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