since it leaves Negru with no weak points. This Negru 6 is suitable for building territory on the right side. and are typical follow-up moves to this joseki. Negru can play kikashi with 1. Dia. 2. then again Negru can attack at ‘a’.Negru 6: first variation Dia. 47 . or in the direction of. Later on. flattening out Alb’s territory on the lower side while expanding his own area. 1. Negru 8 and 10 are consistent with Negru 6.
This Negru 6 is more suitable for attack and is especially good when Negru already has stones on the sides. 48 . 3. In comparison with the last diagram Negru has made more corner profit. in line with the general principle of not playing in contact with the stones to be attacked. so as to make a quick march into the center at ‘a’ next. Alb may never get a chance to exploit this weakness. is thought to be a good way to start the attack. The original keima.Negru 6: second variation Dia. (Negru Δ). The drawback of Negru 6 is that it leaves the possibility of Alb ‘b’. as in this diagram. Dia. which threatens Alb ‘c’. 4. The idea is to keep Alb weak by interfering with his eye space along the lower edge. In this particular situation Alb might extend on the fourth line to 7. but Alb is already out into the center. and the right side is still open to Alb ‘a’. Negru Δ is looking very weak. The tsuke at Negru 2 is much less effective. for Alb can make excellent shape by following the sequence up to 13. but with his weak group on the lower side to look after.
5. 49 . Here is one case in which. but should play 6 to help his stone Δ. after Alb 5. to keep Negru from taking that point and also preparing to play ‘b’ and capture two stones. Alb ‘c’.Negru 6: tenuki Dia. Negru should play neither ‘a’ nor 7. There are other ideas in this situation: Alb might be inclined to play 3 at ‘c’ to attack at once. for then Negru would defend his shape with 8. but it would be a mistake for Alb to try to counter. Dia. Negru ‘a’. but Negru can defend his position with 8. Maybe we are pointing out the obvious. This is much better for him than Alb 5. Alb now plays 7 in the corner.attack with 7 in this diagram. or for that matter Negru might play 2 at 6. leaving both Alb 7 and the three stones in the corner weak. to forestall such action. 6.
SECTION 7 When Alb makes a kogeima kakari with 1. or some such point. Aggressive action often starts slowly like this. when you appreciate that fact you will have learned something about go. if at all. the diagonal play at Negru 2 is the simplest reply.In conclusion The keima response to Alb’s kakari looks like a quiet move. ‘b’. and it prepares for a wide extension on the lower side. Alb usually answers it. by extending up the right side to ‘a’. 50 . but there is nothing peaceful about Negru’s intentions in playing it. it makes ready to put pressure on Alb 1. It has three purposes: it prevents Alb from making another attack on the corner.
Alb has a solid fortress in the upper right corner. Here is an example of one kind of position in which the diagonal play is particularly necessary. and Negru 1 is urgently needed to keep the Alb territory on the right side from growing too large. In this case Alb 2 at ‘a’ would be far too timid. 1. but Negru has brought the situation under control. Alb should try for the greatest possible territory by playing 2 as shown. Dia 2. 51 . then Alb will land on the vital point at 1. but with the strength he has in the upper right. Alb ‘b’ would be better. In this sequence Alb makes his most ambitious defense.When the diagonal play is needed Dia. and his territory takes on gigantic proportions. If Negru fails to make the diagonal play.
Negru will press him with 1. Dia. This is not at all good for Alb. 4. and ‘d’ and ‘e’ are other possibilities. he should play ‘a’. If Alb plays tenuki after Δ in this position. There are two ways for him to attack. We have just shown ‘a’. Alb plays tenuki Dia. 3. If Alb makes the next play after 2. and Negru has a wall to use for building territory over the lower side. Let’s take a closer look at Negru 1 and Alb 2. Negru has many ways to proceed from this exchange.Now let’s see what Negru can do if Alb doesn’t answer his diagonal play. 52 . The exchange of 1 for 2 by itself is usually good for him. Negru may also play tenuki. Alb’s strength in the upper right goes completely to waste. ‘b’ and ‘c’ are similar.
6.Dia. Here Negru 1 and 3 are appropriate. Negru has the corner. This is not bad for Alb—note the endgame point left for him at ‘a’. but he also has gote. Because of the nearness of Negru Δ there is no sense in playing 1 at 2 to build a wall. making good shape on the outside. Dia. 5. 53 . Alb will usually capture the cutting stone. If Negru pushes through and cuts.
but is not really so smart of him to do so. he should play 2. Alb could run out at 3 if he had any chance of counterattacking. but he lives comfortably with 4 and 6. It may be better for him to look for eye space than just to run away into the center. Dia. but Negru might get to play ‘a’ and Alb could find himself fighting a running battle without any base on the side. Against this Negru 1.Dia. Negru can confine him with 3. 8. 7. Even though he can fight a little bit on the outside with Δ. Sometimes Negru may want to attack from the side instead of playing as in Dia. It is possible for Alb to resist Negru 3 with Alb 4. 54 . and if so. Here is one likely setting for such a move. 4. he will soon have to play ‘a’ to live in the corner.
Whereas in Dia. the diagonal move is of basic importance. 10. 1 Negru 1 was the only good move. 55 . Dia. absolutely necessary in situations like Dia. then Alb answers at 6. In conclusion Although most of the joseki stemming from the kogeima kakari involve squeeze plays and are postponed to the next chapter. If he plays 5 to defend against it. 9. which give Negru the cut at ‘a’ to worry about. here it is just one among many possibilities. It would be better for Negru first to play ‘c’ and then think about 1. Considering that there is still room for Alb to extend upwards from Δ to ‘c’. he is in no danger. Alb has 2 and 4 to play. but if Negru invades at 1. Alb’s four-line extension to Δ may look unsafe. then Negru can attack on the right side at ‘a’. which opens up the possibility of a connection underneath at ‘b’. 1.Another example Dia. then Negru can extend toward the shimari with 3. If Alb plays 2 on the lower side. but it is easy to understand. If Alb defends on the right side at 2.
but then Alb has an easy way to handle the corner. Of course in those situations Negru may want to answer Alb 1 by playing at or around 3. as we shall see in section 18. After Alb 3. his corner is larger and safer.SECTION 8 The ogeima kakari at 1 is not usually as good as the other two kakari considered in this chapter. Negru can simply defend the corner at 2. and has more potential for development. 56 . than Alb’s side position. so Alb 1 is reserved for situations where Alb has a special need to occupy the right side.
making profit on the edge while attacking. although it is at least temporarily out of style. but Negru can still make a good extension to 4. looking for profit in the center. after which Negru can neither make much territory in front of his shimari nor attack Alb. 3. If he does not play 4. Negru has various strong-arm tactics to use against Alb’s two stones. however. Alb 1 and 3 do something to reduce the effectiveness of Negru’s shimari in the upper right corner. The ogeima kakari is understandable in this position. After 4. 1. Or he can hit them from the outside. then Alb will approach closer at ‘a’. Dia.Dia. 57 . Dia. 2. 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.
not 3. and the space between Alb 3 and 5 and Alb Δ is too narrow.Dia. Dia. 5. Alb would answer with ‘a’. If Alb played 3 correctly at 5 and Negru played 4. 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. 58 . 4. Negru will lose no time in striking with 4. If 3 is played on the third line. 4. After 6 his stones have better shape than they could possibly get in Dia.
Negru 2 is a good reply. In conclusion The ogeima kakari looks rather lukewarm so far.Dia. It is not that Negru’s eye shape is endangered. Alb’s real intention is usually to provoke a squeeze play. 6. If after the basic joseki Alb advances on Negru’s corner with 1 here. he could make territory in the center. and Negru could not attack. 59 . and then he has some good maneuvers. which we are coming to in section 18. but if Alb were allowed to play at 2 himself.
in fact. Negru ‘a’ and ‘b’ are the oldest. was not much played until a year or two ago. the newest. Negru ‘e’. around 1700. ‘d’. a famous Japanese professional go player. 60 . Which of these is best in any given situation is a hard question—the choice may be more a matter of taste than of anything else. (Alb 1 in Dia. ‘b’. and ‘e’ are others. they did not become really popular until the post-World-War II era. Negru 2 in Dia. and the most thoroughly studied. In this chapter we come to the joseki in which Negru stops that extension with a squeeze play. 1 is one squeeze play. letting Alb extend unhindered along the side. 1).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. Squeeze plays are particularly often used against the kogeima kakari. ‘c’. and ‘a’. Negru ‘c’ was introduced by Dosaku. The squeeze plays on the fourth line are the creations of the present century.
1. is often met with a squeeze play. and that is the subject of the last section of the chapter. so we are leaving it out of this book. since it is played when the side is important. (sections 9 to 13). The ogeima kakari. we will concentrate on Negru 2 in Dia. but the joseki proceeding from it are not yet really well worked out. Squeeze plays can also be used against other kakari. 2. and ‘c’. too. such as Negru 2 against Alb 1 in Dia. ‘d’. and Negru ‘e’ is too new for us to be able to say much about. which is the most representative squeeze play. Negru ‘f is a modern play often made against Alb 1. 61 . and happens to be currently the most popular. (section 17).Squeeze play joseki are difficult. To keep this chapter from being longer than it is. Negru ‘b’ is too much like Negru 2 to need a separate section. and branch out into a large number of variations. Sections 14 to 16 contain brief surveys of the joseki starting with Negru ‘a’.
a squeeze play would be above criticism. however. it is better for Negru to play at 1. where it serves both to attack Alb’s stone and to extend from a Negru position in the other 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. 5. If we reverse the colors up there. 4. but he can not take away all of Alb’s territory. without having to worry about his strong stones in the upper right corner. as in Dia. then a squeeze play is no longer so good. and by attacking Negru ‘g’ Alb can build up strength for use in other directions. nor make much territory of his own there. 1. In Dia. where Alb has only one stone in the upper right corner and Negru can aim to attack it. 3. Now let’s start sampling the joseki that begin with Alb 1 and Negru 2 in Dia. 62 . he can easily do so. as in section 7. 4.
After jumping well out into the center with 2. he can do any of four things: he can attack Negru 1. or he can do nothing at all. he can play at the 3-3 point to get eye shape in the corner. and Negru runs along the lower side with 3—this is one of the most interesting of the squeeze play joseki. but there is a lot of flexibility in his position. Alb jumps between Negru’s stones at 2. 63 . he can pressure Negru’s two stones on the lower side. There is not a solid connection between Alb’s two stones.SECTION 9 Negru plays 1. We shall take up these four possibilities one by one after looking at two of the variations in the basic joseki.
This is a very large shift in circumstances.Two variations Dia. as you will see in the next diagram. The Negru stone in the corner is not dead. If Negru uses 3 on the right side. who can make territory on the lower side. not Negru. and now it is Alb. 64 . If Alb plays ‘a’ Negru can still cause trouble by playing ‘b’. but sometimes it may be more important for Negru to defend the right side than to play 3 on the lower side. If Negru wants to. Alb will play 4. 1. 2. Dia. he can play these moves after the last diagram. Alb is getting stronger on the outside. but while he is living in the corner. and in fact Negru can even allow Alb to play another stone against it.
or he can play 6. This is the usual continuation. 3. 5. Alb has good points at ‘a’. Alb can next play ‘b’. Dia. but the fighting gets difficult. After Negru 5 he is ready to cut at either ‘a’ or ‘b’. Dia. a recent invention. and ‘c’ but it is Negru’s turn.Dia. It may be joseki. Negru can slice into Alb’s position this way. and not much is known about it. in which both sides make good shape. 65 . ‘b’. 4. There is also this messy continuation. Instead of playing 3 as in the basic joseki. Now back to the basic joseki and the four possibilities left after it.
Negru 2 is the usual defense. Dia. 7. Attack on the right Dia. Alb 3 prevents the cut. 6. Alb should not allow this. since it threatens to cut Alb. 6. so before jumping further out into the center he must do something to tighten the connection between his stones. When Alb has a stone in the upper right corner he need lose no time in playing 1. if Alb plays 3. There are several ways in which he can do so. or ‘b’). Dia. and 8. 8. Negru will cut him with 4. Here is one of them. For example. 66 .1. making a good extension while attacking. and the sequence up to 11 is a good way for both sides to continue. (or ‘a’.
Incidentally. but then ‘a’ is a large point for Alb. Of course Negru can play 6 at 9. Pressure Dia. then Alb 5 at 4 would give him plenty to worry about. 9. Alb 5 is a way of making good shape in this kind of situation. for he can push through and cut with 2 and 4 here. Before making his attack Alb can play 1.2. If Negru accepts the invitation by playing 2. then this sequence may follow. if Negru jumped out too hastily by playing 4 at ‘a’. inviting Negru to help himself to some territory along the third line. 67 . Dia. 10. Negru does not have to follow the easy course of the previous diagram. and now when Alb attacks with 9 he has a big wall to push Negru’s stone against.
Dia. Negru has to answer at 8.Dia. with Alb getting tremendous thickness. but when Alb plays 11 Negru is hardly likely to have any ko threats big enough to fight the ko. After Negru 12. After this. Alb counters with 7 and 9. 68 . Dia. 14. Alb plays the same tesuji as before at 13. Negru cuts at 10. 11. Negru should answer 5 with 6. the fighting follows no set course. Alb has to play 7. and Alb can exchange 9 for 10 before running out into the center at 11. This kind of thing can go on all the way down the side of the board. Dia. but this play has no merit. 12. 13. You may be wondering why Negru does not answer 5 with 6 in this diagram.
Negru usually takes the opportunity to cut off Alb’s center stone. 69 . 16. for if Negru plays 6 at 7. then a Negru stone on that point spoils his shape. (If he omits 7. Alb can make eye shape with 5 and 7. The exchange up to Negru 10 is a fair one. Alb can connect by playing ‘a’ and ‘b’. 15. and then 1 and 3 become appropriate. as in this diagram. considering that Alb has sente.3. But instead of playing 4 on the 2-2 point. If Negru answers with 2 and 4.) Dia. There are times when Alb must think of defense rather than attack. Alb 5 then takes the corner. Defense Dia.
Next Alb has good points at ‘a’ and ‘b’. 18. Dia. If Negru gets to attack Alb’s two stones after the basic joseki. Alb pushes on with 10. so if Negru plays one of them Alb plays the other and all is well. and continues with 3 and 5. he generally begins by playing 1 to block Alb from the corner. and after Negru 13 he has ‘a’ on the outside and ‘b’ and ‘c* in the corner to work with. separating Negru’s stones and preparing to attack on either side. In conclusion We have here the basic defense against the squeeze play—Alb jumps up into the center. If Negru answers at 9. although it may look a bit strange.4. 17. Negru attacks Dia. Alb 6 makes good shape. The danger in a diagonal jump is that the opponent will come through the middle of it. but if Negru plays 7 Alb has adequate resources in the tesuji at 8. 70 .
We shall see this strategy repeated numerous times in the rest of this chapter. We shall explain both of these variations. There is another variation in which he gives up his stone on the right side. 71 . Negru plays 2 if he is willing to engage in a running battle. which left both sides with many options. getting a good position on the lower side in return. SECTION 10 In contrast to the two-point jump of the last section. sacrificing solidity for speed of development. It puts heavy pressure on the lower side in preparation for a heavy attack on the right side. The unique feature of the joseki in this section is that Alb makes a two-space jump. a kind of reverse strategy often found in go. the keima at 1 is a move with a definite purpose.
If the stone up there were Negru instead of Alb. for instance. 1. 1 is fairly necessary. If Negru just jumps upward with 6 here. 72 . This puts him in a strong position because . . when he attacks with 5 he is making a good extension from his stone in the upper right corner. 2. Negru 6 in Dia. and how it continues from there is up to you. 9. Alb should only play the keima when he is in an attacking position on the right side. In this diagram. Alb can make shape with 7. Dia. . then his position would not be so attractive. and so must run out into the center. Negru plays 6 to keep Alb from making eye shape.Running battle Dia. Alb has to play 7. and 11. The Negru and Alb groups both lack eyes.
73 . forcing Alb 5. Negru can play 4 this way. 3. Dia. but when he does so he is not making territory—he is just defending—and Alb 7 is a big move made in sente. which gives him a safe group between two vulnerable Negru ones. He is threatening to carry out this sequence.Dia. and then protect the right side with 6. 4.
Here is another version of the joseki.Exchange Dia. Negru 8 is necessary to capture Alb Δ. It is much easier for Negru to make a fair trade like this than to get involved in an unfavorable fight on the right side. 7. The joseki ends this way. it would be more circumspect of Negru to push through and cut with 2 and 4 in this diagram. the alternative mentioned at the head of the section. Dia. with both sides getting good positions. Instead of playing as above. 6. 5. Alb 5 is a skillful way of handling Negru’s tactics. 74 . Dia.
5. Alb must give thought to Negru ‘a’. remember the tesuji at Alb 5 in Dia. 75 . The tesuji of Alb 5 is worth remembering. and this time he gets much the better of it. 8. 9. he can play 1 here. but Negru can dodge around it if he decides it would be best not to get into a running fight. Alb can push him around with 7. 9. For the present. see what happens when Negru answers it at 6. In conclusion Alb’s keima at 1 is a rather aggressive move. But if the shicho favors Alb. After these strong-arm tactics. having two reasonably good side groups while Negru has just a small corner and some weak stones in the center. Dia. Dia. and Negru should do likewise with 14. which we ask you to figure out for your-self. This is another fair trade. and 11. 10. If the shicho favors Negru. You will learn more about this joseki in section 31.Dia. Whether or not Negru can successfully push through there and cut or not depends on a shicho. For the sake of explaining it a little more. Alb should defend with 13.
Alb 3 is not without its aggressive intentions. so instead of running further out into the center at ‘a’.. (Another idea is to attack at once at ‘b’). Alb has accomplished his purpose of separating Negru’s stones. At this point. preparing to counterattack on one side or the other. it is better for him to slide into the corner at 3.SECTION 11 In answer to any squeeze play. If Negru fails to play 4 .. A third is the diagonal play at 1 featured in this section. So far we have seen two examples of this strategy in the two-point jump and the keima. 76 . ‘a’ remains a big point for either side. it is natural to run out into the center. Negru 2 is the simplest response to it. All the same.
and Alb’s corner group is suffering. Negru can answer it at 2 or 5.. Negru is becoming strong around the outside. 77 .. 2. Dia. it is most annoying to have a large. Alb can attack with 1 in this diagram. board. Alb Dia.The reason for Negru 4 Dia. 1. But with Negru Δ on the 1 loses its sting. There is no good way for Negru to answer Alb 1. taking away Negru’s room for eyes at the side. Alb manages to live. Following Negru 8 . drifting group of stones like this. but while he is struggling to occupy a small territory on the side. 3. which is more important.
5. This time he has done his damage to the lower side and gotten out into the center as well. Alb 3 is a sacrifice stone. to fight. Dia. but Alb plays 3 and jumps out into the center at 5. he should play 1 here. 4. If Alb wants to attack on the lower side after the basic joseki. If Negru does not feel like fighting. Alb will answer at ‘b’. After exchanging 6 for 7 Negru takes a good point at 8. but then Alb can play at 9. or at some point in the lower left. Negru can answer strongly at 2. Notice a tesuji which occurs in this shape: if Negru later plays ‘a’. he can answer Alb 1 with 2 in this diagram to connect along the lower side. 78 .The right way to attack Dia.
as will be seen in the next diagram. 1 is a big point for Negru. it revives the possibility of Alb ‘a’. 6.Dia. A large point Dia. For another. 7. it prepares for an attack on the single Negru stone on the right side. 4-6. 79 . 8. If he has a good chance to play it. and it protects Negru Δ. or in something similar. Dia. it enlarges Negru’s territory. 1 is also a big point for Alb. For one thing. The sequence begun in the last diagram ends in this way. 4 to this. Alb has built up a lot of power in the center while pressing Negru’s territory down to the edge of the board. Usually Negru prefers Dia. It prevents the nonsense of Dias.
Considering the presence of Alb Δ. The invasion ends in Alb’s getting the corner. 9. but in gote. 10. Even if Negru gets in the two moves Δ shown in this diagram. 80 . The Alb stones in the basic joseki are almost indestructible. Alb can live easily by playing 1 in the corner. If Negru attacks this way. 12.Dia. Dia. he gains corner profit. Negru had better answer Alb 1 by playing 2 right on top of it. Alb is safe Dia. 11. Dia. Alb 4 gives the Alb stones excellent eye-making potential.
and Alb made the diagonal move at 12. Negru made his squeeze play at 11. Alb attacked at 16. and answered Negru 17 by connecting underneath at 18. but now Negru played 13 instead of ‘a’. 14. but Alb is more out into the center than before. Dia. for a reason explained in the next diagram. 81 . Alb confronted Negru’s stones at 14 and Negru took the key point in the corner at 15. 13.Variations Dia. This professional game illustrates another of the variations of the basic joseki. This gives him corner profit. One variation in the basic joseki occurs When Negru plays 2 at the three-three point to keep Alb out of the corner.
Negru 3 is a stronger attack on the Alb stone in the lower right corner than ‘b’ would be. In conclusion Taken together. he could play 3 instead of ‘b’. however. Negru’s reason for playing ogeima at 1. Dia. if Alb played 4 after the last diagram. Negru would answer it at 5.Dia. 82 . even if it does mean playing on the two-three point. In squeeze play joseki there is often competition for room to make eyes at the side of the board. 15. instead of kogeima at ‘a’. 16. and then use sente to make another attack against the stone in the lower right. these variations illustrate the main themes of the joseki. (If he did not care so much about sente. The drawback of the ogeima is that it leaves the weak point at Alb 4. and it is well worth Alb’s while to take what room there is. the sliding move into the corner. was that if Alb played 2. he could play 5 at ‘a’ to reduce his loss in the corner). In this situation. The key move is Alb 3 in the basic joseki diagram.
the usual move. If Negru responds at 2. but Alb has ways to deal with that. he can do so with the diagonal tsuke at 1. for which there is another choice.SECTION 12 When Alb wants to settle the situation. Negru can cause trouble by playing 2 at 3. Alb plays 3 and 5 and is safe in the corner. which are shown at the end of this section. 83 . Let’s begin our study of this joseki by looking at Negru 6.
When playing Δ.Negru 6: third line or fourth? Dia. However. Negru has a good reply at 2. With Negru Δ low. If he gets ‘a’ or ‘b’ in addition to 1. An important variation in the basic joseki occurs when Negru plays 6 on the third line. 84 . 3. Dia. 1. instead of at ‘a’. 2. he can play kikashi at I and 3. 4. This diagram shows the reason for Alb 1 and 3 in Dia. Dia. This variation is biased toward defense on the lower side. If Alb simply plays 1. then attack at 5. 3. With Negru Δ on the fourth line. Alb can attack at 1. Dia. then Negru’s group is short of eye space. Negru has to choose between defending one side and defending the other. aiming to slide under to ‘a’. Alb cannot attack so well on the lower side.
Negru 1 is a large point in the corner. 5. Dia. Alb 2 makes good shape and leaves open the possibility of an invasion at ‘a’. Negru has three ways to attack the Alb group. as regarding both territory and the safety of the Negru and Alb groups.Negru takes the offensive After the basic joseki. but then ‘b’ is almost sente for Negru. Here Negru plays it to get Alb’s reaction before extending toward the shimari in the upper right corner. 85 . which are shown in the next four diagrams.
7. Alb 2 here is another way of answering Negru 1. Alb would respond by taking the big point in the corner. Alb ‘c’. he can attack with 1 here. Alb can reply at either ‘a’ or ‘b’. Dia. Dia. working towards a large territory on the right side. although in a way Alb is reducing the value of his own shimari by pushing Negru toward it. If Negru is concerned with the center. 6. 86 . he would play 1 from this direction. He cannot get out into the center past Negru 1—for instance.Dia. Negru ‘d’. Instead. 8. Alb 2 would be more appropriate if the shimari in the upper right corner were Negru. but then Negru would not play 1. a vital point in this shape.
Negru’s attacks in the last four diagrams are far from being killing attacks. which is the cutest of the three. While Negru makes some territory on the lower side. he provokes a strengthening of Alb’s position. We shall confine ourselves to Negru ‘a’. Negru should cut at 4. and after Alb 5 it gets complicated. One way for Alb to proceed is shown here. . But the fun comes when Alb plays 3 here to put up a fight for the corner. but first . 9. Next Negru can play ‘a’. . in some other direction. or ‘c’. and not before he can make an intelligent choice among the three of them. indeed. Now we come to the variations in which Negru plays 2 on the three-three point. 10. Negru 2 at the three-three point Dia. if Negru attacks from one direction. Alb gets out into the center and prepares to attack the stone Δ. and a weakening of his own. Dia. It follows that Negru should not launch into any of these attacks without reason. ‘b’. 87 .As you can see.
but Negru has a good point left at ‘a’. we should point out that Negru 4 in this diagram. 10. Dia. Continuing from Dia. if Negru plays 6. 14. 12. Alb should answer at 7. but the only good one Alb has. Negru must play 8 and 10. After these moves. Dia. Alb has a powerful reply at 5. The finish of this variation: Alb’s wall is imposing. (instead of the cut at 7). 88 . and Alb must play 9 and 11. 10. Dia. a strange-looking play. is not very good. 13. you can probably see what is coming next.Dia. There is only one branch in this variation. 11. Before getting involved in the difficulties which follow Dia.
which lets Alb live easily but gains outside strength. giving Negru a chance to put another stone into the corner.In conclusion Complicated variations aside. Negru’s next play is usually either ‘a’. or ‘b’. but against any squeeze play except. 89 . the one point-squeeze play on the third line. which drives Alb out into the center. Alb 1 and the rest can be used not only against the twopoint squeeze play shown in this section. 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. Alb’s purpose in this joseki is to gain safety in sente before moving on to some other part of the board. perhaps.
After Alb 9 it is Negru’s turn. 1. This explains the weakness that exists after Dia. Alb 4 may look like a feeble move. When Negru plays 1 at the three-four point.Negru plays tsuke at the three-four point Dia. but he has lots to worry about: his stones on the outside are weak and his corner is not yet alive. 2. 90 . and then Alb can think about attacking on the right side. this is the expected result. but Alb has possibilities at ‘a’ which he is trying not to disturb. Dia. Negru generally plays 5 at ‘b’ to defend against Alb ‘a’. 1.
and Negru plays double hane at 5 and 7. 91 . The only drawback of this shape is that if Alb later gets to attack at ‘a’. or play 11 at 13. Negru plays 3 at 4. Negru will find himself cramped in the corner. it is not hard for Alb to make two eyes in the corner or on the right side. Here is one variation. 3. Negru connects at 3. 9). If Negru is worried that Alb might not connect and wants to be sure of sente. ‘a’ is the most desirable point. Negru plays tsuke on the outside Dia. Alb plays 2. 6. and so Alb may have to play ‘b’ instead. but that play depends on a shicho. 2 by playing 3 here. For Alb 2. Negru’s double hane in the last diagram enables him to make a perfect wall on the outside. Alb takes the corner with 4. 5. Negru can avoid having to worry about the possibility of Dia. 4. In another variation. Dia. Dia. When Negru plays 1 here. he can omit Negru 13.Dia. (see Dia. and he has sente if Alb connects the ko.
now lets see how they apply in a couple of actual situations. Dia. A similar situation occurs when Alb plays 2 at 4 and Negru plays 3 at 5. it is more prudent of Negru to play 6 than ‘a’. but he can make shape on the side by playing ‘a’ or ‘b’. After Negru 5 this variation gets complicated Alb is barred from the corner. but if it is not. 8. Here is one possible continuation from Dia 7. then of course he is more than happy with this result. then he is in great trouble.Dia. Alb 7 and Negru 8 are the same as before. 6 on the previous page. 7 and 8 has to be modified a bit. When possible. 10. but a countersqueeze play. Alb pushes in between the Negru stones at 2 to put some cutting points into Negru’s shape. In comparison with Dia. If it is. Alb 1 in this diagram is not a tenuki. 7. but now 92 . 9. the sequence of Dias. (although ‘a’ is not impossible). These are the basic variations. so if Negru plays 2 and Alb plays 3. Since Alb 1 is so close. Alb cannot play 2 unless the shicho in this diagram is good for him. Alb makes a counter-squeeze play Dia. Negru has all sorts of weaknesses for Alb to aim at. Dia.
Negru should play 3. and if Alb plays 2. Negru has no good move. Alb 4 to 12 are one way to proceed from here. 93 .Alb simply plays 9 instead of ‘b’. Negru ‘c’. Let’s see how this affects the joseki. Dia. In answer to Alb 1. Negru ‘e’ would weaken Alb 1 too much. 12. This is because Alb ‘b’. Negru 2 at the three-three point is bad. This time Negru 1 is correct. Alb ‘d’. 11. Alb’s stone is farther away Dia. After Alb 3. Here Alb has a stone out at Δ on the lower side.
Negru cannot make good use of his wall. 13. Negru ‘a’ would be too close to it to be efficient. then after Alb 4 he wants to play 5 as shown to confront Alb Δ while defending against Alb ‘a’. On the third line. Alb can answer Negru 1 more loosely at 2. Dia. inviting this exchange. however. 94 . If he wishes. which does not bode well for the fighting that should develop from Alb 6.15. Alb Δ makes Negru 1 a doubtful move. If Negru plays keima at 3. 14. for after the usual joseki shown here. Negru 5 offers no resistance to Alb’s movements in the center. Dia.Dia.
A second tenuki Dia. Dia. starting with Alb ‘a’. He still has ways of breaking up Negru’s position. When Negru plays 1. The order of Negru 1 and 3 may be reversed. Alb can play another tenuki and let Negru have 3. Even when he plays tenuki twice. but he is by no means giving up the corner. Alb can probably live with this sequence. 18. of course Alb is giving Negru a local advantage. provided that Negru is not too strong in the surrounding area. and Alb has again cut into Negru’s prospective territory. he still has good chances of reviving his original stone. After Dia. If Negru answers Alb 1 by capturing Alb Δ then Negru Δ becomes greatly weakened. In conclusion By playing tenuki. too. 17. 16. 16. Dia. 95 .
Negru 1 above is the most aggressive of them all. or he can. 96 . as always. for it gives Alb the least room in which to operate. Alb can answer at ‘a’. We shall restrict ourselves to Alb ‘b’ and ‘d’. starting with the former.SECTION 14 After spending the last five sections on the two-point high squeeze play. we will use this section and the next two to look at three other squeeze plays often used against the kogeima kakari. ‘c’. or ‘d’. (which works out about as in section 10). ignore Negru 1. or at ‘b’.
and now it seems natural for Alb to attack the other side with 4. 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. be making third-line territory. Negru ‘b’). and Negru will than fourth-line 97 . then there need be about playing 4. he is likely to find himself pushing Negru along the fourth line. (Alb ‘a’. third line. on the lower side. on the lower side. Alb’s one-point jump to 2 is the most generally useful answer to Negru 1. If a chase into the Alb has a kikashi at ‘a’ he can use. 2.Alb 2: one-point jump Dia. but Negru fights back with 5. When Negru plays 3 on the is also joseki. Dia. 1. rather territory. Negru defends the lower side with 3. which no reservations center develops. for in the running fight to come.
98 . Alb may prefer to play 4 this way. But when Negru plays keima with 3. Dia. At the end of this diagram Alb is in a position to attack either at ‘a’ or at ‘b’. 4. If Negru plays 9 first.Dia. Be careful of the order of 7 and 9. this sequence is what Alb expects. 3. Alb can answer it at 7 instead of 10. and he can make an eye for his group by playing ‘c’ when the time comes. When he plays 4 in the last diagram. trying to avoid a running battle.
6.Dia. 5. The joseki usually ends about like this. Instead of passively playing the previous sequence. Dia. but this can get very difficult. We will not even try to go through the variations. Alb has good shape for making eyes on the right side. bending around Negru 5 and protecting the cutting point at ‘a’. Negru can push through and cut with 5 and 7. Negru naturally answers with 5. it is common for Alb to attack from that direction with 4. Alb 6 and 8 are a good combination. 99 . Even though Negru plays 3 to defend the lower side. although you can probably see some of the possibilities for yourself. Dia. 7.
In one of them. especially considering the possibility of Alb ‘a’. so he plays 1 as far down as he can. 9. He cannot use it to attack Alb’s group. and he has not made much territory with it. Although it is always hard to say which squeeze play would be best. which is alive. Alb resists by pushing Negru back toward his strong position in the upper right with 2. here is one situation in which Negru 1 looks appropriate. and Alb cuts at 6. 100 . This is joseki. Negru wants his territory on the right side to be as large as possible. Dia. but in the present circumstances Negru’s strength in the upper right goes to waste. 8.Alb 2: tsuke Dia. After Alb 4 there are essentially two variations. Negru plays 5 to defend the lower side.
101 . he is putting maximum pressure on Alb. 10. In conclusion When Negru makes his squeeze play as close as this. Negru’s simplest course is to live in the corner with 7 and the rest. marked ‘a’ to ‘e’. as seen in many of the diagrams of this section. but at the same time it becomes possible for Alb to push back on Negru in one way or another. So in this case Negru had better choose the other variation and connect at 5. Alb can attack on the lower side at 6. except that it is played on the fourth line.Dia. Alb has five different ways to answer it. of which ‘c’ and ‘d’ are the most interesting. SECTION 15 This squeeze play is like the one in the previous section.
straight up between Negru’s two stones. and Alb connects underneath at 6. 1. Instead of playing 11 as in the last diagram. Dia. Both Negru ‘a’ and ‘b’ threaten a hane at ‘c’. After this diagram Negru can play tenuki. or he can carry on as in one of the next two diagrams. If Negru has some strength in the upper right corner. 102 . Negru jumps out to 5. 3. and in the corner ‘b’ is a very large point. and if Negru has a lot of strength in the upper right corner we imagine Alb playing ‘a’ instead of 4. taking no chances. This gains corner profit. 9. however.Alb 2: one-point jump Dia. Alb 2. and 11 to strengthen his position. 2. Negru can play it on the three-three point. but now Negru’s ‘a’ is not as menacing as before. after which Alb will probably play on the lower side to counter Negru’s wall. he might play 5 at 6 to start a fight. Dia. Negru can play 7. Negru can attack at ‘a’. In the usual joseki Alb attacks at 4. looks like the most natural answer to Negru 1.
Negru’s three stones on the right side do not have eye shape yet. 4. Negru cannot answer Alb 2 at ‘b’ because of Alb ‘a’. another good move. Negru has more room on the right side. 103 . When Negru plays keima with 3. On the lower side. By the way. Alb cannot ignore it. and the sequence shown here is joseki. since he has a good play at ‘a’ to use if Negru attacks. Alb might continue at ‘a’. Negru 5 here is a lighter answer to Alb 4. but Alb has not made eyes yet either. although he also has some cutting points. Dia. 5. Negru 3 is one good answer to it. Before playing 5 Negru should think about playing ‘a’ in the corner. One thing he can do is to play 4. 6. hoping Alb will answer at ‘b’.Alb 2: keima Dia. The keima at 2 is more flexible than the one-point jump. and this is joseki. and now Alb can continue by attacking Negru 1. or he can leave the position as it is. Alb has ‘b’ or ‘c’ to play. too. After 9. Dia. He often does this last. After Negru 7.
Negru can prevent it by playing ‘b’. 7. 10. Dia. which threatens ‘a’. so as to live quickly in the corner. and he fights on the outside by playing 10. 8. 11. Dia. (which forces Alb ‘a). and 9. but he may not want to provoke Alb ‘c’ by doing so. Dia. Alb 2: tsuke Dia. Alb is alive in the corner. Alb can answer Negru’s keima at 3 by playing 4 at the three-three point. 104 . Continuing from the last diagram. 9. This sequence is a simple joseki. Here is one joseki stemming from a Alb tsuke at 2. In the early endgame Alb ‘a’ is a very large play. And here is a similar one starting with the tsuke at the three-three point. since he may need to connect at ‘c’. A more complicated joseki occurs when Negru answers Alb 4 by cutting with 5.Dia. Negru plays kikashi at 11 before defending the lower side. 7. to live on the right side. and the joseki usually ends with Negru 17.
it tends to lead to solid and settled positions more often than the other squeeze plays. Because of this. but they are too far away to have a strong effect on the corner. Plays farther up the side than Negru 1 or ‘b’ are possible.In conclusion Negru 1 is the most forceful of all the squeeze plays. SECTION 16 Our discussion of the kogeima kakari ends with Negru 1. as can be seen from the joseki shown in this section. 105 . We are skipping over Negru’s squeeze plays at ‘a’ and ‘b’ for reasons mentioned in the introduction to this chapter. the three-point low squeeze play.
he can settle for making good shape in the corner with the sequence that starts with 2 and ends with Negru 7 or ‘a’. if there is a Negru shimari in the upper right corner. 1.Two Common joseki Dia. Many players would play 1 at 4. Alb has a shimari in the upper right corner. as shown. In this shape Negru can get some room for eyes by playing ‘a’. or on the point between 1 and 4. For example. Dia. One way to meet Negru 1 is with the twopoint jump to 2 and the counter-squeeze play at 4. 1. Alb would certainly prefer this way to Dia. to avoid this kind of attack. 106 . but his stone is under attack all the same. If Alb is not in a position to take the offensive. 2. This would be appropriate if.
Negru can make shape in the corner with 5. The sequence up to Negru 9 is almost like the one in Dia. 5. and ‘c’—which we shall look at in turn. which changes things considerably. Negru must not connect at 10. 107 . 3.Tenuki Dia. When Alb plays 8. ‘b’. He has to play atari at 9. Negru frequently plays a move like 3. Dia. but Alb can play 8 at 9. 2. 1 or 2. instead of following Dia. and after another atari at 11 he connects at 13. Since Alb 2 does not really put much pressure on Negru 1. Here is a situation in which the three-point squeeze play is often made. for then Alb 9 would leave him with no eye shape. For Alb 4 there are three possibilities—’a’. When Alb plays keima at 4. 4. Keima Dia.
The fighting might continue this way. so he will fight with 5 and 7 instead. 8. but Negru has a big wall and sente to make a wide extension on the lower side. Dia. Now we come to the diagonal play at Alb 4. Diagonal play Dia. Alb cuts at 14 and Negru has to play 15. Alb makes a satisfying amount of territory as Negru pushes him along the side. to give himself more room on the lower side. 7. 6. Negru can no longer accomplish much by playing ‘a’ in the corner.Dia. Continuing. Notice that Alb would now prefer to have Δ at ‘a’. 108 . (This does not mean that Δ was a bad play to begin with).
Dia. but it provokes Negru 5. 9. this is one possibility. 109 . Continuing from Dia. Negru is aiming at the point ‘a’. he can do so by playing 4. After Alb 8. After settling his own position. Dia. Negru plays 9 to build a living position. but here. 10. This is joseki in some situations. 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. a defensive way of playing. it is rather cowardly. 2). This is the most aggressive way to attack. and Alb needs to defend. 11. considering that Negru has two stones in the upper right corner. Tsuke Dia. and it gets complicated. 10. (just as in section 13. Another way for Negru to answer Alb 4 is to dive into the corner at 5.
That makes them especially useful as invasions between the kakari stone and a position in the adjacent corner. or ‘e’. as in Dias. a double-threat move which prepares for either Alb ‘a’ or Alb ‘b’. one which makes it a bit hard for Negru to get good shape on the right side. SECTION 17 Of the squeeze plays that can be used against Alb 1 above. and the only one that is going to find its way into the present book. Negru 2 is the oldest. or if Negru plays ‘b’. One way to continue is with 10 to 13. Against Alb 3. Running fight Dia. 1 and 3. Dia. Alb 13 is a solid play. If Negru connects at ‘a’. Alb’s defense is at 7. The last of these is the subject of this section. Negru announces his intention to engage in a running fight by playing 4 and 6. or with a tsuke at ‘c’. Alb can reply to it with ‘a’ or ‘b’. Alb strikes on the right side at 9. 1. then 110 . either of which separates the two Negru stones. Alb will attack him with ‘b’. for instance. 2.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. ‘d’.
3. then Alb attacks on the lower side with 9. In another variation Alb uses 13 to cut at ‘a’. as in some others. Dia. 111 . and this sequence is joseki. Negru still plays 12). however.Alb has ‘a’. In the present joseki. if Negru does not want to assume a separated shape. Negru can handle this onslaught with 10. which can lead to a hard and desperate battle. or ‘c’ in the diagram at the head of this section. there is a way for him to avoid it. In Dias. and similar to ones that develop when Alb plays 3 at ‘a’. as we shall see next. ‘b’. 1 to 3 we have a typical running fight provoked by a squeeze play. similar to the many other running fights that have appeared so far in this chapter. (If Alb tries to play 11 at ‘a’. If Negru defends the right side with 8.
Alb should reply with a counter-atari at 9. or by making a wide extension on the lower side. unfortunately. Negru can next play either ‘a’ or ‘b’. 4. 112 . Negru joins up his position by cutting in behind Alb 3 and reaching up the side with 4 and 6.Negru moves to connect Dia. lead to complications. both of which. 5. Negru plays 8 underneath Dia. and Alb can finish it by playing 17. Alb’s only way to fight is to push in between Negru’s two stones at 7. The joseki continues as shown up to Negru 16. When Negru plays atari underneath with 8.
and Negru has no choice but to play 10 and 12. 6. If Alb can capture the stone in shicho by playing ‘a’ instead of 13. then Negru can play 10. that improves things somewhat. but Alb has sente. but then Alb does likewise. this exchange is generally good for Negru. 7. and while Alb captures one stone on the right side.Dia. When Alb plays atari at 9. Considered in isolation. and he can cut off Alb 15 by playing ‘a’. Alb captures at 13 and Negru captures at 14. In the simpler one. And now there is the case in which Negru plays 8 from above. 113 . Negru has a chance to capture with 10. Negru has the stronger position. If Alb just connects with 9. this exchange is good for Alb. but Negru is still happy. At this point the joseki branches into two variations. 9. Alb plays 9. Dia. Dia. Negru plays 8 from above Dia. 8.
Alb continues at 19.Dia. and the fight goes on. At the end of this diagram there are three weak groups on the board. a Negru shimari in the upper right corner. This diagram shows the first possibility. Now again Negru has two choices. 11. or he can give them up by pushing through with ‘b’ and onwards. but then Alb continues to develop on the right side with 17. then the variation in Dia. 9 would be rather good for Negru. and Alb would like to avoid it. Depending on a shicho. 10. Negru gets the corner with 14 and 16. He can connect his two stones at ‘a’. and the battle continues until they become stabilized. Negru connects at 18. capturing Alb 15 in return. These moves are not hard to understand. This second possibility we leave you to figure out for yourself. If there is. say. 12). 114 . Dia. he can do so by playing 13. (see Dia.
If he wants to strike a bargain with Alb and settle the situation quickly. After the cross-cut at 5 there is. only one variation.Dia. he can choose the variation of Dias. 1 to 3. 115 . SECTION 18 In the last section of the chapter we see Negru making a squeeze play against the ogeima kakari. 12. Alb can handle the situation with a tsuke at the threethree point. he can choose from among the other variations of this joseki. for a change. for Negru. In conclusion Alb cannot play 13 if the shicho shown here works If Negru wants to embark on a protracted running fight.
1. Alb will be quite satisfied to extend up the right side at 3. Dia. it is not as easy for Alb to handle his stone. If Negru answers it at 2. 116 . By comparison. 2.The idea behind the ogeima kakari Dia. but he knows that 3 and 5 will give him a good position in the corner. Alb rather expects a squeeze play like 2. The ogeima kakari is appropriate when Negru has a large. strong position in the upper right corner. forming a safe position which greatly reduces the effectiveness of Negru’s strength. if Alb plays a kogeima kakari at 1 and Negru makes the same squeeze play at 2. Dia. 3.
then connects at 10. 5. but if he keeps on. Dia. his opponent has taken the corner. To continue with the joseki. If Negru reverses the order of 6 and 8. This is simple. 117 . 6. 4. Negru plays atari at 6 and 8. but whatever the strategic merits of Negru’s position on the right side. Alb will play 9 and dominate the corner by capturing Negru 6. 4.The joseki Dia. Negru can play tenuki after Dia. Be careful of the order of Negru 6 and 8. after the crosscut at 5. Dia. one thing he can do is to exchange 12 for 13. Alb 11 is a possible stopping-place for the sequence.
7. Dia. In conclusion This section illustrates the kind of thinking that makes for good go strategy. Negru can stubbornly play 4 and 6 to make Alb fight on the right side. but Alb has nothing to complain of as he springs out into the center. which could go about like this. taking his own profits in the corner where the taking is easier. should that become necessary. It is not hard for him to make two eyes on the side. Especially considering the closeness of Δ. Negru may want to play 12 on the lower side to provoke some fighting. 118 . Alb anticipates Negru’s squeeze play and deals with it by giving Negru what he wants on the right side. 8.Dia.
instead of making a kakari from the outside. Such an exchange can be bad for Alb if made.CHAPTER 4 Four-four point joseki: invasion and tsuke INTRODUCTION A stone on the four-four point. Of course a kakari is still possible. On the other hand. 119 . 1. 2. Negru will close it off by adding another stone. 1 is not always a good play. is in a considerably different position from one played closer in to the corner. Let’s look at a couple of situations in which the threethree point invasion is appropriate. 1. Negru can hold Alb to a small territory in the corner and along one side while building himself a strong. Alb 1 in Dia. strong Negru position. but in this chapter we will be talking only about Alb 1 in Dia. Alb 1 in Dia. 1 and a similar play. say. if Alb stays away from the corner too long. centerfacing wall. like the Negru one in Dia. or when there are some Alb stones near enough to be endangered by a newly-created. The difference is that now Alb has enough room to invade at 1 in Dia. at the very beginning of the game.
4. Dia. but that cannot be helped. 120 . which aims into Alb’s territory on the side.When Negru makes a double wing formation around his stone. for it will eat up more than half of Negru’s prospective territory. then there will be no easy invasion route left open into the huge. (This does not mean that Negru 1. Negru will come out of the joseki with a good deal of probable territory on the outside. Negru could more or less secure his corner territory with 1 in Dia. Here Alb 2 is especially destructive. 6. but then Alb would be happy to play 2). 5 shows the same idea on a smaller scale. is a bad play. Negru area. as in Dia. If Alb lets Negru play 3 in Dia. 3. the three-three point is the key point for reducing it.
As these two examples may hint. In 121 . For building territory. but generally it is easy to see which is better. The problem. 7 or 8 is best. the three-three point invasion is a weapon for taking away the opponent’s territory. then. 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. becomes which side to push on. the kakari to be studied in the next chapter is better.
Dia. In Dia. In this section we will show the major ones. Negru has more room for territory on the upper side than on the left side. 122 . ‘Block in the direction of your widest extension’ is the general rule. each in an appropriate setting. for instance. 7. so he plays 2 to get what little he can on the left side. so naturally he plays 2. and no chance to make territory. on the upper side. And what comes after Negru 2? Let’s take a look. SECTION 19 There are a good many variations to the three-three point invasion. 8 Negru has no extension.
however.Basic variation Dia. he can play this double hane. although it is not the most common. building a wall in the center which here works well with the stones marked Δ. Negru holds Alb down into the corner. Double hane Dia. If Negru wants to stop his opponent from getting so much profit in sente. 2. Alb. 123 . Three variations follow. has gotten to play the fairly large hane at 9 and can later push out further from the corner at ‘a’. all this in sente. 1. as he usually does. This sequence might be called the basic variation.
Negru builds his wall in sente with 8. or some other point on outside. In the second variation Alb plays 7 and 9 as before. In the first one. ‘a’. 3. Negru plays this way if he has no particularly good use for sente. and then play ‘d’ in sente because of the threat of Alb ‘a’. He can also play on the point ‘e’ to good effect. 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. 124 . Alb can play ‘c’. For example. and the Dia. then Negru can play 14. 4. but this time Negru chooses to take the corner in gote with 10 and 12.Dia. and 12. and Alb can hardly help but connect the ko at 13. 10. Alb plays atari at 7.
but there are times when it is better to play hane at the other end.Dia. which exploits the dead stones left in the corner. so he answers Alb 3 at 4. If he plays tenuki. After Negru 14. 5. which of course he can do with his pon-nuki shape. Negru 4: hane in the corner In the variations so far Negru played his fourth move at the open end of Alb’s stones. where Alb is very strong. 125 . 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. 6. Here. taking sente and defending the largest possible amount of territory on the upper side. In the third variation Alb breaks out of the corner by playing 7 and 9 on the upper side. as in this diagram. Negru has no prospects on the left side. Dia. threatening a double atari at 10. in the corner. for instance. Alb uses this joseki when the upper side is more important than the left. if Alb wants to play another stone in this area he has a good point at ‘a’.
This ko is. The joseki continues as shown in this diagram and the next. Dia. Dia. If Alb wants to avoid the hane of Negru 4 in Dias. the hane at 4 is again appropriate. Negru 6 deprives the Alb group of room for two 126 . then Negru might be able to kill the corner by playing 10 at 13. in fact. and 5. 9. 8. he can do so by playing 3 and 5. making a large ko. and Alb has just enough room to live in gote in the corner. Dia. Alb plays hane first Dia. Alb can still play 1.Dia. 3. Alb has to be careful not to play 11 until Negru has connected at 10. for Alb does not have enough room to live in any other way. 7. the usual joseki when Negru has a stone at Δ. When Negru has an extension to Δ on the left side and wider one. on the upper side. This gives him the cut at ‘a’ or the squeeze-tsuke at ‘b’ to aim at. When Negru Δ is as close in as this. If Negru plays 6. like . 11. Alb should be ready to answer with 7. 10. for if he exchanged 11 for 12 first. 6 and 7.
eyes. then Alb can get room for eyes by hopping down the side to 7. but even dead stones can be put to use. Diagonal play Dia. We leave this life and death problem for you to work out on your own. Or if Negru blocks Alb’s extension down the side. 127 . and his corner may yet live. 14. Alb can live with the hane at 5. but Negru cannot attack as long as the cutting point at ‘a’ remains undefended. If Negru plays 4 and 6. Alb 7 does not quite assure him of two eyes in the corner. the diagonal play at Alb 3 becomes the proper way to live. 12. Dia. Dia. Alb will aim at the points ‘a’ and ‘b’ as before. 13. When Negru has added a stone at Δ.
10 and 11. SECTION 20 When Negru has made a two-stone shimari based on a stone at the four-four point.In conclusion This is what to expect of a three-three point invasion made out of the blue. as you have seen in the last section. Except in cases such as Dias. as in either of the two diagrams above. is with a three-three point invasion at ‘a’. In the next chapter we will return to this invasion. seeing how it works in combination with a kakari from the outside. while Alb 1 has more to do with the outside. 128 . but Alb ‘a’ aims only at living in the corner. so to speak. the invader can live quite easily. one way of attacking it is with the tsuke at Alb 1. Another way.
The same pattern can arise from an attack on an ogeima shimari based from the three-three point. Dia. if there are other Negru forces in the area. If Negru plays ‘a’. In the simplest continuation. Negru plays 6. to ‘a’. Negru and Alb connect at 4 and 5. and what follow are only the most common of them. the standard joseki calls for Alb to play hane at 3.The usual answer to Alb 1 is either ‘a’ or ‘b’. When Negru has the formation shown here. and Alb extends on the left side to 7 or. 129 . then Alb can develop a position on the left side while slightly reducing Negru’s corner territory. but there will be cutting points left in his shape which Alb can take aim at from the outside. Inner hane Dia. 1. 3. Dia. 2. Alb 1 has a way of leading to very complicated sequences. If Negru plays ‘b’. then he may be able to keep Alb in the corner. Let’s start by considering the case in which Negru answers Alb 1 by defending his corner with 2.
threatening both ‘a’ and ‘b’. 5. This gives him a very nice base from which to extend down the left side or. What if Negru answers Alb 3 by cutting at 4? This too is joseki. Alb will make a wall with 11 and 13. and Alb dies—and Negru 6 prevents Alb from extending into the center. Dia. If Alb reverses them. The order of playing 3 and 5 is important. The way for Alb to handle it is to play 5. Alb 7. 130 . as here. Here Negru has a stone at Δ. or he can play ‘a’. If Negru does not play 6. he now makes a kaketsugi at 5. 7. He need not be afraid of the cut at ‘a’—Alb ‘a’. and so Alb does not have room for a satisfactory extension on the left side. and a ko fight. inviting Negru to start a ko fight. 4. Instead of following Dia. 6. into the center. 3. Alb can get eye shape by playing there himself. and 9. depending on the surrounding positions. . Alb ‘c’. If Negru protects against the former by playing 10 in the next diagram . or he can jump out to ‘b’. Negru ‘b’.Dia. Dia. Negru ‘d’. Dia. . 7. again expecting Negru 6. then Negru can play 6.
Dia. and now Alb can play 3. Negru can pressure him with the sequence from 6 to 10. 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. 9. If Alb simply extends to 5. This gives up points in the corner. There are a good many other variations besides the ones above. This joseki is frequently used when Negru has an extension like Δ. but has the advantage that Alb cannot play 6 in sente. 8. since he is not afraid of Negru’s playing 6 at ‘a’.Dia. In this variation Negru plays 4 instead of ‘a’. 131 . and Alb does not want to invade at the three-three point for fear that Negru will get too much territory on the outside. But here Negru has an ogeima shimari.
with the cut at ‘a’ or the squeeze-tsuke at ‘b’ left as sizeable threats. We leave you to find for yourself what happens if Negru plays atari at ‘b’ instead of 4. 10. Once again. Next Negru plays 6. In this diagram Alb gets a good life in the corner. Dia. 11. If Negru connects at 4. and Alb lives in the corner. then Alb’s connection at 5 is the usual play. as shown here. the standard joseki calls for Alb to play counterhane. and can aim to cut at ‘a’ later. Dia. 12.Outer hane Dia. There is a second way for Alb to play counter-hane with 3. when Negru has a one-pointjump shimari. although ‘a’ and ‘b’ are other possibilities. 132 . which is sometimes correct.
then a crawling battle develops on the left side. (Alb ‘a’. then Alb plays 18 and gets up to the third line and out into the open. 15. and then live by crawling along the second line.Dia. Negru seems to be trying to kill all the Alb stones when he plays 4 and 6.). but Alb can cope by cutting at 7. Dia. Alb can play 17 here. Alb can play 11. Dia. 131 133 . a tesuji worth taking note of. 13. 14. 13. the outcome of which will be determined by the presence or absence of other stones in its path. etc. and 15 in sente. If Negru plays 18 as shown. Negru ‘b’. If he cannot afford to live so humbly. If Negru answers at 19. This is one of the more complicated variations. 13 Dia. Sacrificing two stones.
In conclusion The tsuke at 1 yields far more complications than the simple three-three point invasion of the last section. and Alb can live safely with 7 to 13. Dia. Dia. an important tool for getting into a territorial framework based around a stone on the four-four point. The last combination of possibilities is when Negru has an ogeima shimari and answers Alb 1 from the outside. however. 134 . Negru will play 6.Dia. 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. surprisingly complicated family of variations starts when Alb plays ‘a’ instead of 5. As before. He has something to aim for in the cut at ‘a’. but we leave that for a more advanced book. 17. Alb can also play 3 like this. except that now Alb gets his best result by playing nobi with 3 instead of hane. 18. 16. It is. The joseki shown here is about like the one in Dia. Following the last diagram. 10. Another. The mutual connections at 4 and 5 form one joseki.
For example. however. moves which make an immediate penetration into the corner. After Alb 9. The first is that from 1 Alb can slide into the corner by playing ‘a’. but he cannot. All other things being equal. 1 is the best kakari to make against a stone on the four-four point. so he has to make do with the shapeless tight connection at 10. he is more concerned with making shape on one side or the other than with ravaging the corner territory. and Alb comes skipping out of the corner at 11. Alb 1 has been cut off. More often than not. 2. if Negru answers Alb 1 with a squeeze play at 2 in Dia. and then he will make a kakari from the appropriate direction. but it need not go to waste. for two reasons. Alb can play 135 . Alb can go right to 3. when Alb plays against a stone on the four-four point. The second reason is that Alb 1 works well with an invasion at ‘b’. Negru would like to make a kaketsugi by playing at the point on which Alb 1 rests. Alb 1 in Dia.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.
then turn to some other part of the board where he has more of a chance to make territory. (or right away). 3. as at 2 in Dia. and frequently the conditions dictate some choice other than Alb 1 in Dia. but Alb can then leave the left side as it is and turn elsewhere. and Negru’s corner territory will not be unduly large.‘a’. and he has a useful move at ‘b’. But a kakari is made in order to develop on the side. Alb would like to deal quickly with the left side. attacking Negru’s eyeless group. Negru may answer at 3. too. Usually he plays his kakari at 2. expecting Negru ‘b’. 4. Later. 1. After Negru 3 he would still have to defend against the possible invasion at ‘c’. which is mostly Negru’s domain. In Dia. a common opening position. he could not expect to keep sente. 136 . If Alb made a kogeima kakari. he can play another ogeima kakari at ‘a’.
and Alb can continue with 3. reducing Alb’s left side to easily manageable proportions. 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. Negru 2 is the usual answer. as in Dia. If Alb played a kogeima kakari. and starting to make a large area of his own on the upper side.Dia. Negru would answer with 2 and 4. 6. 137 .
138 . 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. Better to have 1 up on the fourth line. say at ‘b’. If Alb played any higher up. Compare this with Negru ‘a’. then after Negru 2 he would be vulnerable to an invasion behind 1. where it will be of use in the fighting to come in the center. (at ‘c’).In Dia. because Negru can always jump out to ‘d’ to keep Alb from getting any territory on the left side. There would be no point in playing 1 on the third line. The choice of Alb 1 is easily understood.
There is a wide choice of ways to answer a kakari. or ‘b’ in Dia. supporting an extension to 1. who will have to care for two weak groups while Negru attacks from his own strong one. Now let’s look at a few more. or to one of the points marked x. Considered in isolation. Dia. The chief weakness in this move is that Alb can still invade the corner easily at ‘a’. ‘a’. 8 are reasonable answers to Alb 1 in various circumstances. The standard answer to a kakari at 1. 139 . aiming to slip under Negru’s stone to ‘b’. Negru 2 makes a good base for jumping out into the center. then Alb 3 becomes very effective. 23. 11 is not very good for Alb. but if there are some additional Alb stones in the surrounding area. You have already seen a couple of them in the preceding diagrams. Besides starting to build territory on the upper side. 9 is the one-point jump at Negru 2. 11. Another weakness is that Alb may sooner or later play 3 in Dia. 10. 24. in Dia. and 25. and it will be treated in sections 21. all of the points marked in Dia.
12. for instance. It aims at making a larger corner territory than Negru ‘a’. Negru 2 in Dia. for defensive purposes. Alb ‘b’. in Dia. With the Alb stone so 140 . Then if Alb attacks with 3. and it is still used. but it is not as strong on defense.In Dia. or ‘a’. 13 used to be the standard reply to Alb 1. 14. Negru would do well to play 2 on the third line instead of at ‘a’. for instance. Negru 2 is often used when Alb plays 1. Negru can make a secure corner enclosure with 4. threatens an invasion at ‘c’.
Negru 2 in Dia. 15 we have a good case where Negru 2. or Negru ‘a’. is correct. and Alb could easily invade at the three-three point. This Negru 2 and the Negru 2 in Dia. Negru 2 secures the corner. and so there is not so much point in his playing 2 at ‘b’. and of course it also attacks Alb 1. Negru should play this way whenever he already has a strong formation around the middle of the upper side. In Dia. 141 .far removed from the corner there is not much point in Negru’s advancing toward the center. and 25. 16 would be incorrect here. It would be an over concentration of strength. 12 will be mentioned alongside the one-point jump in sections 21. 24.
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. Alb usually makes his second move from the other side. A squeeze play may be used to keep Alb from building territory on the side. Squeeze plays are common. The squeeze play in Dia. Finally. too. one common answer to a Alb kakari is no answer at all.The tsuke responses to a kakari are treated in sections 22 and 26. 18. or to construct Negru territory there. 17. 142 . as in Dia. an interesting idea that we will be looking at in section 27. and we shall study these double-kakari joseki in sections 28 and 29. as in Dia. and nothing too serious will happen if Negru lets Alb attack a second time.
Negru defends at 4. he can make it even harder for Alb to reach the center by playing the moves in this diagram. This means that it is not so easy for him to extend upwards into the center. in which Negru answers Alb’s kogeima kakari with a one-point jump to 2. easily defended positions. Both sides get stable. Alb slides into the corner at 3. let’s get Alb’s main weakness out of the way first. and Alb makes a two-point extension to 5. The variation on the right. in which Negru makes a kogeima with 2. (next page) Since we will have lots to say shortly about Negru’s weaknesses in this joseki. 1. Observe that Alb’s stones in the basic joseki are all on the second or third line. Alb’s weakness Dia. it seems that the most frequently used four-four point joseki is the one on the left above. If Negru does not mind solidifying Alb’s position. 143 .SECTION 21 Basic joseki 21 If we survey recent Japanese professional games. is quite similar and will also appear in this section.
4. it can almost be considered as part of the basic joseki. 2. The drawback of this move is that it gives Negru a good attacking point at ‘a’. he will find himself short of eye space. Negru 2 is usually the correct answer to Alb 1. since if Negru lets Alb play both 1 and 2. Alb has a good move at 1. Just from the standpoint of corner territory. 2 in this diagram and the last is such a big point that Negru should seize any reasonable excuse to play it. he can play 1 here instead of extending on the third line. 144 . 3. On the upper side Dia.Dia. If Alb wants a higher position. A Negru extension to the point ‘a’ is a large move. Even when Negru has made the defensively stronger kogeima. it is a good idea for him to answer 1 at 2. Dia. If Negru does not get around to playing ‘a’.
5.Alb plays the key point in the corner Dia. If Alb cannot afford to have his two stones on the left side cut off. he may fall victim to this sequence. 7. although it is usually too slow to be worth playing in the opening. but that gives Alb the play at ‘b’. Dia. Alb has made a big gain as compared with a Negru play at 1. Later. by playing 2. This is more a middle game move than an endgame move. although this solidifies Negru’s corner somewhat. he can gain some more by exchanging 3 for 4. 145 . If Negru fails to answer Alb 1 in the previous diagram. Since it is so large. Dia. Even if Negru does answer Alb 1. 6. let’s see what happens when Alb plays 1. Occasionally Negru plays 4 at ‘a’ to make eye shape. 5 at 8 still gives him a big profit.
but of course that would strengthen Alb on the upper side. 8. Dia. 146 . To point up one of the principal dangers in this joseki. and Negru is in trouble. (What we have to say here applies equally to the case where Negru Δ is on the fourth line. Negru could follow this way if he had exchanged Negru ‘a’ for Alb ‘b’ before playing 1 in Dia.) Now it is too late for Negru to make eye shape by defending at 1. since Alb can play 2. 8. 9. 8.Dia. Alb easily connects to his stone on the upper side. If Negru connects at 3. suppose that Negru has let Alb play both of the stones marked Δ in Dia.
In other variations. which slides into the corner and. letting Alb take the three-three point with 5. a straightforward exchange of corner territory for an outer wall. The simplest continuation is the one shown. plays Another idea is to play 3 and 5 this way. Negru can play 4 on the outside. 10. or at 10. In the next section. Variation in the basic form Dia. 147 . There is one major variation in this joseki: instead of defending his corner. gives Alb plenty of room for two eyes. 11. In conclusion The key move in this joseki is Alb 3. we will see what happens when Negru prevents Alb 3. but when hane at 8. 11. Negru is in trouble again. coupled with the extension down the left side or the play at the three-three point in Dia. Alb plays 9 at ‘a’ or ‘b’.Alb Dia.
Alb can make no better extension than 5 on the left side. When to play the diagonal tsuke Dia. When there is a Negru stone at or around Δ.SECTION 22 When Negru wants to keep Alb from playing the keima of the last section. preparing for a capping play at ‘b’. but it is obvious that his three stones are badly overcrowded. are sometimes appropriate instead of Negru 4. Negru ‘c’ or Negru ‘d’. 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. Negru 2 is standard practice. Negru 4 is also an attacking move. The purpose of Negru 2 is not to defend the corner territory —as we shall see. 1. he exchanges 2 for 3 above before jumping out to 4. 148 . which leave Alb less room to make trouble in the corner.
If Negru lets Alb broaden his base by sliding into the corner at 3. Dia. Compare Alb’s narrow shape here with what is in the next diagram. the Alb stones will be much safer. 3.Dia. Negru can continue his attack as shown. 2. 149 .
Negru ‘c’. Negru 2 and 4 are also appropriate here. and Negru could attack from the outside at ‘a’. Later on Negru ‘a’. The space between Alb 1 and 3 and Alb 5 is still too narrow for comfort. will become a good maneuver for Negru. Here is a common opening position in which the diagonal tsuke is used. Dia. If he played 5 on the third line. 150 . which defends the corner while damaging Alb’s shape. Notice that Alb plays 5 on the fourth line. 5. Alb ‘b’. Dia. getting ready for activity in the center. 4. for Alb is afraid to extend any farther down the side than to 5 because of Negru’s thickness in the lower left corner. 6. his position would be too cramped.Dia.
7 was played too early in the first place. we are going to spend some time going through the fairly complicated family of variations. Indeed. Negru is alive in the corner and has become very strong on the outside. Alb should have waited until his stones on the left were a little bit safer. and it is not going to be much fun for Alb to take care of his original three stones on the left side.The three-three point invasion We now come to the problem of Alb’s invasion at the threethree point in this joseki. 8. . Negru 2: first variation Dia. The joseki continues this way. . and after Negru 14 Alb still needs another play on the upper side. 7. Negru should reply at 2. Alb can live on the upper side by playing 3 and 5. the three-three point invasion is a bit dangerous. 151 . Alb 1 in Dia. and since it is so common. but . When the Alb stones on the left side are still weak. Dia.
Especially with Alb Δ on the board. it is important for Negru to preserve some eye space in the corner. attacking them. but there remains the possibility of Alb ‘a’ or ‘b’. Now Negru confines Alb to the corner. 10. but Negru lived in the corner and was left with no weak points at all to worry about. however. Sometimes. and Negru 2 in Dia. Usually Alb plays the three-three point invasion when his stones on the side are still a bit weak. and then Negru should play 2 as follows. 152 . Another way for Alb to play is shown here. the Alb position is safe beyond all attack. Negru 2: second variation Dia. and that he can do by sacrificing one stone in the way shown. 7. 9.Dia. is the best reply. starting with the diagonal play at 5 instead of the previous move at 6. Alb broke out along the upper side. and the Negru stones do not have two eyes yet. In the last two diagrams.
13. 10. This time Negru connects at 4 instead of playing hane at 5. so it does not matter very much. 153 . he should exchange 1 for 2. is that there are weak points like ‘b’ and ‘c’ in the corner. as compared with the one in Dia. but his eye shape was already secure. He is aiming at the point ‘a’. but that is another matter.Dia. 11. The only drawback of this joseki. Here we have another joseki starting with Negru 2. After this. 12. Alb gets to make a pon-nuki in sente. of course. Alb may not bother to answer at 2. Dia. if Negru has a chance to do so before Alb comes crashing into the corner. In this kind of position. Dia. the corner is safe.
A similar idea is to reverse the order of 2 and 4. but unlike the moves studied previously. Alb may be able to live in the corner with 3 and 5. this diagonal play is often a strong move. Dia. but he is going to suffer from Negru 4. waiting for the right moment to put Alb 1 to use.Negru 2: other variations Dia. 16. and 9 on the upper side. One final answer to Alb 1 is the connection at 2. 15. and of course there may develop the possibility of Alb ‘b’. Dia. (or by playing 3 at 5. and he can leave the corner as it is with a clear conscience. but he can make shape with 5. 154 . or at ‘a’). This is sometimes the best move. His extension to 9 is safe because ‘a’ is his sente. it in no way strengthens Negru’s position or attacks Alb’s. There are yet other ways to answer the three-three point invasion. Alb can no longer live in the corner. 14. The exchange of 1 for 2 has not cost Alb anything. 7. After answering Negru 2.
The point of extension varies. and Negru 8 undermines his position on the left side. according to circumstances. and the rest of this section will be spent looking at some of the various extensions and their meanings. it is not unusual to find Alb just making an extension of his own on the left side. of course. 155 . He lives rather small. although 3 above is the one most often correct. and Negru should not be afraid to trade his territory for a chance to attack on the outside. Alb can live in the corner by playing 1 to 9. In conclusion Aggression is the theme of this joseki. SECTION 23 When Negru extends to 2. Alb should look for the earliest good opportunity to challenge Negru at the threethree point. (or ‘a’ or ‘b’). 17.Dia. At the right time.
is almost worthless to Negru since Alb can jump out to ‘b’ from the lower left corner.Dia. 1 shows one setting for the joseki above. Alb does not want to extend any farther than 3 for fear of an invasion between 1 and 3. Alb can still invade the corner at the three-three point. but although this move has some value in cramping Alb’s style. Dia. the usual vulnerable point of an extension on the fourth line like Alb 3. 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. 2. Notice that ‘a’. as you will remember from the last section. Negru can play kikashi at 4. 156 .
he will have to do so between 3 and Δ. Here. Dia. however. This is about like Dia.Dia. With the present Alb structure. 6. 4. but there would be room for a Negru invasion between Alb 1 and Alb ‘a’. and there will be two strong Alb stones on either side of him. As the mid-point between Alb 1 and Δ. The joseki of section 21 would be another good choice. ‘a’ might seem like a better extension than 3. Alb 3 seems to strike the right balance on the left side. Dia. Negru 6 would become too good an attacking move. except that now Alb has played 3 on the third line for reasons shown in the next diagram. if Negru invades. Dia. If Alb played 3 on the fourth line. 5. 3. Another setting for Alb 3. 157 . 1.
8. however.Dia. Dia. Negru should not play 1. A two-point extension is thinkable. Here Alb makes a three-point extension on the third line. To extend any farther than 3. 9. There is some danger from a Negru invasion at ‘a’. but then Negru could play 4 and 6. but with the upper left corner open and an extension from Alb 3 to Alb ‘b’ still possible. which in this particular case seems to be right. 7). Dia. would be just a bit reckless. (after Dia. 158 . Alb should be able to handle Negru ‘a’ well enough. because that greatly lessens his chances for a successful invasion at ‘a’. and Alb’s position would be too narrow. 7.
Often the main point of this joseki becomes whether Negru gets to defend the corner. With this much open space on the side. Dia. Alb will have a satisfactory shape. and if Alb fails to play 2. mainly because the corner is still open. In conclusion Alb’s immediate extension down the side leaves a rather unsettled position. as in Dia. Negru can invade at ‘a’ and almost surely capture the upper one of Alb’s stones. as compared with his cramped one in Dia. 159 . before Alb invades it at the three-three point. we see Alb making a five-point extension. Instead. 10.Dia. 10. 10 or 12. Dia. 11. The reasoning is that if the exchange of 4 for 5 is made later. This strongly defends the corner. he should look for an opportunity to play 1 here. 12. Alb’s invasion is the subject of the next section.
Alb 1 is an alternative to Alb ‘c’. ‘a’. and so is Negru ‘c’. and Alb invades at the three-three point. Both Alb 1 and Alb ‘c’ are quite large. 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’. Negru cuts Alb 1 off from the outside with 2 and 4. but is forced to connect in bad shape at 6. Negru plays 8 to take command on the left side. but he can afford a moderate loss there since he has completely taken over the corner and the upper side. which prevents them. Alb lives with 7.SECTION 24 In this section we will consider what happens when Alb has made a kakari. and when Alb does not play ‘c’. Negru has extended to Δ. 1 shows the most typical joseki. and then Alb can come out of the corner to 9 on the upper side. or ‘b’. it may be because he wants to keep open the possibility of playing 1. Dia. 160 .
On the other hand. 3. but then Alb plays ‘a’ and gets the maximum possible amount of corner territory. starting with Negru ‘a’. 17 is an interesting move. Negru can reduce Alb’s corner to seki in sente. This is suitable mainly when Negru already has a stone somewhere around the middle of the upper side. Negru can play ‘d’ in sente. but then Alb can push out at ‘d’. 161 . threatening to capture one of the two Negru groups he has cut apart. Instead of letting Alb run out along the upper side as in the last diagram. Alb can sometimes fight by playing ‘a’ or ‘b’.Dia. leaving Negru to deal with the cutting stone Δ as best he can. Dia. Or Alb can just play 17 to live. sometimes Negru can play 8 and pen Alb up in the corner. and can hope for territory between it and the wall he builds. Negru ‘c’. 2. on the one hand. The drawback of this idea is that even though Alb’s corner is not alive after Negru 16. Alb ‘b’.
making territory on the upper side. A completely different way for Negru to deal with Alb’s corner invasion is to let Alb connect to the outside. He can play 10 and 12 here to hold Alb into the corner. Dia. but in this case these plays come too close to Negru Δ to be worth much. 4. 5. Dia. and Negru ‘a’ looks bigger. then jump out to 9. should he get to play it. since he has given up the corner and gained nothing on the left side. or some good reason for hanging on to his territory on the upper side. Negru should do this only when he has some particularly good use for sente. but just play the important point at 10. 162 . The exchange of Negru 6 for Alb 7 is played to make sure that ‘a’ will be Alb’s gote. When Negru has a stone at Δ.Dia. Presumably he will not try. Negru cannot cut the connection between 9 and the corner because of Alb 5. 6. Alb may not want him to play as in the last two diagrams. in return for sente. and what he can do to prevent it is to play kaketsugi at 5. In this joseki ‘a’ is left as a large endgame point.
Alb may be not so willing to invade as he was when Negru Δ was on the fourth line. Negru defends his cutting point with 12. Up to Alb 7. Because of this. 7. however. 163 . 1. Dia. 8. see the next two diagrams. making excellent shape on the outside. Negru can often continue by playing 8. the moves are the same as they were in Dia. Here we see the three-three point invasion into the kogeima formation made by Negru Δ. After Alb lives with 9 and 11.Dia. Negru cannot always play this way.
Negru is in considerable danger after the cut at 11. even though Alb is not yet alive in the corner. This time he crawls out at 5 before playing the hane at 7. 12. 11.Dia. 164 . 10. Dia. When Negru makes the ogeima extension at 2. it is joseki for Alb to invade the corner immediately at 3. When Alb has a stone at Δ. 9. Instead of trying to block Alb. 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. After Negru 16. Dia. 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.
and 8. 6. he plays 4. so rather than burden himself with weak stones there. generally in the late opening stage of the game.Dia. 165 . In conclusion Such is the size of the corner that the invasions of this section are played quite early. There is the compensating advantage that Alb can. 13. letting Negru have the point 9. Alb should not hesitate to jump into the three-three point. Alb would have no room to extend on the left side if he followed Dias. This time. 11-12. Provided that making territory on the outside is not essential to his overall strategy. perhaps. play ‘a’ later and cut off Negru Δ. and that he will not be giving Negru too grand a territory there. The three-three point invasion is often used to answer a squeeze play.
Alb 1 could be used in the presence of Negru Δ. 1. Negru almost has to play 2. Alb 3: first variation Dia.SECTION 25 After a Alb kakari and a Negru extension. and then there are two possibilities for Alb 3. the tsuke at Alb 1 is another possibility worth considering. 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. else Alb takes the same point. Another possibility would be to invade at the three-three point and take the corner.
he can next capture the corner with ‘b’. and provided he has a ko threat of his own big enough to keep Negru from then taking and connecting the ko. If Alb ignores a Negru ko threat be can cut at ‘a’. Dia. Dia. and even then he may not like this result. Sometimes there is another way for Alb to answer Negru 4. Alb 3 and Negru 4 are both good. a big ko fight is in the offing.Alb would lose any chance of attacking Negru Δ. 2. as shown in this diagram and the next. Alb should only play this way if the shicho in which the sequence ends works for him. aggressive moves. 167 . and when Alb plays 5. 3. because Negru can cut at ‘a’.
Faint-hearted Negru players sometimes answer Alb 3 by connecting at ‘a’. Dia.Alb 3: second variation Dia. Now when Alb plays 5. 168 . While cuts at 7. 6. One better way for Negru is to play a second hane at 4. but this makes life too simple for Alb. which aims at handling the situation without re-course to ko fights or shicho. At the end of this diagram Alb has made an eye. Negru separates Alb’s stones into two weak groups. and pushes at 11 to give himself some room for the outside group. By playing this atari and pushing through at 6. 5. Negru 8 at ‘e’ would be another possibility. 4. connects at 9. but then Alb would develop upwards with 9 and 11. Another possibility for Alb is the hane at 3. More aggressive than the previous Negru 4 is the move shown here. Negru can play atari at 6. 7. but at the same time Negru’s corner has become secure. but then Alb could extend to T. then . and there remain the points ‘c’ and ‘d’ at which Negru can attack. Negru could answer Alb 7 by capturing. . Dia. . who can get excellent eye shape with ‘b’. Dia.
Dia. Dia. 10. Another way is for him to give up the corner but make shape on the outside. (starting with Alb ‘a’. the three-four point tsuke is the usual way for him to bite into the corner. There is also a hane variation. Alb ‘c’). in which Alb plays 3 to trade the corner for the outside. 169 . Negru ‘b’. 11. Of course this leaves his outside stones pretty weak. When Alb has played his kakari at Δ. 8. Other settings for the tsuke Dia. Notice the possibility of ko left behind. The exchange shown here is often played before making an extension down the left side. Dia. One way for Alb to continue is to live in the corner with 13 and 15. since it keeps Negru from playing a similar tsuke at ‘a’. 9.
This is the standard joseki for making shape on the left side when Negru has played an ogeima extension at Δ. when he is threatened with annihilation. and 9 in sente. Although he can now play tenuki. In conclusion Bear in mind that in most cases. A joseki that solidifies the corner immediately is the tsuke-osae above. his position can be attacked with some force at ‘a’. it is an indication that Alb should save them for use in real emergencies. 7. he leaves Alb a lot of room to play around in the corner. SECTION 26 As has been seen in the last few sections. Negru 4 is a strong and sure answer. when Negru answers Alb’s kakari simply by extending. 12. the purpose of the tsuke is not to make territory. If Negru seems to come out ahead in some of these sequences. Alb cross-cuts at 3. but to defend against attack.Dia. and Alb plays 5. (Negru 2 is a tsuke 170 .
on the left side. or even ‘b’. This leaves him the possibility of playing ‘a’ later.and Negru 4 an osae.) After playing atari with 5. and he has at least three choices as to how to continue. If Alb plays 11 at 12. 1. When Alb connects here with 7. hence the name. Negru gets to play ‘a’. although there is the danger that Alb may play ‘b’ before Negru gets into action. then extend along the upper side to or in the direction of 12. Negru can capture one stone in sente. Negru can also just answer 7 at 8. 171 . 2. Dia. with a ko left behind for later. Alb 7: first variation Dia. it behooves Alb to defend one of his cutting points.
he has an excellent opportunity to cut at 8 instead. 3. 3. 4. is this Alb 7. but if he is willing to risk a loss there. The cut at ‘a’ is another possibility to consider if the conditions are right. Alb 7 is one move that Alb employs when he is in a position to make the left side his territory. Negru can answer by protecting his corner at 9. This looks very good for him. Negru 10 threatens Negru ‘a’. and one which threatens an incursion into the corner. and then Negru captures a Alb stone with 12.Alb 7: second variation Dia. Another move that defends the left side territory. too. 172 . so Alb has to play 11. When Alb connects at 7 in Dia. again Negru usually extends to 8. Alb 7: third variation Dia.
but any of them would produce the same kind of over-concentration as shown in this diagram. 5. Actually. Alb will play 2 and live. it is not as good as it looks. because Alb can invade the corner with 1. Dia. Here Alb already has a stone at Δ when he plays his kakari. Negru can also play atari with 10 instead of blocking at ‘a’.Dia. 7. and Negru has gained a definite advantage. Alb 3: another possibility Dia. Alb could choose one of the other variations studied above. Dia. If Negru plays 2 at 4. His corner is better defended by 12 than it was in the previous variation. 6. 6 is the beginning of a long and hard fight in the center. In this diagram Alb Δ conies out at least one line too close to the Alb wall to be efficient. and that makes the tsuke-osae especially appropriate. but needless to say. 173 .
Negru can take a large upper side with Negru ‘b’. Negru ‘d’. although it depends on shicho. If Negru tried to play 6 at 9. Negru must connect at 6. If it does not work. After this. Then. There is an interesting sequel to the sequence in Dia. Dia. 10. and instead of 7 Alb will have to play ‘a’. but later he can come back and cut at 1 in the next diagram. Alb would cut at 6 and Negru would be in a little trouble. he can push in between Negru’s stones at 3. Dia. even without putting 2 in motion. After atari at 4. If the shicho works. Negru will definitely play 4 from underneath. 8. which we have shown here. 8. Alb ‘c’. This is the shicho. limiting Alb’s take in the corner and leaving him with some cutting points. and Alb gets to come into the corner at 9. 9.Dia. 174 . the next order of business for Negru is an extension on the upper side. Negru plays double hane at 10 and 12 in sente. There is a way for Alb to deal with this problem.
but at least he has destroyed most of Alb’s left side territory. Alb has to capture the stone in the corner. In conclusion Negru’s tactics in this joseki may lack the light touch. but they defend the corner strongly and are often used by professional players. but the way. Alb Δ is in his way. 175 . 11. The tsuke-osae. and then Negru can make shape on the left side.Dia. is a maneuver that can be played anywhere along the side where Negru has territory to defend. incidentally. not just in the corner. After Negru 3. Negru plays the squeeze-tsuke at 5 and makes quite good shape all around. 12. as shown in the next diagram. Dia. Negru could do still better. If Alb Δ were not on the board. This. (else Negru plays ‘a’). With more open space on the left side. 8 without having a stone already in place around the middle of the left side. is why Alb does not normally play Dia.
The last of these cases is illustrated in the sequence above. The easiest way for Alb to answer any squeeze play is to go in to the three-three point. or even to make good shape on the upper side. and the onepoint squeeze play happens to be a good way to start. look at what happens when Alb tries to push out toward the center with 7 in Dia. Negru 6 is the key move of this joseki. a Alb stone there would completely reverse the situation. 1. Negru is trying to make full use of his stone Δ by building a wall facing it. or to keep Alb from doing so.SECTION 27 There are many occasions on which Negru answers a Alb kakari with a squeeze play. Other cases would call for other squeeze plays. To understand the power of Negru 6. 176 . he may want to make territory on the left side. as above.
Dia. 1. More simply. with little chance for growth.Alb’s failure Dia. 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. 177 . Alb has maybe ten points in the corner. play ‘a’ and let Alb try to get away with ‘b’. Negru pushes through and cuts on both sides with 10 and 12. if he is strong enough in the area. That leads to this position. 2. After Alb 13.
Instead. In this joseki Negru can sometimes omit. 178 . The last two diagrams are not joseki. 4 is also joseki. Notice that if Alb plays ‘b’ on the left side. 3. Alb should play 7 in this diagram. or postpone. Dia. but his prospects for breaking through on the left side are slightly better. he is threatening to connect at ‘c’. 3. Again Negru makes a good wall with 8 and 10. and Negru does not have the chance to play tenuki that he had in Dia. 10.Joseki Dia. although that leaves the threat of Alb ‘d’. Alb does not have the way into Negru’s upper side that he had before. but this time his territory on the upper side is not complete until he plays ‘a’.
‘a’ is left as a big point for either side. Alb does not have enough room on the left side to make two eyes. The danger in playing 3 is that if Negru 2 gets away. The one-point jump is more appropriate when Negru has made his squeeze play on the fourth line. When Negru plays 2 there is also a variation in which Alb plays 3 at the three-three point. 6. Dia. In this joseki. 179 . 1 and 2 is followed. intending to follow with an attack on the left side. for then Alb can get eye space for his group by slipping under Negru’s stones at 5 and 7.Alb 3: one-point jump Dia. and a sequence something like the one in Dias. If Alb had a strong position in the lower left he might answer Negru’s squeeze play with this one-point jump. 5.
if possible. 8. another way of lengthening his wall. 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 12 here is another way. but he can counterattack with the sequence shown. Negru cuts him off from his stone at 1. Dia. In conclusion In answer to any squeeze play. he does things a little differently. however. Dia. Double kakari joseki are the subject of the next two sections. Negru 12 is one way of ending the sequence. 7. 7. Negru is aiming at a larger territory than in Dia. Negru may lose some of his territory. Negru can play tenuki.Negru goes for the left side Dia. so as to leave more territory between it and the wall he makes. In addition. When Negru makes his squeeze play in order to take territory on the left side. He also has the squeeze-tsuke at ‘a’ to use if he gets into trouble. This kind of play was studied in section 4. For that matter. you may recall. There is. The main difference is that when Alb invades the corner at 3. 180 . Negru can also just push Alb along by playing 12 at ‘a’. the three-three point invasion featured in most of the diagrams above is rarely a bad move. 9. Negru makes his original squeeze play a bit farther from the corner than before. If Alb starts to attack the Negru stones with 1.
A second kakari at 3 is a good way for Alb to continue his attack on the corner. 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. Negru makes no direct answer to Alb’s kakari at 1. 181 .SECTION 28 There are many times when. In this section we will see what ways Negru has to deal with Alb 1 and 3. for one reason or another.
Before doing anything else. Negru has made his wall and is in a position to swallow up the left side. he has a chance to play ‘a’. That is the idea behind Negru 4. the key point for enlarging his left side while reducing Alb’s upper side. ‘c’. we shall take the time to go through the variations from ‘a’ to ‘d’. including the Alb stone Δ. building up power to use against the weaker one. A second kakari is one way of answering a squeeze play. 2. and Negru 6. 1. however. Since this formation is so common.Tsuke-nobi Dia. Dia. (nobi). ‘a’. and ‘d’. (tsuke). and the joseki gets a little complicated. for his next play. it is natural for Negru to block at 8. When Alb plays 7 at the three-three point. The usual counter-measure against this double kakari is to push against the stronger of Alb’s stones. especially in handicap games. Up to Alb 13. 182 . ‘b’. At this point Alb has at least four choices.
Dia. Negru has already gotten something out of his kikashi at 14 in that he has played 16 in sente. Alb answers at 17 or suffers the fate shown in the next diagram. 3. and then he takes the key point at 16. Negru can surround him with these plays. 183 . Alb might answer by exchanging ‘a’ for ‘b’. after which a cut at 14 could be answered by Alb ‘c’. and Negru would have gote. he may be able to put 14 to use again. Dia. If Alb omits 17 in the last diagram. First Negru plays kikashi at 14. later. 4. If he played 16 without playing 14.
Dia. This brings up the tsuke at the three-four point. 3. The end result of this joseki is about like Dia. Later. Alb can cut at ‘a’ and take the corner. and this is joseki. Although it may seem inconsistent with the original idea of going after the left side. strong position with power on the upper side and in the center. which are a bit tricky. By playing 10 Negru gets a high. but let’s leave those. Dia. 184 . letting Alb live in the corner and on the left with 9. 5. Negru can also answer Alb 7 with 8 here. There are some variations in which Alb plays 9 at 10 and Negru plays 10 at 9. 6.
7. so he connects there and Negru plays 12. 3. Negru blocks his thrust at 8. When Alb plays 7 here. He need not fear the cut at 9. (at 16).Dia. After exchanging 7 for 8. Dia. getting into one of the tricky sequences alluded to earlier. in Dia. Alb does not want to let Negru cut at 11. but his stones on the upper side are in rather bad shape. Better to play 10 as shown. Both Dias. then fight on the outside with 14. since Alb has already usurped the point 7 which Negru took for himself. following the course of Dia. would involve a loss. 7 and 8 are joseki. 8. for he can live in the corner with 10 and 12. (he would hardly exchange 7 for 8 if Negru had already cut at 11). 2. 185 . What if Alb invades the corner with 9? For Negru to answer by playing 10 at 12. At the end of this diagram Alb has the corner.
while Alb makes weak. Negru 18. by the way. there is this Alb 7. Negru 10 defends. is necessary to keep Alb from invading the corner at ‘a’. Finally. 9. In one well-established joseki. Negru lives in the corner and gets out into the center. but hopefully manageable groups on both sides. and the sequence continues as in the next diagram.Dia. threatening to push through at ‘a’. 186 . which Negru must block at 8. Alb plays 9. See if you can work that out for yourself. 10. Dia.
187 . they are not the only ways. Alb can wall Negru in by playing ‘a’. After Negru 8. 12. or he can wait to play on the left side himself. Dia. letting Negru move out into the center by playing tsuke-nobi at 10 and 12. he can play tsuke-osae instead of tsuke-nobi to make sure of the corner. Negru can still live in the corner. The diagonal play at Alb 13 happens to be good in this position. Negru can make a living shape in the corner by connecting at ‘a’. More often Alb connects at 9. After Alb 17. and Alb’s wall will be a bit flimsy. but then Negru will cut at ‘b’. 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. If Alb captures at ‘a’. 11. When Negru is not interested in attacking either of Alb’s stones.
Negru will push and cut with 3 and 5. 188 . is not fatal to the corner stone. (Even a triple kakari. 13. Dia. The result in Dia. He is alive in the corner. 14. from which he can connect to either of his two kakari stones. (or 3 and ‘a’). There is also. and if he does not. In conclusion There is little to fear from a double kakari. for example. where he already had the stone Δ. the diagonal move at the three-three point is good. at least he can get a living shape in the corner with the tsuke-osae joseki. 13 is rather like some of the previous ones in this section. with Negru going for the left side. for that matter.) 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. When Negru already has stones on both sides. this diagonal play toward the center. If Alb tries to blockade Negru with 2. and Alb has two weak groups to try to save. Alb can answer it by playing 2 at the three-three point.
‘e’. Negru can make tsuke plays at ‘a’ or ‘b’. where Alb has one stone on the fourth line. He has diagonal plays at ‘c’ and ‘d’. 189 . he should begin by playing tsuke against the Alb stone on the other side. is much like the one studied in the last section. or T in the corner is preferable. which is not always very good. 13 and 14 of the last section. Getting back to the formation on the left. The double kakari formation on the right above is the hardest one for Negru to handle. which are exactly similar to the diagonal plays in Dias.SECTION 29 The double kakari formation on the left above. if Negru wants to attack on one side. since his only way of coming out into the center is ‘c’. We shall see him doing that in the next few diagrams. The only new idea is the tsuke at ‘e’. Often a play at ‘d’. which are similar in purpose to the tsuke plays before.
This sequence can also be used when Negru is not interested in attacking. but one which makes it easy for him to get two eyes. One way for Alb to respond is with the . 3. so he uses the tsuke on the right. he plays 7. after Alb 6. Dia. 2. Dia. Then. lengthening his wall and further isolating Alb Δ. He cannot play 5 at ‘a’. not a large-scale move. Next he might play ‘c’. but after Alb 6 Negru has made a wall which works well with his stone in the middle of the upper side. (Alb would push through at ‘b’). Now Negru wants to attack on the left side. but just wants to make a safe position. Here Negru plays 1 in order to attack Alb Δ.Negru plays tsuke Dia. 1.
it would mean less chance for success with Alb ‘c’. 4. Dia. and if Alb tries to escape with Δ. 3. letting Negru take the corner. When Negru blocks at 3. the sequence comes out about like the one just before. strong position on the upper side by playing this way. Before connecting at 10. Instead of connecting with 4 in Dia. Alb can play 4 at the three-three point. Alb can exchange ‘a’ for ‘b’. 6.hane at 2 and the kake-tsugi at 4. There is also the possibility of Negru’s trading the corner for a high. . Dia. or anything else Alb might use to try to break up Negru’s territory. but since that would solidify Negru’s shape. Negru 5 takes the corner. he will be in for a hard running fight. with Alb eyeing the cutting point at ‘a’. It is also joseki for Alb to play at the three-three point immediately after Negru’s tsuke at 1. 5. Dia.
they may be rather cumbersome.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. Dia. ends with a ko shape. in which case he plays Alb 2 in this diagram. Double high kakari When both of Alb’s stones are on the fourth line. and Alb might continue with an extension on the upper side. which starts from the tsuke at 1 and the diagonal play at 3. Negru naturally plays 3. If not. If he does. 8. This joseki. he will have no trouble managing his stones on the left side. . If Alb lacks the ko threats. 7. he may want to avoid the result of the previous diagram. (or tenuki). the number of possible joseki is much smaller than before. and of course Negru has taken the corner and severely weakened Alb’s stone on the upper side.
Negru 5 at ‘a’.Dia. . That lets Alb build on the outside with 2. but frequently in even games as well. and the joseki ends with Negru capturing one of Alb’s original kakari stones. but Negru 3. 9. when high-speed opening development was the style. 10. because ft supports large-scale extensions without the making of a shimari. In conclusion This concludes our study of the four-four point joseki. With Alb Δ on the upper side. might be better if Negru Δ were closer. The four-four point was much in vogue during the ‘shinfuseki’ period of the nineteen thirties. They figure not only in all handicap games. the four-four point is second in popularity after the three-four point for the opening play in the corner. Among professional players. is compensation enough. Negru would do best to take the corner at 1. spoiling Alb’s territory on the upper side. Dia. When Negru comes out toward the center at 1. an attempt to make a largerscale capture. Alb naturally enters the corner at 2.
1. Two things can be said about a stone so placed. . and will be satisfied to make a simple trade of corner profit for an outside wall. (section 30). 2. he is going for quick outside development rather than corner profit. The invasion at 1 in Dia. (section 35). by attacking at ‘a’ instead of at 1. There are three common ways to attack a stone on the three-five point. Firstly. is the easiest. (and obviously). Alb is aiming at the upper side rather than the right side. 1. and in order to make best use of the stone in Dia. He can make the opposite exchange if he wishes. like the Alb one in Dia. Secondly. his whole opening strategy should proceed along those lines. Negru expects Alb to answer at ‘a’.CHAPTER 6 Three-five point joseki INTRODUCTION This chapter is devoted to the joseki which start with a stone on the three-five point.
Negru 3 is the key point. If Alb’s sole purpose is to develop on the upper side. 5. 6. in Dia. (sections 31 to 34). often arises when Alb 1 in Dia. however. 3.When Negru wants to get his share of both the corner and the outside. if he wants to make matters complicated. (or ‘a’. Negru can also answer Alb 2 by invading. or ‘b’. In the rest of this book. as at 3 in Dia. 4 goes unanswered. Alb has several squeeze and pressure plays to use against Negru 1. he may answer Negru 1 by just extending to 2.). This pattern. he attacks at 1 in Dia. and the resulting joseki have a way of becoming complicated. etc. of course. we have nothing special to say about the joseki which follow from Alb 2. . if Alb played there he would greatly expand his area.
he can play 1 in Dia. but now the invading group cannot be confined as closely as it was there. Instead of Alb 1 in Dia. is the simplest way to attack a stone on the three-five point. 8. This move may be compared with the three-three point invasion under a handicap stone.If Negru does not get around to making any attack. 7 and 8 here. the opposite of Alb 1 in Dia. described in section 19. 7. 7. we shall drop the subject of Dias. an invasion at the three-three point. although that shimari has a weakness at ‘a’. All three of these plays are strong toward the center but weak in the corner. 8. various players have experimented with Alb ‘b’ or ‘c’ with mixed success. This makes Negru 1 rather attractive. Alb 2 is the usual . Alb can form a shimari with 1 in Dia. Since we are not going into shimari joseki in this book. SECTION 30 Negru 1. Or. if he wants his shimari to face across the upper side.
In this sequence. 2. if Alb plays 8 at 9. but keep in mind such other possibilities as ‘a’. If Negru does not play Dia. or tenuki. but leaves the position as it is in Dia. it is also joseki for Negru to continue with these moves. then Alb may be the one to play next in the corner. However. and after Alb 6. ‘b’. 1. Dia. Negru pushes along the third line with 3 and 5. 1. ‘c’. Alb 4: nobi Dia. he has sente. In many cases he will make his next play somewhere on the upper side to counter the wall Alb has gotten. 2.response. Shows the basic joseki pattern. expanding his corner territory. Negru should not hesitate to cross-cut by playing 9 at 8. What can he do? . for the ensuing fight will turn out well for him.
2. Alb can capture either the Negru stone on the three-three point or the two Negru stones below Alb 1. after 3. If Negru answers at 2. Dia. do better to answer Alb 1 at 3 instead of at 2. . To begin with. Alb 1 and 3 are gote. Dia. Alb 1. Looking at the last three diagrams. Alb 1 here is another possibility.Dia. 4. you can appreciate the value of the moves in Dia. Negru may. Alb 1 is a fairly large move. 5 shows a third way for Alb to assail Negru’s corner. If he plays tenuki after this diagram. putting Alb in a position to profit on the right side as well as in the center and on the upper side. in many situations. however. is threatening the twin cutting points ‘a’ and ‘b’. you can investigate that possibility on your own. is gote. 3. then Alb. Negru’s corner is still perfectly safe. and Negru is at a loss to find a good answer. but after them ‘a’ becomes Alb’s sente.
8. With the shicho not working. this gets a bit complicated.Alb 4: hane Dia. while if the shicho is broken then Alb 8 and 10 are incorrect. 6. instead of nobi at ‘a’. he has by far the better position. (either of them threatens to kill the comer). Alb would like to answer with 6 and 8. and the cross-cut at 5 is wrong. Dia. Dia. and a fight in the center involving Negru 5 and 13 and the two separated Alb groups is about to take place. which is a great help to him in managing his stones there. Negru 9 is necessary. It would be unfair to leave this joseki without showing what happens when Alb plays hane at 4. This sequence is not joseki: if the shicho works it is bad for Negru. Unfortunately. If Negru does cross-cut at 5. this is the standard joseki. On the upper side Alb can play ‘a’ or ‘b’ in sente. . Negru is alive in the corner. but if Alb can capture Negru 5 in shicho by playing 10. 7. Alb 12 at ‘b’ is also possible in this joseki. since Negru may be able to cross-cut at ‘a’.
if Negru tries to cut at ‘a’. Negru would cross-cut at 5. Alb can push his opponent in with the tsuke at 1.Dia. let’s look at it in operation during an actual game. 10. instead of playing hane with 4 at 5? Dia. 11. so he has to connect at 8 and follow the sequence shown. this is joseki. or some such move. 12. 4. Negru invades at 1. on the upper side. Before leaving this section’s joseki. If Alb did play hane at 4. Why does Alb let himself be pushed around like this. 9. he will definitely play the hane at 4. and 6. Alb plays 2. What makes it disagreeable is that with the strong Negru stone at Δ. Dia. Alb can capture the cutting stone in geta with ‘b’. . and then Negru plays 7. When the shicho works for Alb. but since Alb still has the cutting point at ‘a’. The shicho is against Alb. Observe that after Alb has played 5. Negru’s position is very low. His weak stones at 10 and 14 will be nothing but a worry for him. Dia. As a sequel to the last diagram. and Negru will have to reply with 5 to 9. Alb cannot do much on the right side.
and can be made without hesitation in the earliest stage of the opening. 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. The latter is a constructive play. and is made in the late opening or middle game. .
In this section we shall discuss the continuation from the position above. so as to build territory on the upper side or in the center. but Alb can still press him down with 2 and 4. and consider alternatives which exist to Alb 4 and Negru 5.SECTION 31 When Negru plays the kogeima kakari at 1. he cannot be confined to the corner as he was when he played the three-three point invasion. .
Since Negru cannot allow himself to be pushed forever along the third line. 2 is that Alb Δ keeps Negru from making any corner territory.Continuation Dia. The purpose of 13 and 15 is to give Alb profit in the corner. so after Negru 4 he continues pressing with 5 and 7. Dia. 3. but at this point he has some kikashi to make on the right side. he plays 8 and 10 to turn Alb’s advance and reach a higher altitude. If Alb played 17 at 18. This position might appear at the beginning of the game. Dia. The effect of Alb’s plays in Dia. but first he has a chance to play a kikashi of his own at ‘b’. 2. . 1. and Alb can later play ‘a’ to take the corner for himself. Alb’s plan is to cordon off the entire upper side. ‘b’. Negru has to defend at ‘a’. and we leave you to devise subsequent moves for yourself. better yet. The sequence continues through Negru 22 and onward. 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. Next. Alb intends to keep on with his wall by playing ‘a’ or.
At times this maneuver is necessary. 4. he should play 4 this way. . Dia. 5. (see Dia. but Alb need not necessarily complain. 6. and 6. for he has the possibility of pushing at ‘a’ and cutting at ‘b’ to work with on the right side. 2. Alb may just extend to 1 on the upper side. Negru 4: variation Dia. using the same ideas as in Dia. Negru can then bend Alb around with 2. 8). instead of continuing to push down the right side. If Negru wants to keep Alb from making an extension on the upper side.Dia. but it has a big drawback. Alb 5 is forced. 4 shows another way of playing. After the basic joseki. but starting from the basic joseki position. and then Negru can play on the upper side himself.
6 is necessary. Negru will take the key point at 2. while helping Alb very little at all. It is easy to see that the exchange of Δ for Δ is solidifying Negru’s position. his corner can be killed. If Alb extends to 1 after the moves marked Δ and Δ. 8. who is in a position to make territory on the right side. but you may want more of an explanation. 7. . Now it is Alb.Dia. but think what will happen if Negru cuts at ‘a’ or pushes at ‘b’. An experienced player feels instinctively that Alb 5 in Dia. not Negru. The drawback is that Alb can play 7 in sente. If Negru fails to answer. With the exchange of Alb 3 for Negru 4 it may seem that nothing special is going on. Dia.
This way of playing looks a little bit loose. .Alb 3: one-point jump Dia. he will get into the same kind of pattern as in section 9. Dia. 11. Alb can vary this joseki by making a one-point jump with 3. Dias. and Alb should now make a very wide extension on the upper side. Dia. 10. If Negru played 10 on the upper side to stop Alb’s extension. If Negru tries to push out with 4 and 6. Alb ‘a’ would be sente. 9. 12 to 14. but it is quite safe. This variation of the joseki continues up to Negru 10.
but one of the squeeze plays in the next three sections. SECTION 32 Alb 1 above begins the taisha. If he wanted to develop there. . The taisha is known as the joseki of a thousand variations. for Alb can then get a very strong formation by playing ‘a’. Fear of the taisha prompts some Negru players to tenuki after Alb 1. (ii) Alb more or less gives up any hope of making territory on the right side for himself. (i) Alb presses Negru into a low position on the right side. the most notable feature of which is complexity. but that is not usually such a good idea. this joseki can be used to reduce a developing Negru territory to a moderate size. he would not choose the pressure play at 2. (great slanting). and there is space in this book for only about one percent of them. joseki. but two other points about this joseki should be borne in mind.In conclusion The main purpose of Alb’s pressure play at 2 is to build on a large scale toward the center. Therefore.
1.Avoiding trouble Dia. For Negru 2. This one can lead to Alb 3 and 5. which duplicate one of the variations in the last section. If Negru is looking for a simple answer to the taisha. If Alb answers at 3. Here is another way for Negru to play tsuke at 2. 2. Then there is only one variation. Negru can again come marching down the side. 3. First tsuke Dia. . Second tsuke Dia. Negru may continue his progress down the right side at 6. he can play 2 this way. which bears a close resemblance to the basic joseki of the last section. with 4 to 10. tsuke plays are more in keeping with the spirit of the taisha.
Before Negru connects on the outside at 6. 6.Dia. In the most typical variation of this variation. 7. The real fun begins. he has an easy exchange of corner territory for outside strength and sente. Dia. 4. but if it does. Alb 3 is standard. however. Or Negru can play 4 this way. After Alb 5. Alb connects at 7 and makes an outer wall in sente. Dia. 5. creating three cutting points in Alb’s position. and Alb will cut on the other. when Negru separates Alb’s two stones with this tsuke. Negru has to connect on one side of Negru 4. Third tsuke Dia. he must make sure that the shicho works. while Negru cuts and gets a large corner. .
8. but obviously getting a perfectly satisfactory result. Negru’s eye shape is not very good. but he needs some truly large ko threats to carry this off. Here there is the gruesome possibility that Alb will play 11 at ‘a’. Usually Alb continues with this 11. Dia. starting a ko fight. . letting Negru capture and connect the ko. the simplest continuation sees Negru sacrificing a stone and playing 8 and 10.Dia. 9. so an extension like 16 is called for. When Negru connects on the inside and Alb cuts at 7.
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. . In conclusion Thus ends our cursory glance at the taisha joseki. from which they hope to emerge victorious. 11. ‘b’. but at the end of this diagram Alb can choose from among ‘a’. It is sometimes considered as the standard taisha joseki. 10.Dia. the taisha has no particular strategic meaning. Dia. The next two moves are fixed. Generally speaking. This is one of the shorter variations. and ‘c’ for the eleventh move. Those who play it often have nothing more in mind than to lure their opponents into complicated fighting. and thereafter the variations become too numerous and involved for any but the most devoted to learn thoroughly.
but for Alb 6 there are two choices. the diagonal play at 3 will serve the purpose on most occasions.SECTION 33 The one-point squeeze play at Alb 2 is. which he may be able to attack. and we shall stick to it in this book. Although Negru has various ways of answering it. Alb 4 and Negru 5 are standard after Negru 3. 1. There are then two things for Negru to consider in choosing his next move. The time-honored play Dia. and Alb defends on the upper side at 8. much as was done in some of the joseki of sections 28 and 29. We shall take them in that order. The other is . Negru just connects at 7. In the first one. Another possibility is to play tsuke with Negru 3 against the stronger of Alb’s stones. so its variations have been well worked out. Alb 6 used to be the only recognized continuation from the basic joseki diagram. a difficult joseki. like the taisha of the preceding section. One is the line of Alb stones on the right side. ‘a’ and ‘b’.
perhaps. Dia. Dia. the main advantage of this exchange is that he can connect at ‘a’ if his three stones on the right are attacked. 2. 3. the weak point in the corner. Negru secures the corner with 3 and Alb’s upper side needs defending at 4. to be used at 9. From Alb’s point of view. If Alb plays ‘a’. . 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. If Alb plays 2 and so on this way. If Alb answers at 2. Therefore Negru sometimes plays 1 before going into action on the outside. Negru gives up the corner.‘a’. he can connect to either the upper side or the right side.
The new-fangled play Dia. it is better for him to have 13 and ‘b’ than ‘a’ and ‘b’. since if Negru later plays ‘b’.Dia. or Negru can use 17 to attack on the right side. in which case Alb should defend the corner by exchanging 18 for 19. in which case Alb may get a chance to cut on the upper side. 5. . but it need not be the solid connection. and 12. rather than Negru ‘a’. is correct in this joseki. Alb answers with 8. Alb continues with 14 and 16. Negru 7 here also does the trick. 10. Usually. preparing for an extension to the left. however. 4. Negru 13. Alb 6 in this diagram has been in use for less than a decade. 6. (The latter reach one line less toward the left. Negru can connect at 17.) Dia. but there is no doubt about its being a sound play. Negru has to make some answer to Alb 6 to keep Alb from pushing through at 11.
Clearly Negru ‘a’ would now be better than Negru 9.Although a bit passive. making Negru 9 into a bad move. 8. Alb will immediately exchange 10 for 11. 7. the diagonal tsuke at 7 is one possible answer to it. Alb 8 becomes a good blockading move. . The best continuation from Dia. At least he has the cutting point at ‘a’ to aim at. Negru 9 at ‘b’ would be no good either. Alb would have answered at ‘b’. 6 for Negru is to play 9 and 11 and allow himself to be surrounded. but of course if Negru had originally played 9 at ‘a’. for exactly the same reason. It would be better for Negru to do nothing at all than to play 9 or ‘b’. If he plays 9 this way. After the last diagram there is no good way for Negru to get out into the center from his corner position. Dia. Dia. for instance.
9. Rather than get barricaded into the corner. 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. . Alb 8 starts a running fight. Negru often answers Alb 6 with an attack on the right side at or around 7. 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. and what comes next depends on the position in the lower right corner.Dia.
In answer to either of them. the most natural thing for Negru to do is to advance toward the center with a diagonal play at ‘a’. Against the squeeze play on the third line. . however. there is also the tsuke at ‘b’ to be considered. Alb uses the squeeze play on the third line when he wants to develop on the right side. just as in the previous section. and the squeeze play on the fourth line when he wants to develop on the upper side. but they lead to rather different joseki.SECTION 34 The pair of Alb 1’s above can both be classified as two-point squeeze plays.
The squeeze play on the third line Dia. 2. and then Alb lives with 4 and 6. Alb will look for a chance to play ‘a’ and rob Negru of his eye space. Negru is left in a good position to gain territory on the upper side. lest Negru enclose him there. he will reply to Negru 2 by extending to 3. Negru should take the valuable eye space in the corner with 5. . 1. Now that both sides are out into the center. 3. Dia. Negru must play 3. Before Alb has time to do so. Negru can be expected to close Alb in at 3. Negru should try to attack with some move like 1 in the next diagram. The issue now becomes the attack and defense of the one Alb and two Negru stones in the corner. lest Alb enclose him by playing at the same point. which makes up for his losing the corner. Dia. The safe way for Alb to answer Negru 1 is to dive into the corner at 2. and Alb must play 4. Given that Alb’s intention in playing 1 is to develop on the right side. The aggressive way for Alb to answer Negru 1 is to come out toward the center with 2.
the second way of answering Alb’s squeeze play on the third line. Alb 3. 5.If Negru is not in a good attacking position on the upper side. and so is Negru 8. and Negru. This brings us to Negru 2. Assuming the danger on the upper side to be the more serious. You will see how that goes in Dia. but his four stones on the right side are rather weak. 4. it may be better for him to play 5 in the first place. too. unless he is in a strong position to attack on the right. Dia. Unless there are some other Alb forces in the surrounding area not only is Alb’s single stone on the upper side in danger. Alb’s groups are both still in need of attention. takes the corner with 10. . 5. Alb plays 9. instead of 1. 6. and 7 are natural. Dia.
taking the corner. and 5 is to make it hard for Negru to get into Alb’s extension. If Alb had just played 7. . Alb has sente and can extend to 7. but now there is not so much open space. or whatever point he has his eye on the upper side. is an excellent point. When Alb puts 1 on the fourth line. 3. are important. he really has the upper side in mind. Alb 1 would not be so good if Alb Δ had been played on the third line. The purpose served by Alb 1. Negru could easily invade. imagine the situation if they were omitted and Alb got in to the two-three point. By the way. ‘a’ is another point for Alb to aim at in this joseki. The reason for playing Alb 1 on the fourth line can be seen in the next diagram. Negru 4 and 6. 6. however. for instance. having this resource. loosely confining Negru to the corner and linking up Alb’s positions. Now.The squeeze play on the fourth line Dia. Alb 1. without going through the preliminaries. Alb need not be afraid of being attacked on the upper side. and so he answers Negru 2 by playing 3. Dia. 7. at ‘a’.
and then take up a possible variation in Alb 4.In conclusion Being one line further from the corner than the one-point squeeze play and taisha of the preceding two sections. Following the exchange of 3 for 4. leaving lots of possibilities open for the future. the two squeeze plays of this section are less aggressive. he can play 1. or extend down the right side. however. or extend up into the center. We shall look at both ways of extending. SECTION 35 In the three-five point joseki seen so far. If Negru has some reason for preferring the opposite exchange. . Negru can play tenuki. inviting Alb to defend the corner with 2. Alb wants to handle the corner with just a few moves. the usual pattern has been for Negru to take the corner while Alb develops on the outside.
. When Negru wants to give himself some room for his stones on the side. Negru can play 1 and so on in this diagram. 1. Negru 2 in the last diagram is not absolutely sente. See if you can work out the effect of Negru ‘a’ for yourself. Dia. Negru 2 is sufficient defense against the threat of Alb ‘a’. 2. elbowing his way around Alb’s corner and leaving Alb with the threat of Negru ‘a’ to worry about. Alb can play 1 himself to forestall a Negru play there. and thereby gain profit at the edge of the board. 3. as he does here. 4. but if Alb fails to answer it. The three-line interval between Negru 5 and the two-stone wall is correct.Negru 5: extension down the side Dia. Dia. for example—Negru can play 2 in sente. this extension is good. which threatens an invasion at ‘a’. In this situation. Dia. At the proper time—in answer to Alb 1.
lest Negru’s side territory grow too large.however. he should go into the center. 5. . Negru 5: extension into the center Dia. The two-point jump to 5 is also joseki. Alb should definitely exchange 8 for 9. Here Negru already has a stone on the side. If Alb omits 8. that will be a good point for Negru to take. 6. by provoking Negru 2 he is reducing the value of his possible extension to ‘a’. This time. Negru 5 to 7 are standard joseki plays. so if he wants to make an extension. Dia.
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.
with which Negru can break out of the corner. Now Negru’s countermove is the diagonal play at 2. Another idea would be for Negru to try to get a stone on the point ‘b’. . As long as he thinks he might want to use this sequence. Dia. Alb can play 1 at the threethree point. Alb 1 in this diagram is one possibility. 8. Negru could still make his stone Δ live. 9. and it is better for him to jump down to 2. but he would find himself tightly shut into the corner. Alb 3 defends. Dia. How then should Alb proceed? go Dia. after which he could play ‘a’ instead of 2 and make a base on the right side. and then Negru extends to 4. Instead of 1 in Dia. Something else to keep in mind after the last diagram is this combination. which threatens the hane at ‘a’. Even if it dies. because it enables Negru to play ‘a’ or ‘b’ effectively. Negru Δ is not going to waste. 8. planning to exchange the corner for a base on the right side.Negru plays tenuki It often happens that Negru lets Alb’s keima without an answer. Negru should refrain from playing unnecessarily at ‘a’ or ‘b’ in Dia. 8. 10.
but it is Negru’s plan to have Alb cut at one of them or the other. and even if he plays tenuki again. The hane at 2 is correct. As the last three diagrams make clear. making eye shape. letting Alb kill the corner with a fourth stone. he still has lots of ways to fight. .In conclusion The tenuki variations of this joseki are important. then capture the cutting stone. since it leaves the double cutting points ‘a’ and ‘b’. and Alb’s best reply is to draw back at 3 Negru 4 may seem strange. he will not have made an unfair trade. and there will be many times when Negru will want to counter it from the outside. SECTION 37 Alb’s second way of answering Negru’s kakari is the outer tsuke at 1 in the diagram above. leaving his corner stone to be attacked again. Alb’s keima is a move with a large-scale meaning.
Negru can also continue with 10. Negru capturing the cutting stone. The most common variation of this joseki has Alb cutting on the outside at 5. and Alb taking the corner. the exchange is fair.Alb cuts on the outside Dia. However. then Negru can play the point 12. and with his good eye shape he can leave this part of the board and play elsewhere. 3. If Alb does not answer Negru 10. Dia. 1. If Alb answers as shown. . 2. then Negru has built up his position in sente. blocking Alb from the center. Dia. Considering that Alb has played one more stone than Negru. Negru has sente.
Negru should not play 8 at 9. taking the corner. he may have to prevent the invasion by capturing at 4 immediately when Negru plays 1.Dia. . 1. Dia. Because of Negru Δ. This variation can be something of a puzzler because of the ko. This play does not threaten the life of the Negru stones. Dia. trying for an outer wall instead of the corner. Alb has a kikashi at 1. in which Alb follows the cut at 5 with 7 and 9. Another reason for playing Negru 10 in the last two diagrams is that it makes possible Negru 1 in this diagram. because then Alb would cut at ‘a’. If Alb cannot kill the Negru stones. 6 shows another variation of the joseki. and is profitable to Alb. Alb has to answer Negru 3 at 4 instead of at 5. The 1-2 exchange hurts Negru’s eye shape and pushes him down along the side. to forestall a stronger attack. and Negru should be able to live on the right side with 7. 4. allowing Negru to connect at 2. If Negru does not play 10 as above. but Negru Wants to defend at 2 anyway. 5. and having played 7. his position would be markedly better than in Dia.
If Negru mistakenly played 4 in the usual way.—but he has poor eye shape and Negru’s stones are working effectively. avoiding Alb’s cut. squeezing Alb from both sides. (or just as happily cut on . Variation Dia.Alb cuts on the inside Dia. etc. Dia. 8. Naturally he must make sure that the shicho works. 7 shows the variation in which Alb cuts on the inside with 5. but this time Negru should play 4 on the second line instead of at ‘a’. After the 5-6 exchange Alb has various possible moves—’b’. Alb would happily cut and take the corner. ‘c’. Negru has made a squeeze play at Δ. 9. and Alb has countered with the tsuke at 1. Negru 2 is still good.
No matter how big and strong Alb’s positions in Dias. Negru 2 and Alb 3 are fixed. This joseki provides good illustrations of both of them. In conclusion There is a go saying which tells us to ‘capture the cutting stone’. and is a good move even though it is played on the second line. . including tenuki. For Negru 6 there are several possibilities. SECTION 38 Alb’s third way of answering Negru’s kakari is the inner tsuke in the diagram above. 7 worked). giving Alb some room on the side. and make a stable position. and another which says that ‘pon-nuki is worth thirty points’.the other side if the shicho in Dia. which are shown below. Negru Δ would then lose its attacking force. Negru 4 makes a strong shape. An extension to or around 5. is fairly important. 1 to 7 may look. and would be left too close to the strong Alb position for comfort. Negru has good eye shape and sente and a perfectly equal result.
Negru plays 6 Dia. it gives the same position as in Dia. This is one possibility for Negru 6. 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. Alb plays 9 so as to provoke Negru 10 and give Himself a good excuse to connect at 11. 2. With his first three stones on the second and third lines. 3. Dia. reaching a little farther to the left. Negru often plays 6 here. Negru 2 and Alb 3 are joseki. and now Negru has to figure out what to do about the Alb stone left on the lower side. He has reached a firm shape. Dia. After 7 and 8. This is a more aggressive choice for Negru 6. Negru 6: tenuki If Negru does not make one of the moves in the last three diagrams. 1. Negru must extend "high with 6. Alb will look for a chance to attack as in one of the next few diagrams. Here Alb would play 1. 1 of section 6. Dia. . 4.
Negru must reply at ‘b’ or be killed by a Alb play at that point. . Alb 7 and 9 are necessary for making shape on the lower side. Alb will play ‘b’. So Negru will play 6 this way.Dia. We have been through that pattern before. (in section 9). which are also joseki. and seen that it does not work for Negru. Negru may prefer to fight back with 2 and 4 in this diagram. ‘a’ is Alb’s sente. Later. If Negru now plays ‘a’. Alb 5 is a good connection. 5. and start a fight in the center. and then Negru 10 and 12 are necessary to live in the corner. Dia. 6.
Alb should change his tactics slightly by playing 5 as shown. 7. If Negru prefers to ignore Alb’s original tsuke at 1. With the situation in the lower left corner reversed. 8. for instance. . When Negru plays 2 closer. and prepares for a possible counterattack against 2. and 7 are natural. there is no great problem about it. 4. he has sente to play 8. and although Negru’s position on the lower side is none too strong. hitting right at Negru’s sore spot. 5. he builds a vast area across the lower side.Dia. Continuing with 3 and 5. This gives him good eye shape. Now he will attack with 1. so as to make full use of his shimari. 9. Dia. we see him playing 2 on the center point on the right side. Alb’s aims are different from in Dia. and still Negru’s group is not safe. Alb 3. Here. Negru 2: tenuki Dia.
In conclusion While the joseki of the preceding two sections stressed development toward the center. leaving Alb without certain eye shape in the corner. That is. 10. Both styles are joseki. and both have their places in the opening. 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.Dia. Alb’s plays in this section stress development along the side. . now he is only going for a modest side position. Negru could strengthen himself in sente with 6 and 8.
Atari (check): an immediate threat to capture. Diagonal play (kosumi): an extension like the one in the diagram. A player has gote if his opponent has the initiative. Gote is the opposite for sente. or pronunciation of Japanese terms. . Diagonal tsuke (kosumi-tsuke): a diagonal play which is also a tsuke. Gote (go-teh): A move is gote if it does not evoke an answer from the opponent.GLOSSARY OF TECHNICAL TERMS Note: The parentheses give Japanese alternatives for English terms. or English alternatives for Japanese terms. Double hane (nidan bane): Two successive hane plays.
The virtue of a kaketsugi is that it makes some eye shape. but the expectation is that it will turn out to be valuable later on. Kaketsugi (hanging connection): a connection like the one in the diagram. Keima (knight’s move): see the diagram Kikashi: a forcing move made. Kakari (approach): a move that approaches a single enemy corner stone from the outside. The drawback is that Negru can play ‘a’.Hane (ha-neh): A move which bends around an opponent’s stone. (usually). After it has been answered. a kikashi play is typically ignored for a while. outside the main flow of play. .
cross-cut. . threatening to make it fail. Shicho (ladder): a zig-zag pursuit. Nobi Ogeima (large knight’s move): as in the diagram. Sente (sen-teh): A move is sente if it calls for an answer. A player has sente if he has the initiative. as in the diagram. if it is his turn and there are no threats he need answer. etc.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.
Tsuke (tsoo-keh): a play made in contact with one of the opponent’s stones. The diagram shows a typical example. . Squeeze play (hasami): a play that attacks by preventing the opponent’s extension down the side. 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.Shimari (closure): a two-stone corner formation. A shimari does not exactly secure the corner. a tactically sound move. but it does make a base around which it is hard for the opponent to gain a foothold. and turns elsewhere. but not in contact with any friendly stones. Tesuji (teh-soo-djee): the best play in a local position.
fuseki. *G2 Basic Techniques of Go by Haruyama Isamu 9-dan and Nagahara Yoshiaki 6-dan A general introduction to tactics. 415-964-7294.Bibliography Elementary books are marked with a single asterisk. ELEMENTARY GO SERIES *G10 Vol. endgame and handicap go. All the josekis that you need to know until you reach expert level. CPO Box 2126. . 1400 North Shoreline Blvd. Japan or in North America from Ishi Press International. A free catalog of go books and go equipment is available on request. 1 In the Beginning by Ishigure Ikuro 9-dan Required reading for all beginning players. Building A7.. 2 38 Basic Joseki by Kosugi Kiyoshi 7-dan & James Davies The ideal introduction to josekis. Inc. *G11 Vol. with a large number of problems that utilize these concepts. **G6 Strategic Concepts of Go by Nagahara Yoshiaki 6-dan Some of the basic concepts of go and the middle game are analyzed. All the books listed below are available from the Ishi Press. Tokyo. California 94043. intermediate books with a double asterisk and advanced books with a triple asterisk. Mountain View. Covers the fundamental ideas of the fuseki (opening). Tel..
5 Attack and Defense by Ishida Akira 9-dan & James Davies The basic book on the middle game. 4 Life and Death by James Davies The basics of life and death with over 200 examples and problems. Examples are from handicap games. *G16 Vol. Covers the fundamentals of positional judgment as well as other topics. . **G19 The Breakthorough to Shodan by Miyamoto Naoki 9-dan Basic principles you need to know if you are going to reach expert level. **G14 Vol. **G15 Vol.*G12 Vol. 7 Handicap Go by Nagahara & Bozulich The fundamental principles of handicap go are presented with a problem section. 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. Lots of examples and problems. *G13 Vol. *G17 Kage’s Secret Chronicles of Handicap Go by Kageyama Toshiro 7-dan The correct way to play handicap go.
by Takemiya Masaki 9-dan Josekis that occur in the middle game with emphasis on the ones that involve attacking and defending comer enclosures. All about building and and reducing large frameworks of territory. by Kajiwara Takeo 9-dan Fuseki theory as expounded by Kajiwara. ***G24 Enclosure Josekis. 4-4 & 3-3 Point Josekis The standard reference work in English on josekis from the point of view of even games. by James Davies & Richard Bozulich . 3: 5-4. 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.DICTIONARY OF BASIC JOSEKI. G30 An Introduction to Go. 1: 3-4 Point Josekis ***G22 Vol. *G28 Lessons in the Fundamentals of Go. **G26 The Direction of Play. **G29 Reducing Territorial Frameworks by Fujisawa Shuko 9-dan An excellent book on the middle game. **G27 Kato’s Attack & Kill. the great modern fuseki theoretician. by Ishida Yoshio 9-dan ***G21 Vol. How to attack and kill your opponent’s stones. 2: 3-4 & 5-3 Point Josekis ***G23 Vol.
by Richard Bozulich Written for players who have just learned the rules of go. . essays and instructional articles. edited by John Power. 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. A entertaining collection of essays about go and its players. A must for every serious go player. From history to modern tournament play. Essay are interspersed with the technical chapter that will broaden your understanding. The Treasure Chest Enigma. The second part is a collection of unique and fascinating full-board problems that is sure to entertain both beginner and advanced players. by Kato Masao A thorough analysis of the Chinese-style opening pattern. The finest go book ever written. by Takagawa Shukaku A thorough analysis of the sanren-sei opening pattern.*G31 The Second Book of Go. A panorama of 19th century go in Japan. by Kano Yoshinori 9-dan. you’ll find it all in this book. Invincible: The Games of Shusaku. Cho Chikun The rules arid strategy of the game are thoroughly covered in a logical step-by-step approach. 160 games with detailed commentaries by modern professionals of the greatest go genius who ever lived. go news from around the world. **G33 The Chinese-Style Opening. the golden age of go. computer go and how go relates to intelligence and learning. Volumes 1 to 4. All major Japanese tournament games are presented with detailed commentaries as well as general interest articles. published since 1977. drilling them in the basic tactics of go. **G32 The Power of the Star-Point. a quarterly magazine on go. Go World. G41 The Magic of Go. A collection of nearly 1500 hundred problems for the beginner. Graded Go Problems for Beginners. by Nakayama Noriyuki 5-dan. The authoritative go magazine in English.
This action might not be possible to undo. Are you sure you want to continue?
We've moved you to where you read on your other device.
Get the full title to continue listening from where you left off, or restart the preview.