Elementary Go Series, Vol.


by Kiyoshi Kosugi and James Davies



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


we can see them using and misusing joseki that they have picked up from their reading. when he plays a stone. starting with sequences they remember from books or from stronger players’ games. Even professional players read joseki books. Watching these student professionals. having read dozens of go books and played and watched thousands of games. and finally being able to play on their own with confidence. varying them. Amateurs must learn joseki in the same way. no longer studies joseki much. but relies on his accumulated experience. and concepts that can be put to use in many situations. He may pull new surprise moves on his opponents. He plays joseki not from memory. should be looked upon as sources of ideas. but do not yet really understand. but he is confident that the subsequent moves will bear out his judgment. 5 . joseki books. He adapts his joseki to the surrounding positions. A full-fledged professional. like other books.joseki—shapes of stones. exactly what makes it a good move. He may not know. but from his general feeling for what moves are good in any given situation. or what is going to follow it. or even criticized in. testing them out in their own games. not as texts to be learned by heart. at the apprentice stage of their development. This gives their games an awkward appearance. and therefore regularly produces moves not found in. Joseki books. coming to understand 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. individual moves.

The text was written by Davies. and to Richard Bozulich of the Ishi Press for offering suggestions on parts of the manuscript. We expect the reader to use his head a little. Tokyo. 1972 Kiyoshi Kosugi James Davies 6 .This book has been designed to encourage that development: rather than just compile long lists of joseki. applying what appears in one place to positions arising in other places without having to be told. We are indebted to the Japanese Go Association for the use of their facilities. most of the diagrams and ideas in it were supplied by Kosugi in a series of consultations stretching from April to October. 1972. Concerning the authorship of this book. who also contributed what diagrams he could. October. we have taken a relatively few number of them and tried to explain them. and not taking what he reads to be blanket statements covering all situations. and show how they should be altered to meet varied situations.

..... 26 7 .............…………. 3 Chapter 1: 3-3 point joseki .......................TABLE OF CONTENTS Preface ...………………………….…………..... 12 Chapter 2: 3-4 point joseki......... part 1 .......

60 8 .Chapter 3: squeeze plays .........………….............

..Chapter 4: 4-4 point joseki.....135 9 .............. kakari ………...... invasion and tsuke …………........119 Chapter 5: 4-4 point joseki.......

.. 226 Glossary of technical terms ...............Chapter 6: 3-5 point joseki ........ 194 Chapter 7: 4-5 point joseki ............………....242 10 .....……….…………..............

Besides writing for the Ishi Press. and was promoted to 5-dan. and 3-dan the year after that. 11 . and three of them—his father. He graduated from Oberlin College in 1967 and entered graduate school at the University of Washington. He now lives with his wife in the suburbs of Tokyo.ABOUT THE AUTHORS ___________________________________________________ KIYOSHI KOSUGI was born in 1939 in Tokyo into a large. reached 2-dan the next year. In 1970 he came to Japan. he likes to read and play mah-jong. At present he lives in Ota-ku. which determines a professional player’s rank. ____________________________________________________ JAMES DAVIES was born in 1945 in Philadelphia. Tokyo. with his wife and two daughters. In 1967 he took second place in the second division of the Oteai tournament. where his go playing has advanced to the amateur 5-dan level. mother. he became a professional shodan in 1957. only to have a mathematics professor interest him in the game of go. he is a regular contributor to Go Review magazine. Besides go. Under his father’s tutelage. go-playing family. His parents and all six of his brothers and sisters know how to play go. and younger brother— are professional go players. He is known to foreign go visitors to Japan for his good command of English and his lively sense of humor.

12 . as in Dia. tucked so far back in the corner. The drawback of a play on the three-three point is that. he will have to build his position in the center or along one side of the board. 1 is easy to understand: it denies Negru access to the corner. the simplest joseki start with a stone on the three-three point. it does not give much help in developing into the center. 1. This used to be considered a poor play. If Negru attacks. where it is harder to find security.CHAPTER 1 Three-three point joseki INTRODUCTION Generally speaking. The virtue of the stone in Dia. when professional players have come to make frequent use of three-three point joseki. but that belief has been dispelled in the present century. 1. The two sections of this chapter will show what happens when Negru approaches the Alb stone in Dia.

This is the basic joseki pattern. reinforcing the corner. 13 . 2. reaching out into the center. a move which approaches an isolated enemy corner stone from the outside. is of great value. SECTION 1 Negru 1 is our first example of a kakari. Such a move. and preparing for wide extensions on both sides. and then look at some of the variations. and Negru 5 are often played differently. while Negru gets a center-facing position. Negru 3. It is worth quite a lot for Alb to push back against this particular kakari with 2. Alb 4. by adding a stone at 1 or ‘a’ in Dia. then sooner or later Alb will want to make a shimari. but it is often altered to fit surrounding circumstances. Alb makes a modest amount of corner territory.If Negru does not get around to playing against Alb’s stone. and Negru 3 to 5 are the standard continuation. In particular. We shall examine the meaning of the moves in the basic joseki.

see section 19. 2.The basic joseki Dia. then although Alb can still live in the corner. If Negru omits 3 and Alb gets to play 4. 1. then Negru 1 becomes almost useless. 3. 14 . Negru 5 in the basic joseki is easier to leave out than the three moves which preceded it. Alb 2 in the basic joseki is a big move. for if Alb leaves it out and Negru gets a chance to play 3. he will be confined much more tightly than before. Dia. a move which prepares both to attack the Negru stones and to make territory on the left side. Therefore Negru 3 in the basic joseki is another important move. Dia. This formation is better for Alb than just a shimari would be. Alb 4 is important for the same reason. but it does prevent Alb 1 in this diagram.

Dia. 15 . preparing to make territory and eye shape on the lower side. Alb 4: variations Dia. although that gives Negru sente. 5. leaving Negru to take ‘c’ or some other point. Here is one variation in the basic joseki. 6. To prevent Negru 1 in the last diagram. and stopping Alb from enlarging his corner in that direction. Negru 1 here is a big move. 4. so Alb usually plays 8 at ‘b’. Alb often continues the basic joseki by playing 6. Sometimes it is best to play 1 instead of Δ. Dia. After the joseki. Negru 7 prepares to wall off the left side at ‘a’.

but . this is a situation where Negru might play 5 at ‘a’ for a faster get-away into the center. but unless by some chance he succeeds in actually capturing them. let’s examine this sequence. taken from a professional game.. Either way is joseki. 9. By way of introducing some of the other variations in this joseki. Instead of following the basic joseki pattern. he cannot get a lot of territory here. Against Alb 5. giving himself some room for eyes and getting ready to attack Alb Δ.. Negru can finish the sequence with 13. Compare his prospects in this diagram with what they would be if he could make a shimari at 3. Alb attacked Negru Δ with 1. Negru makes a one-point jump Dia. and Alb wedged in at 7. After 5. Dia. in this situation Alb might well play 4 and so on to take territory on the left side. 7. and Negru 2 and 4 made a nice reply. 8. Incidentally. Alb can attack the stones Negru has played. Negru 1 is especially appropriate when Alb has made two extensions like Δ from his corner stone. 16 .Dia. Negru jumped out to 6.

10.Dia. He could not very well attack the Alb stones in the middle of the lower side. and it would have been hard for Negru to do much of anything with 6 and Δ. 17 . If Negru had played 6 here Alb would have skipped out to 7. because they could connect to the left hand corner at ‘a’.

In one variation of this joseki. because then Alb 9 would have taken a large lower side and left Negru Δ very weak. 18 . Later Negru could play ‘a’ or ‘b’ in sente. but in the present game that would let Negru get a big point at 8 on the right side. Alb plays 7 as shown to take territory on the lower side. and there would remain ways. 12.Dia. for him to break into the lower side. even if Alb first played ‘c’. Dia. 11. But it would not have been good for Negru to play 8 after Alb 7 here. such as Negru ‘d’.

since Alb does not want to be pushed toward Negru’s strong wall in the lower right. Next Negru was able to live on the lower side by playing ‘a’ and ‘b’. 13. 13. Dia. 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. 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. So the actual game continued this way. but however he invades. 11 is a joseki move for Alb. 14. he cannot get the worry-free position he had in Dia. Alb 13 looks like the best point. 19 .Dia.

or ‘d’ instead of at 2. As a rule. ‘c’. there are other similar kakari which we shall look at. or he may choose not to answer Negru 1 at all. SECTION 2 It often happens that Negru wants to approach Alb’s stone from one side or the other. Negru should make a kakari like 1 when his purpose is to do something constructive on the left side. however. the shoulder-hitting kakari of section 1 is better. the patterns of this section turn up frequently in the opening and early middle game. The exchange of Negru 1 for Alb 2 forms a simple joseki.In conclusion These sequences can be used not only in the corner. When his aim is to destroy Alb territory. ‘b’. 20 . but whenever a stone anywhere on the third line is attacked with a shoulder-hitting move like Negru 1. Alb may answer Negru 1 at ‘a’. Since such shoulder-blows are one of the common ways of reducing large potential territories. instead of attacking at ‘a’. Depending on the situation. Also. instead of 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.


and in fact Negru can get all the corner territory by playing 2. and Alb 7 are one way to finish it. the spacing of 5 and 7 being Rood. Alb plays 3 if he is interested in the right side. but of course there are variations. Negru 2 is a tsuke and Negru 4 is a hiki.SECTION 3 Alb 1 tries more for a position on the outside than for corner profit. so this joseki is usually called the tsuke-hiki joseki. 29 . Alb 5. in the next section we shall see an alternative choice for 3 which builds more toward the center and lower side. Negru 6.

30 here. 3. The basic joseki ends in Alb’s gote. so the way to build solid as Alb by . In this situation. as shown here. aiming at ‘d’ in the corner. Negru. 2. but it is not as Alb ‘c’. (or ‘a’). however. Dia. Dia. Sometimes Alb plays 6 as shown as to be able to play ‘a’ later. 1. 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.Some variations Dia. The point ‘b’ may become another good extension for Negru later on. By and by Negru may annoy playing ‘c’ himself. Negru can make a solid connection with 5 and then extend to 7. the spacing between 7 and Δ is also just right. keeping the three-line interval between 7 and 5. has much greater prospects on the lower side and in the center than before. Alb 6 gets in of Negru ‘b’. and so is suitable if Alb wants territory on the lower side.

(or 6 and ‘a’. but not as much as Alb. 4. Negru can play 6 and 8. instead of just ‘a’. He must play 6 right after Alb 5 if he wants Alb to answer it at 7. building a wall which works beautifully with his shimari. Of course Negru is getting territory too. Thinking of this. Dia. In this situation he might choose to make a shimari at 7 instead. 31 . After the kaketsugi at 5 Alb need not always extend at ‘a’.Dia. or 6 and ‘b’). Alb will reply at 2. Alb could even apply this sequence in answer to Negru 6 in Dia. 4. but then Negru Δ would not be on the board. It is futile for Negru to play 1 after Dia. Negru Δ turns out to be almost completely wasted. and Negru 6 should turn out to be useful in the fighting to come. Then after Alb 9 he can attack with 10. Dia. and so Negru could be satisfied. 5. 5. 6.

Even if he is unable to capture the cutting stone in shicho. again it is not so important. In this situation. 7. (Alb 9 at 10). he can make shape as shown. Alb 7 establishes room for two eyes on the right side. If Alb were allowed to play there he would make good shape for his stones while destroying a lot of Negru’s lower side territory. Alb should jump out into the center with 5 instead of playing ‘a’. Dia. Negru takes the vital point at 6. Sometimes Alb is unable to extend up the right side. and Negru Δ begins to look very weak. When he jumps out to 5.Dia. 8. The loss of Δ costs Alb very little. 32 . making a quick escape. and then he must change his tactics accordingly. while the lower side is still open. and if Negru cuts at ‘a’ and captures another stone. Alb need not fear this Negru 6. for example.

It is not so from above with underneath at 5. The reason that Negru 13 is so big is that it prepares for an invasion at ‘b’. but then Negru will play ‘a’. since Negru can connect and the hane at ‘a’ still threatens 33 . too. 10. Here is one common opening pattern in which the joseki we have just been studying is often played. so maybe Alb should play 14 at ‘a’. Of course Alb can defend with ‘c’. happy with the exchange of 13 for ‘c’.A common opening pattern on the right side Dia. Negru 13 is a big point. Alb. although Negru ‘a’ would be big. gives Negru the chance to invade at good for Alb to reply by pressing 2 and 4. Dia. That 1. 9.

leading to a ko. Negru had better be sure of his ko threats before starting this fight. If Negru plays 3 at ‘c’ Alb will play ‘a’. 34 . 12. If Negru is determined to make trouble he can play tsuke at 3. Alb ‘e’ has become a strong move for later on. and if Negru plays 3 at ‘d’ Alb will play ‘b’. Alb can play 8 at ‘a’ or ‘b’. At the same time. Dia. Now Alb is ready to play either ‘a’ or ‘b’ to connect his position.Dia. Alb 2 here is the correct answer to Negru 1. 11.

14. since he gets a strong corner while Alb’s shape is still open to attack. But on the other hand. for after it the invasion at ‘a’ is not likely to pose any threat at all. In conclusion This is a simple and satisfying joseki for Negru. There are many opening situations where it is a reasonable choice for both Players. so there is nothing unfair about it. but it will be hard for him. He can still fight in his separated shape. 13. Dia. Alb comes out of it with a higher position.Dia. If Alb lacks ko threats he cannot play 4 and 6 in the last diagram. but must submit to being cut in two as shown here. 35 . Thus Alb 1 is quite large. and it is easier for him to develop a really large territory than it is for Negru.

SECTION 4 This joseki starts out like the one in the last section. Negru 6: simplest variation Dia. ‘c’. 1. and he can also play tenuki. With this shimari in the lower left corner it is a good idea for Alb to make the kaketsugi at 9. which means avalanche in Japanese. for Negru has a serious weakness in the cutting point at ‘a’. It does not stop here. 2. After Negru 8. We shall concentrate on Negru ‘a’ and ‘b’. This joseki is known as the nadare. Dia. but now Alb slides along the top with 3 instead of playing hane at ‘d’. and ‘d’. working toward a large territory across the lower side. 36 . Alb has good plays at ‘a’ and ‘b’. ‘b’. ‘a’. and Alb does likewise at 7. No variation is possible in Negru 4 and Alb 5. Negru has four choices for his next play. while Alb is vulnerable to a hane at ‘b’. Negru defends his weak point at 6.

37 . Negru will just push out with 10 and 12. Alb 9 is not a bad move. With the joseki turned on its side. Dia. but the fight is a fair one. but now Negru can easily make a position on the side with 10 and 12. 5. this is the same situation as before. 3. If he plays it here. both the Negru and the Alb groups being weak. Now it is obvious that there is too little territory below Alb 9 and too much open space above it.Dia. So Alb may prefer to make a play like 9 here. except that Alb has only a single stone in the other corner. Dia. Alb must be careful not to play 9 too close to the lower right corner. 4. Negru can attack with 10.

but this exchange by itself hinders Negru in the expansion of his territory along the right side. If Negru fails to answer Δ. 38 . The other key point for Alb is at 9. Do you see the relation of ‘a’ to Alb ‘b’? Dia. Alb can play kikashi at 1. If Negru answers Alb 9. by preventing Negru ‘a’. This play enlarges Alb’s wall and. Dia. he should do so at 10.Dia. 8. reduces Negru’s prospects on the right side. If Negru plays 10 here he leaves a serious weak point at ‘a’ which Alb can exploit if he has a stone further up on the right side. 7. 6. Negru’s best response is 2.

Dia. 9.The small nadare joseki Dia. Negru attacks with 6 and Alb counter attacks with 7. 10. forming the so-called small nadare joseki. After Alb 11. threatening both ‘a’ and ‘b’. One idea for Negru’s next move is ‘a’. and Alb 11 defends. Negru 10 threatens to capture all the Alb stones. this is another possible variation. 12. and after this the joseki continues with a fight involving the weak Negru stones in the center. Alb 9. but the cutting point at ‘a’ remains. 11. Negru 12 is a good tesuji and Negru 16 takes the corner. Alb cuts and makes a position for himself on the right side. Dia. 39 . Dia. is the key to this variation.

and this is not so good for Alb either. What happens if Alb plays nobi with 11? The feasibility of this move depends on a shicho. Negru can crawl out at 12. and 18. taking the corner. When the shicho is against Negru. this diagram is not very good for Negru. If the shicho works. and of course ‘b’ is his sente on the right side. If Alb plays 13 at 16. then Negru 13 captures the corner stones. but on the other hand if the shicho favors Alb. 16.Dia. 13. Dia. So if the shicho favors Negru. 40 . Next Alb should take the vital point at ‘a’. and when Alb cuts at 13 Negru attacks with 14. he must play as shown here. 14. Alb 11 is impossible. Alb loses everything.

In conclusion Alb is offering Negru a modest amount of corner and side territory in return for a wall. 15. (big nadare).Negru 6: the other two variations Dia. Another idea is to exchange 7 for 8 and then tenuki. Finally there is this double hane variation. joseki. which leaves Negru with good plays at ‘a’ and ‘b’. then this diagram shows the simplest way. This move is not as aggressive as the hane at ‘a’. but there are many complicated variations to the nadare joseki. 41 . including a whole family arising from the o-nadare which we have not mentioned. If Alb does continue with the joseki. Perhaps you can figure out what happens if Alb does not answer Negru ‘a’. basically a simple idea. Dia. so Alb will often answer it by playing tenuki. 16. Negru 6 here forms the so-called o-nadare. without playing 9.

SECTION 5 In answer to Negru’s kakari at 1. After Negru 5. and in addition Negru ‘c’. the tsuke on the outside is also possible. 42 . although there is a difficult variation. 1. Let’s start with the two ways of playing Alb 6. Alb’s position is not solid: Negru can play ‘a’. (if Alb fails to play 10 then Negru can play there himself and completely encircle Alb’s corner). in which Negru plays 3 at ‘a’. and strength to use on the right side and in the center. You may be impressed with Alb’s large profit in this sequence. The sequence up to Negru 5 is the usual joseki. not to be found in this book. is sente if played at the right time. The tsuke at 6 secures the corner territory. We shall look at all three of these possibilities. threatening to continue with ‘b’. but Negru has sente. (threatening ‘d’). Alb can continue by playing ‘b’ or ‘c’. or he can leave the shape as it is. as well as a variation in which Negru plays 5 at ‘c’. Alb 6: first choice Dia.

Alb can play the double hane shown here if he likes. 2.). The idea behind this Alb 6 is to build a wall over the lower side. Alb ‘b’. Alb has a higher wall than before.Alb 6: second choice Dia. 43 . 3. and 15 at ‘b’ are other possibilities. Before doing so. Instead of 8 in Dia. 2. he may push Alb a bit farther. The sequence may continue this way. and after Alb 8 Negru typically makes some move on the lower side to reduce the amount of Alb territory there. but Negru is also stronger. (to take sente). Alb can still play ‘c’ later on to take the corner. Dia. and he may be able to put Negru 9 to use later. etc. to build up his own strength over the right side. although 13 at ‘a’. (Negru ‘a’.

5. but since he gets to play a shicho-breaking move in the upper right corner. 4. and Alb 2 to 8 are the correct response. Dia. If Alb lets Negru have the next play after the basic joseki. he is not so badly off. Dia. Negru can still confine Alb with these plays.Alb plays tenuki Dia. In this sequence. Negru captures two stones in shicho. Alb is confined to a small corner. If the shicho does not work. 6. Continuing from the last diagram. then Negru will play the tsuke at 1. if played correctly it ends in Negru’s defeat. which is not finished. if Negru plays 7 at 8 then Alb will play 8 at 7. 44 . and although the ensuing semeai in the corner may be difficult.

7. This variation of the joseki continues with Alb cutting at 6 and taking the corner. 8. doesn’t that allow him to take sente? 45 . 2 or 3. 9. for if he plays ‘c’ and gets into Dia. Dia. Dia. Alb 10 is a tesuji in this shape. Here is one situation in which Negru should play 5 instead of ‘c’. Alb will get too much territory on the lower side. and from Δ he can easily invade the lower side.Negru 5: variation Dia. making ‘a’ Alb’s gote. After all. Negru has sente and can build territory on the right side. and Negru 11 an important kikashi. You may wonder why Alb doesn’t play 10 here.

Sometimes Alb plays tenuki after it. which is a favorite with the famous professional player Sakata.(in Dia. so its basic moves are well worth learning. or tenuki. 10. but then Negru can play 1 and 3 here sente). In conclusion This simple joseki. can occur not only as shown in the corner. which do terrible damage to the corner. after which this joseki has three variations. SECTION 6 The keima at Negru 2 is a less forcible response to Alb 1 than the tsuke moves we have studied previously. Negru can play ‘b’. but it is no less a good move. or ‘c’. but then a second attacking move at ‘a’. Therefore Alb usually continues with 3 and 5. makes it difficult for him to form eye space on the lower side gracefully. Yes. or thereabouts. but anywhere along the side of the board. 46 .

Negru 6: first variation Dia. 47 . This Negru 6 is suitable for building territory on the right side. then again Negru can attack at ‘a’. Negru 8 and 10 are consistent with Negru 6. since it leaves Negru with no weak points. or in the direction of. 2. and are typical follow-up moves to this joseki. If Alb fails to extend to. flattening out Alb’s territory on the lower side while expanding his own area. 1. Later on. Negru can play kikashi with 1. 7. Dia.

3. Dia. This Negru 6 is more suitable for attack and is especially good when Negru already has stones on the sides. which threatens Alb ‘c’. but with his weak group on the lower side to look after. and the right side is still open to Alb ‘a’. In this particular situation Alb might extend on the fourth line to 7. for Alb can make excellent shape by following the sequence up to 13. The drawback of Negru 6 is that it leaves the possibility of Alb ‘b’. In comparison with the last diagram Negru has made more corner profit. but Alb is already out into the center. is thought to be a good way to start the attack.Negru 6: second variation Dia. Negru Δ is looking very weak. (Negru Δ). The original keima. The idea is to keep Alb weak by interfering with his eye space along the lower edge. as in this diagram. 4. The tsuke at Negru 2 is much less effective. so as to make a quick march into the center at ‘a’ next. 48 . Alb may never get a chance to exploit this weakness. in line with the general principle of not playing in contact with the stones to be attacked.

Alb ‘c’. leaving both Alb 7 and the three stones in the corner weak. This is much better for him than Alb 5. but it would be a mistake for Alb to try to counter. but should play 6 to help his stone Δ. 5.attack with 7 in this diagram. Dia. Negru should play neither ‘a’ nor 7. after Alb 5. Here is one case in which. to keep Negru from taking that point and also preparing to play ‘b’ and capture two stones. Maybe we are pointing out the obvious. to forestall such action. or for that matter Negru might play 2 at 6. 6. for then Negru would defend his shape with 8. 49 . Negru ‘a’. but Negru can defend his position with 8. Alb now plays 7 in the corner.Negru 6: tenuki Dia. There are other ideas in this situation: Alb might be inclined to play 3 at ‘c’ to attack at once.

when you appreciate that fact you will have learned something about go. or some such point. but there is nothing peaceful about Negru’s intentions in playing it. it makes ready to put pressure on Alb 1. Alb usually answers it. 50 . It has three purposes: it prevents Alb from making another attack on the corner. by extending up the right side to ‘a’. SECTION 7 When Alb makes a kogeima kakari with 1. and it prepares for a wide extension on the lower side. Aggressive action often starts slowly like this. ‘b’.In conclusion The keima response to Alb’s kakari looks like a quiet move. if at all. the diagonal play at Negru 2 is the simplest reply.

and Negru 1 is urgently needed to keep the Alb territory on the right side from growing too large. 51 . Alb should try for the greatest possible territory by playing 2 as shown. but with the strength he has in the upper right. but Negru has brought the situation under control. In this case Alb 2 at ‘a’ would be far too timid. Alb ‘b’ would be better. Dia 2. and his territory takes on gigantic proportions.When the diagonal play is needed Dia. If Negru fails to make the diagonal play. then Alb will land on the vital point at 1. Here is an example of one kind of position in which the diagonal play is particularly necessary. Alb has a solid fortress in the upper right corner. In this sequence Alb makes his most ambitious defense. 1.

‘b’ and ‘c’ are similar. Alb plays tenuki Dia. and Negru has a wall to use for building territory over the lower side. Let’s take a closer look at Negru 1 and Alb 2. If Alb makes the next play after 2. This is not at all good for Alb. Negru may also play tenuki. and ‘d’ and ‘e’ are other possibilities. There are two ways for him to attack. 52 . Negru has many ways to proceed from this exchange. he should play ‘a’. Alb’s strength in the upper right goes completely to waste. We have just shown ‘a’. The exchange of 1 for 2 by itself is usually good for him. Dia. 3.Now let’s see what Negru can do if Alb doesn’t answer his diagonal play. Negru will press him with 1. If Alb plays tenuki after Δ in this position. 4.

Here Negru 1 and 3 are appropriate. This is not bad for Alb—note the endgame point left for him at ‘a’. Because of the nearness of Negru Δ there is no sense in playing 1 at 2 to build a wall. but he also has gote. making good shape on the outside. If Negru pushes through and cuts.Dia. 5. Dia. Alb will usually capture the cutting stone. Negru has the corner. 53 . 6.

he will soon have to play ‘a’ to live in the corner. Here is one likely setting for such a move. Sometimes Negru may want to attack from the side instead of playing as in Dia. It is possible for Alb to resist Negru 3 with Alb 4. Dia. but is not really so smart of him to do so. Even though he can fight a little bit on the outside with Δ. and if so. Negru can confine him with 3. but Negru might get to play ‘a’ and Alb could find himself fighting a running battle without any base on the side. 4. 7.Dia. Against this Negru 1. Alb could run out at 3 if he had any chance of counterattacking. 54 . he should play 2. It may be better for him to look for eye space than just to run away into the center. but he lives comfortably with 4 and 6. 8.

Dia. 1 Negru 1 was the only good move. Alb’s four-line extension to Δ may look unsafe. It would be better for Negru first to play ‘c’ and then think about 1. he is in no danger. If Alb plays 2 on the lower side. absolutely necessary in situations like Dia. 10. here it is just one among many possibilities. but it is easy to understand. Considering that there is still room for Alb to extend upwards from Δ to ‘c’. Alb has 2 and 4 to play. which opens up the possibility of a connection underneath at ‘b’. which give Negru the cut at ‘a’ to worry about. the diagonal move is of basic importance. then Negru can attack on the right side at ‘a’. 55 . but if Negru invades at 1. If he plays 5 to defend against it. 1. then Alb answers at 6. Whereas in Dia. then Negru can extend toward the shimari with 3. If Alb defends on the right side at 2. 9. In conclusion Although most of the joseki stemming from the kogeima kakari involve squeeze plays and are postponed to the next chapter.Another example Dia.

but then Alb has an easy way to handle the corner. Of course in those situations Negru may want to answer Alb 1 by playing at or around 3.SECTION 8 The ogeima kakari at 1 is not usually as good as the other two kakari considered in this chapter. and has more potential for development. After Alb 3. 56 . Negru can simply defend the corner at 2. than Alb’s side position. as we shall see in section 18. so Alb 1 is reserved for situations where Alb has a special need to occupy the right side. his corner is larger and safer.

after which Negru can neither make much territory in front of his shimari nor attack Alb. Dia. however. Alb 1 and 3 do something to reduce the effectiveness of Negru’s shimari in the upper right corner. making profit on the edge while attacking. looking for profit in the center. then Alb will approach closer at ‘a’. 1. Negru has various strong-arm tactics to use against Alb’s two stones. He can hit them from underneath by playing Negru 1. Dia. 57 . although it is at least temporarily out of style. After 4. Or he can hit them from the outside. 3. 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.Dia. 2. The ogeima kakari is understandable in this position. but Negru can still make a good extension to 4.

not 3. Alb would answer with ‘a’. After 6 his stones have better shape than they could possibly get in Dia. and the space between Alb 3 and 5 and Alb Δ is too narrow. 58 . 5. Dia. There is a good reason for his playing 3 on the fourth line instead of the third. Negru will lose no time in striking with 4. This time Alb uses 1 and 3 to attack on the right side. If Alb played 3 correctly at 5 and Negru played 4.Dia. 4. 4. If 3 is played on the third line.

6. but if Alb were allowed to play at 2 himself. and Negru could not attack.Dia. Negru 2 is a good reply. Alb’s real intention is usually to provoke a squeeze play. he could make territory in the center. and then he has some good maneuvers. which we are coming to in section 18. If after the basic joseki Alb advances on Negru’s corner with 1 here. 59 . In conclusion The ogeima kakari looks rather lukewarm so far. It is not that Negru’s eye shape is endangered.

a famous Japanese professional go player. 1 is one squeeze play. Negru ‘c’ was introduced by Dosaku. The squeeze plays on the fourth line are the creations of the present century. Negru ‘a’ and ‘b’ are the oldest. letting Alb extend unhindered along the side. Squeeze plays are particularly often used against the kogeima kakari. in fact. 1). they did not become really popular until the post-World-War II era. 60 . ‘d’. (Alb 1 in Dia. was not much played until a year or two ago. Negru 2 in Dia. ‘c’. around 1700.CHAPTER 3 Squeeze plays INTRODUCTION In the last chapter we saw what happens when Negru answers Alb’s kakari by defending the corner in one way or another. the newest. and ‘a’. and the most thoroughly studied. ‘b’. Negru ‘e’. and ‘e’ are others. In this chapter we come to the joseki in which Negru stops that extension with a squeeze play. 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.

is often met with a squeeze play. and branch out into a large number of variations. we will concentrate on Negru 2 in Dia. 61 . 1. and ‘c’. too. but the joseki proceeding from it are not yet really well worked out. Negru ‘b’ is too much like Negru 2 to need a separate section. and that is the subject of the last section of the chapter. (section 17). Negru ‘f is a modern play often made against Alb 1. so we are leaving it out of this book. To keep this chapter from being longer than it is. such as Negru 2 against Alb 1 in Dia. since it is played when the side is important. 2. (sections 9 to 13). The ogeima kakari.Squeeze play joseki are difficult. and Negru ‘e’ is too new for us to be able to say much about. ‘d’. which is the most representative squeeze play. and happens to be currently the most popular. Sections 14 to 16 contain brief surveys of the joseki starting with Negru ‘a’. Squeeze plays can also be used against other kakari.

as in Dia. In Dia. as in section 7. he can easily do so. where Alb has only one stone in the upper right corner and Negru can aim to attack it. 4. 4.A squeeze play is most effective in a situation like Dia. without having to worry about his strong stones in the upper right corner. however. 62 . 1. 3. If we reverse the colors up there. it is better for Negru to play at 1. where it serves both to attack Alb’s stone and to extend from a Negru position in the other corner. then a squeeze play is no longer so good. Now let’s start sampling the joseki that begin with Alb 1 and Negru 2 in Dia. nor make much territory of his own there. and by attacking Negru ‘g’ Alb can build up strength for use in other directions. 5. a squeeze play would be above criticism. but he can not take away all of Alb’s territory. If Negru wants to keep Alb from making a large territory on the right side by playing ‘g’ in Dia.

We shall take up these four possibilities one by one after looking at two of the variations in the basic joseki. Alb jumps between Negru’s stones at 2. or he can do nothing at all. he can pressure Negru’s two stones on the lower side. but there is a lot of flexibility in his position.SECTION 9 Negru plays 1. and Negru runs along the lower side with 3—this is one of the most interesting of the squeeze play joseki. he can play at the 3-3 point to get eye shape in the corner. 63 . There is not a solid connection between Alb’s two stones. he can do any of four things: he can attack Negru 1. After jumping well out into the center with 2.

This is a very large shift in circumstances. If Negru uses 3 on the right side.Two variations Dia. and now it is Alb. Alb is getting stronger on the outside. 2. If Negru wants to. 64 . but sometimes it may be more important for Negru to defend the right side than to play 3 on the lower side. 1. The Negru stone in the corner is not dead. Dia. and in fact Negru can even allow Alb to play another stone against it. he can play these moves after the last diagram. If Alb plays ‘a’ Negru can still cause trouble by playing ‘b’. but while he is living in the corner. as you will see in the next diagram. Alb will play 4. who can make territory on the lower side. not Negru.

Alb can next play ‘b’. and ‘c’ but it is Negru’s turn.Dia. and not much is known about it. Instead of playing 3 as in the basic joseki. 3. 5. This is the usual continuation. ‘b’. 4. Dia. 65 . a recent invention. or he can play 6. Alb has good points at ‘a’. Dia. After Negru 5 he is ready to cut at either ‘a’ or ‘b’. but the fighting gets difficult. Negru can slice into Alb’s position this way. Now back to the basic joseki and the four possibilities left after it. There is also this messy continuation. It may be joseki. in which both sides make good shape.

6. Alb should not allow this. For example. 7. since it threatens to cut Alb. Alb 3 prevents the cut. Dia. 6. Here is one of them. and the sequence up to 11 is a good way for both sides to continue. Attack on the right Dia. Negru will cut him with 4. There are several ways in which he can do so.1. so before jumping further out into the center he must do something to tighten the connection between his stones. if Alb plays 3. 8. making a good extension while attacking. 66 . (or ‘a’. Negru 2 is the usual defense. and 8. When Alb has a stone in the upper right corner he need lose no time in playing 1. or ‘b’). Dia.

Dia. and now when Alb attacks with 9 he has a big wall to push Negru’s stone against. Pressure Dia. for he can push through and cut with 2 and 4 here. if Negru jumped out too hastily by playing 4 at ‘a’. Alb 5 is a way of making good shape in this kind of situation. Of course Negru can play 6 at 9.2. then this sequence may follow. If Negru accepts the invitation by playing 2. Incidentally. 9. but then ‘a’ is a large point for Alb. Before making his attack Alb can play 1. inviting Negru to help himself to some territory along the third line. Negru does not have to follow the easy course of the previous diagram. 10. 67 . then Alb 5 at 4 would give him plenty to worry about.

Alb plays the same tesuji as before at 13. Dia. but when Alb plays 11 Negru is hardly likely to have any ko threats big enough to fight the ko.Dia. Alb counters with 7 and 9. 68 . Dia. After this. Dia. Negru should answer 5 with 6. and Alb can exchange 9 for 10 before running out into the center at 11. 12. Alb has to play 7. with Alb getting tremendous thickness. 11. Negru cuts at 10. the fighting follows no set course. This kind of thing can go on all the way down the side of the board. 13. 14. After Negru 12. Negru has to answer at 8. but this play has no merit. You may be wondering why Negru does not answer 5 with 6 in this diagram.

Alb 5 then takes the corner. and then 1 and 3 become appropriate. 69 . (If he omits 7. then a Negru stone on that point spoils his shape. The exchange up to Negru 10 is a fair one. as in this diagram. 15.) Dia. Defense Dia. considering that Alb has sente. Negru usually takes the opportunity to cut off Alb’s center stone. If Negru answers with 2 and 4. But instead of playing 4 on the 2-2 point.3. 16. There are times when Alb must think of defense rather than attack. for if Negru plays 6 at 7. Alb can make eye shape with 5 and 7. Alb can connect by playing ‘a’ and ‘b’.

Next Alb has good points at ‘a’ and ‘b’. Dia. so if Negru plays one of them Alb plays the other and all is well.4. The danger in a diagonal jump is that the opponent will come through the middle of it. and after Negru 13 he has ‘a’ on the outside and ‘b’ and ‘c* in the corner to work with. Alb pushes on with 10. If Negru answers at 9. Negru attacks Dia. he generally begins by playing 1 to block Alb from the corner. 17. although it may look a bit strange. In conclusion We have here the basic defense against the squeeze play—Alb jumps up into the center. 18. but if Negru plays 7 Alb has adequate resources in the tesuji at 8. Alb 6 makes good shape. and continues with 3 and 5. separating Negru’s stones and preparing to attack on either side. If Negru gets to attack Alb’s two stones after the basic joseki. 70 .

We shall see this strategy repeated numerous times in the rest of this chapter. 71 . The unique feature of the joseki in this section is that Alb makes a two-space jump. which left both sides with many options. getting a good position on the lower side in return. There is another variation in which he gives up his stone on the right side. the keima at 1 is a move with a definite purpose. It puts heavy pressure on the lower side in preparation for a heavy attack on the right side. a kind of reverse strategy often found in go. We shall explain both of these variations. sacrificing solidity for speed of development. SECTION 10 In contrast to the two-point jump of the last section. Negru plays 2 if he is willing to engage in a running battle.

In this diagram. Negru plays 6 to keep Alb from making eye shape. Negru 6 in Dia. This puts him in a strong position because . If Negru just jumps upward with 6 here. Dia. Alb should only play the keima when he is in an attacking position on the right side. 1. and how it continues from there is up to you.Running battle Dia. If the stone up there were Negru instead of Alb. 2. when he attacks with 5 he is making a good extension from his stone in the upper right corner. . for instance. and 11. Alb has to play 7. and so must run out into the center. 72 . 9. 1 is fairly necessary. The Negru and Alb groups both lack eyes. then his position would not be so attractive. . Alb can make shape with 7.

3. Negru can play 4 this way. and then protect the right side with 6. 73 . forcing Alb 5. but when he does so he is not making territory—he is just defending—and Alb 7 is a big move made in sente. He is threatening to carry out this sequence. which gives him a safe group between two vulnerable Negru ones.Dia. 4. Dia.

5. with both sides getting good positions. Instead of playing as above. the alternative mentioned at the head of the section. The joseki ends this way. 6. Here is another version of the joseki. it would be more circumspect of Negru to push through and cut with 2 and 4 in this diagram.Exchange Dia. Alb 5 is a skillful way of handling Negru’s tactics. 7. Negru 8 is necessary to capture Alb Δ. 74 . Dia. Dia. 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.

and Negru should do likewise with 14. 75 . 9. 10. If the shicho favors Negru. and this time he gets much the better of it. After these strong-arm tactics. 9. he can play 1 here. which we ask you to figure out for your-self. having two reasonably good side groups while Negru has just a small corner and some weak stones in the center. Alb can push him around with 7. remember the tesuji at Alb 5 in Dia. For the sake of explaining it a little more. see what happens when Negru answers it at 6. 5.Dia. In conclusion Alb’s keima at 1 is a rather aggressive move. but Negru can dodge around it if he decides it would be best not to get into a running fight. The tesuji of Alb 5 is worth remembering. You will learn more about this joseki in section 31. Whether or not Negru can successfully push through there and cut or not depends on a shicho. Dia. 8. This is another fair trade. Alb must give thought to Negru ‘a’. For the present. Alb should defend with 13. But if the shicho favors Alb. Dia. and 11.

‘a’ remains a big point for either side. 76 .SECTION 11 In answer to any squeeze play. A third is the diagonal play at 1 featured in this section.. preparing to counterattack on one side or the other. If Negru fails to play 4 . Alb 3 is not without its aggressive intentions. it is natural to run out into the center. (Another idea is to attack at once at ‘b’).. it is better for him to slide into the corner at 3. Negru 2 is the simplest response to it. At this point. So far we have seen two examples of this strategy in the two-point jump and the keima. so instead of running further out into the center at ‘a’. Alb has accomplished his purpose of separating Negru’s stones. All the same.

Negru is becoming strong around the outside.The reason for Negru 4 Dia. Alb Dia. it is most annoying to have a large. and Alb’s corner group is suffering. 77 . taking away Negru’s room for eyes at the side. which is more important. Alb can attack with 1 in this diagram.. Negru can answer it at 2 or 5. 1. But with Negru Δ on the 1 loses its sting. Dia. drifting group of stones like this. There is no good way for Negru to answer Alb 1.. 2. board. Alb manages to live. 3. Following Negru 8 . but while he is struggling to occupy a small territory on the side.

If Alb wants to attack on the lower side after the basic joseki. Notice a tesuji which occurs in this shape: if Negru later plays ‘a’. he can answer Alb 1 with 2 in this diagram to connect along the lower side. After exchanging 6 for 7 Negru takes a good point at 8. Alb will answer at ‘b’. he should play 1 here. but Alb plays 3 and jumps out into the center at 5. This time he has done his damage to the lower side and gotten out into the center as well. 5. 4. Alb 3 is a sacrifice stone. 78 . but then Alb can play at 9. to fight.The right way to attack Dia. If Negru does not feel like fighting. or at some point in the lower left. Negru can answer strongly at 2. Dia.

it prepares for an attack on the single Negru stone on the right side. If he has a good chance to play it. 8. 4-6. Alb has built up a lot of power in the center while pressing Negru’s territory down to the edge of the board. and it protects Negru Δ. A large point Dia. It prevents the nonsense of Dias. 79 . it enlarges Negru’s territory. Dia. The sequence begun in the last diagram ends in this way. or in something similar.Dia. For one thing. 7. Usually Negru prefers Dia. as will be seen in the next diagram. 1 is also a big point for Alb. it revives the possibility of Alb ‘a’. 1 is a big point for Negru. 4 to this. 6. For another.

The invasion ends in Alb’s getting the corner. Alb 4 gives the Alb stones excellent eye-making potential. If Negru attacks this way. The Alb stones in the basic joseki are almost indestructible. Alb can live easily by playing 1 in the corner. he gains corner profit. but in gote. 10. Even if Negru gets in the two moves Δ shown in this diagram. Alb is safe Dia. 80 . 12.Dia. Dia. 11. 9. Negru had better answer Alb 1 by playing 2 right on top of it. Dia. Considering the presence of Alb Δ.

This professional game illustrates another of the variations of the basic joseki. but now Negru played 13 instead of ‘a’. for a reason explained in the next diagram. Dia. but Alb is more out into the center than before. Negru made his squeeze play at 11. This gives him corner profit. and Alb made the diagonal move at 12. and answered Negru 17 by connecting underneath at 18. Alb attacked at 16.Variations Dia. One variation in the basic joseki occurs When Negru plays 2 at the three-three point to keep Alb out of the corner. Alb confronted Negru’s stones at 14 and Negru took the key point in the corner at 15. 14. 13. 81 .

Negru’s reason for playing ogeima at 1. he could play 5 at ‘a’ to reduce his loss in the corner). these variations illustrate the main themes of the joseki. the sliding move into the corner. In squeeze play joseki there is often competition for room to make eyes at the side of the board. if Alb played 4 after the last diagram. Negru would answer it at 5. Dia. The drawback of the ogeima is that it leaves the weak point at Alb 4. even if it does mean playing on the two-three point. he could play 3 instead of ‘b’. and it is well worth Alb’s while to take what room there is. 16. (If he did not care so much about sente. Negru 3 is a stronger attack on the Alb stone in the lower right corner than ‘b’ would be. The key move is Alb 3 in the basic joseki diagram. In this situation. was that if Alb played 2. 82 . 15. and then use sente to make another attack against the stone in the lower right. instead of kogeima at ‘a’. In conclusion Taken together.Dia. however.

which are shown at the end of this section. he can do so with the diagonal tsuke at 1. Alb plays 3 and 5 and is safe in the corner. the usual move. If Negru responds at 2. but Alb has ways to deal with that.SECTION 12 When Alb wants to settle the situation. Let’s begin our study of this joseki by looking at Negru 6. Negru can cause trouble by playing 2 at 3. for which there is another choice. 83 .

1. This diagram shows the reason for Alb 1 and 3 in Dia. Dia. Negru has a good reply at 2. then attack at 5. With Negru Δ low. When playing Δ. aiming to slide under to ‘a’. However. Alb cannot attack so well on the lower side. An important variation in the basic joseki occurs when Negru plays 6 on the third line. Dia. 2. Negru has to choose between defending one side and defending the other. 4. Alb can attack at 1. If he gets ‘a’ or ‘b’ in addition to 1. Dia. 3. This variation is biased toward defense on the lower side. he can play kikashi at I and 3. With Negru Δ on the fourth line. 84 . then Negru’s group is short of eye space. instead of at ‘a’. If Alb simply plays 1.Negru 6: third line or fourth? Dia. 3.

as regarding both territory and the safety of the Negru and Alb groups. 5. which are shown in the next four diagrams. Negru 1 is a large point in the corner.Negru takes the offensive After the basic joseki. 85 . Dia. Alb 2 makes good shape and leaves open the possibility of an invasion at ‘a’. but then ‘b’ is almost sente for Negru. Negru has three ways to attack the Alb group. Here Negru plays it to get Alb’s reaction before extending toward the shimari in the upper right corner.

but then Negru would not play 1. Alb 2 would be more appropriate if the shimari in the upper right corner were Negru. 6. If Negru is concerned with the center. Alb ‘c’. a vital point in this shape. he would play 1 from this direction. Negru ‘d’. 8. He cannot get out into the center past Negru 1—for instance. Alb would respond by taking the big point in the corner. he can attack with 1 here. Dia. Alb can reply at either ‘a’ or ‘b’. 7.Dia. although in a way Alb is reducing the value of his own shimari by pushing Negru toward it. Instead. Alb 2 here is another way of answering Negru 1. 86 . working towards a large territory on the right side. Dia.

9. But the fun comes when Alb plays 3 here to put up a fight for the corner. Dia. It follows that Negru should not launch into any of these attacks without reason. Negru should cut at 4. We shall confine ourselves to Negru ‘a’. but first . One way for Alb to proceed is shown here. in some other direction. 87 . . he provokes a strengthening of Alb’s position. . and after Alb 5 it gets complicated. and not before he can make an intelligent choice among the three of them. While Negru makes some territory on the lower side. indeed. or ‘c’. if Negru attacks from one direction. which is the cutest of the three.As you can see. ‘b’. Now we come to the variations in which Negru plays 2 on the three-three point. Negru 2 at the three-three point Dia. and a weakening of his own. Negru’s attacks in the last four diagrams are far from being killing attacks. Alb gets out into the center and prepares to attack the stone Δ. 10. Next Negru can play ‘a’.

(instead of the cut at 7). but the only good one Alb has. but Negru has a good point left at ‘a’. 10. Continuing from Dia. 14. 88 . if Negru plays 6. 11. 13. Negru must play 8 and 10. we should point out that Negru 4 in this diagram. and Alb must play 9 and 11. 12. Alb should answer at 7. a strange-looking play. 10.Dia. you can probably see what is coming next. Dia. Alb has a powerful reply at 5. Dia. is not very good. Before getting involved in the difficulties which follow Dia. There is only one branch in this variation. Dia. The finish of this variation: Alb’s wall is imposing. After these moves.

Alb 1 and the rest can be used not only against the twopoint squeeze play shown in this section.In conclusion Complicated variations aside. SECTION 13 The last variations of the two-point high squeeze play we are going to consider are the ones in which Alb plays tenuki. Alb’s purpose in this joseki is to gain safety in sente before moving on to some other part of the board. which drives Alb out into the center. but against any squeeze play except. or ‘b’. the one point-squeeze play on the third line. which lets Alb live easily but gains outside strength. giving Negru a chance to put another stone into the corner. Negru’s next play is usually either ‘a’. perhaps. 89 .

90 . Alb 4 may look like a feeble move. After Alb 9 it is Negru’s turn. 1. 2. but he has lots to worry about: his stones on the outside are weak and his corner is not yet alive.Negru plays tsuke at the three-four point Dia. When Negru plays 1 at the three-four point. Negru generally plays 5 at ‘b’ to defend against Alb ‘a’. this is the expected result. 1. Dia. but Alb has possibilities at ‘a’ which he is trying not to disturb. and then Alb can think about attacking on the right side. This explains the weakness that exists after Dia.

Dia. If Negru is worried that Alb might not connect and wants to be sure of sente. and so Alb may have to play ‘b’ instead. Alb takes the corner with 4. or play 11 at 13. For Alb 2. 5. The only drawback of this shape is that if Alb later gets to attack at ‘a’. he can omit Negru 13. it is not hard for Alb to make two eyes in the corner or on the right side. 3. Negru plays tsuke on the outside Dia. Negru’s double hane in the last diagram enables him to make a perfect wall on the outside. Here is one variation. Alb plays 2. Negru connects at 3. Dia.Dia. (see Dia. and he has sente if Alb connects the ko. 4. Negru plays 3 at 4. 91 . and Negru plays double hane at 5 and 7. When Negru plays 1 here. 6. In another variation. 9). 2 by playing 3 here. but that play depends on a shicho. ‘a’ is the most desirable point. Negru will find himself cramped in the corner. Negru can avoid having to worry about the possibility of Dia.

8. Here is one possible continuation from Dia 7. but now 92 . Since Alb 1 is so close. Alb cannot play 2 unless the shicho in this diagram is good for him. the sequence of Dias. Negru has all sorts of weaknesses for Alb to aim at. When possible.Dia. 9. A similar situation occurs when Alb plays 2 at 4 and Negru plays 3 at 5. After Negru 5 this variation gets complicated Alb is barred from the corner. Dia. (although ‘a’ is not impossible). 6 on the previous page. In comparison with Dia. These are the basic variations. but a countersqueeze play. then of course he is more than happy with this result. Dia. now lets see how they apply in a couple of actual situations. If it is. it is more prudent of Negru to play 6 than ‘a’. but he can make shape on the side by playing ‘a’ or ‘b’. 7. so if Negru plays 2 and Alb plays 3. Alb 1 in this diagram is not a tenuki. then he is in great trouble. Alb pushes in between the Negru stones at 2 to put some cutting points into Negru’s shape. 10. Alb 7 and Negru 8 are the same as before. but if it is not. 7 and 8 has to be modified a bit. Alb makes a counter-squeeze play Dia.

Let’s see how this affects the joseki. After Alb 3. In answer to Alb 1. 11. 12.Alb simply plays 9 instead of ‘b’. This time Negru 1 is correct. Dia. This is because Alb ‘b’. Alb ‘d’. Alb’s stone is farther away Dia. and if Alb plays 2. 93 . Alb 4 to 12 are one way to proceed from here. Negru should play 3. Here Alb has a stone out at Δ on the lower side. Negru has no good move. Negru ‘e’ would weaken Alb 1 too much. Negru ‘c’. Negru 2 at the three-three point is bad.

Dia. If he wishes. 94 . which does not bode well for the fighting that should develop from Alb 6.15. Negru ‘a’ would be too close to it to be efficient.Dia. Alb can answer Negru 1 more loosely at 2. inviting this exchange. 14. 13. however. Negru cannot make good use of his wall. Negru 5 offers no resistance to Alb’s movements in the center. then after Alb 4 he wants to play 5 as shown to confront Alb Δ while defending against Alb ‘a’. On the third line. Dia. Alb Δ makes Negru 1 a doubtful move. for after the usual joseki shown here. If Negru plays keima at 3.

but he is by no means giving up the corner. He still has ways of breaking up Negru’s position. If Negru answers Alb 1 by capturing Alb Δ then Negru Δ becomes greatly weakened. and Alb has again cut into Negru’s prospective territory. he still has good chances of reviving his original stone. provided that Negru is not too strong in the surrounding area. Dia. In conclusion By playing tenuki. Even when he plays tenuki twice. After Dia. 16. Dia. too.A second tenuki Dia. Alb can play another tenuki and let Negru have 3. 16. of course Alb is giving Negru a local advantage. When Negru plays 1. Alb can probably live with this sequence. starting with Alb ‘a’. 95 . 18. 17. The order of Negru 1 and 3 may be reversed.

(which works out about as in section 10). or ‘d’. or at ‘b’. or he can. for it gives Alb the least room in which to operate. we will use this section and the next two to look at three other squeeze plays often used against the kogeima kakari. starting with the former. 96 . Negru 1 above is the most aggressive of them all. as always. ignore Negru 1. We shall restrict ourselves to Alb ‘b’ and ‘d’.SECTION 14 After spending the last five sections on the two-point high squeeze play. Alb can answer at ‘a’. ‘c’.

third line. and Negru will than fourth-line 97 . 2. and now it seems natural for Alb to attack the other side with 4. which no reservations center develops. When Negru plays 3 on the is also joseki. rather territory. he is likely to find himself pushing Negru along the fourth line. on the lower side. Dia. If a chase into the Alb has a kikashi at ‘a’ he can use. for in the running fight to come. be making third-line territory. then there need be about playing 4. Negru defends the lower side with 3. but Negru fights back with 5. (Alb ‘a’. Alb’s one-point jump to 2 is the most generally useful answer to Negru 1. 1. 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 2: one-point jump Dia. Negru ‘b’). on the lower side.

If Negru plays 9 first. Dia. this sequence is what Alb expects. At the end of this diagram Alb is in a position to attack either at ‘a’ or at ‘b’. 98 . 3. Be careful of the order of 7 and 9. When he plays 4 in the last diagram.Dia. and he can make an eye for his group by playing ‘c’ when the time comes. trying to avoid a running battle. Alb can answer it at 7 instead of 10. But when Negru plays keima with 3. Alb may prefer to play 4 this way. 4.

but this can get very difficult. 7. although you can probably see some of the possibilities for yourself. Dia. Negru can push through and cut with 5 and 7. Even though Negru plays 3 to defend the lower side. The joseki usually ends about like this. 6. 99 . Instead of passively playing the previous sequence. it is common for Alb to attack from that direction with 4. Alb 6 and 8 are a good combination. Negru naturally answers with 5. 5. Alb has good shape for making eyes on the right side.Dia. Dia. We will not even try to go through the variations. bending around Negru 5 and protecting the cutting point at ‘a’.

and Alb cuts at 6. here is one situation in which Negru 1 looks appropriate. 9. 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. so he plays 1 as far down as he can. Although it is always hard to say which squeeze play would be best. especially considering the possibility of Alb ‘a’. He cannot use it to attack Alb’s group. 100 . Negru plays 5 to defend the lower side. In one of them. Negru wants his territory on the right side to be as large as possible. Dia. and he has not made much territory with it. which is alive. After Alb 4 there are essentially two variations. This is joseki.Alb 2: tsuke Dia.

marked ‘a’ to ‘e’. 10. In conclusion When Negru makes his squeeze play as close as this. except that it is played on the fourth line. but at the same time it becomes possible for Alb to push back on Negru in one way or another. he is putting maximum pressure on Alb. of which ‘c’ and ‘d’ are the most interesting. 101 . Negru’s simplest course is to live in the corner with 7 and the rest. Alb has five different ways to answer it.Dia. Alb can attack on the lower side at 6. 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. SECTION 15 This squeeze play is like the one in the previous section.

he might play 5 at 6 to start a fight. Negru can attack at ‘a’. Instead of playing 11 as in the last diagram. or he can carry on as in one of the next two diagrams. Alb 2. This gains corner profit. Both Negru ‘a’ and ‘b’ threaten a hane at ‘c’. taking no chances. 3. 9. and Alb connects underneath at 6. Dia. Negru jumps out to 5. Negru can play it on the three-three point. If Negru has some strength in the upper right corner. 102 . but now Negru’s ‘a’ is not as menacing as before. In the usual joseki Alb attacks at 4. 2. 1. and in the corner ‘b’ is a very large point. however. looks like the most natural answer to Negru 1. and if Negru has a lot of strength in the upper right corner we imagine Alb playing ‘a’ instead of 4. after which Alb will probably play on the lower side to counter Negru’s wall.Alb 2: one-point jump Dia. Negru can play 7. straight up between Negru’s two stones. After this diagram Negru can play tenuki. and 11 to strengthen his position. Dia.

5. Alb cannot ignore it. and now Alb can continue by attacking Negru 1. After 9. On the lower side. another good move. Dia. By the way. and the sequence shown here is joseki. The keima at 2 is more flexible than the one-point jump. One thing he can do is to play 4. 103 . and this is joseki. too. After Negru 7. Alb might continue at ‘a’. or he can leave the position as it is. but Alb has not made eyes yet either. Before playing 5 Negru should think about playing ‘a’ in the corner. Negru has more room on the right side. hoping Alb will answer at ‘b’. Negru 3 is one good answer to it. 6. Dia. Negru’s three stones on the right side do not have eye shape yet. Alb has ‘b’ or ‘c’ to play. When Negru plays keima with 3. Negru 5 here is a lighter answer to Alb 4. Negru cannot answer Alb 2 at ‘b’ because of Alb ‘a’. since he has a good play at ‘a’ to use if Negru attacks. 4.Alb 2: keima Dia. He often does this last. although he also has some cutting points.

10. Dia. and 9. 7. 104 . and he fights on the outside by playing 10. and the joseki usually ends with Negru 17. In the early endgame Alb ‘a’ is a very large play. Negru plays kikashi at 11 before defending the lower side. Alb is alive in the corner. Dia. A more complicated joseki occurs when Negru answers Alb 4 by cutting with 5. Alb 2: tsuke Dia. (which forces Alb ‘a). which threatens ‘a’. This sequence is a simple joseki. but he may not want to provoke Alb ‘c’ by doing so. 9. 7. Alb can answer Negru’s keima at 3 by playing 4 at the three-three point.Dia. 11. Dia. since he may need to connect at ‘c’. so as to live quickly in the corner. Here is one joseki stemming from a Alb tsuke at 2. And here is a similar one starting with the tsuke at the three-three point. 8. Continuing from the last diagram. Negru can prevent it by playing ‘b’. to live on the right side.

In conclusion Negru 1 is the most forceful of all the squeeze plays. Because of this. Plays farther up the side than Negru 1 or ‘b’ are possible. it tends to lead to solid and settled positions more often than the other squeeze plays. SECTION 16 Our discussion of the kogeima kakari ends with Negru 1. 105 . but they are too far away to have a strong effect on the corner. the three-point low squeeze play. as can be seen from the joseki shown in this section. We are skipping over Negru’s squeeze plays at ‘a’ and ‘b’ for reasons mentioned in the introduction to this chapter.

if there is a Negru shimari in the upper right corner. If Alb is not in a position to take the offensive. as shown. but his stone is under attack all the same. 1. 1. Many players would play 1 at 4. In this shape Negru can get some room for eyes by playing ‘a’. or on the point between 1 and 4. For example. Alb would certainly prefer this way to Dia. to avoid this kind of attack. Alb has a shimari in the upper right corner. 2.Two Common joseki Dia. he can settle for making good shape in the corner with the sequence that starts with 2 and ends with Negru 7 or ‘a’. 106 . This would be appropriate if. Dia. One way to meet Negru 1 is with the twopoint jump to 2 and the counter-squeeze play at 4.

but Alb can play 8 at 9. 5. Keima Dia. 4. ‘b’. Negru must not connect at 10. When Alb plays keima at 4.Tenuki Dia. When Alb plays 8. and after another atari at 11 he connects at 13. Negru can make shape in the corner with 5. instead of following Dia. Dia. Since Alb 2 does not really put much pressure on Negru 1. and ‘c’—which we shall look at in turn. The sequence up to Negru 9 is almost like the one in Dia. 1 or 2. which changes things considerably. 3. for then Alb 9 would leave him with no eye shape. 2. For Alb 4 there are three possibilities—’a’. Negru frequently plays a move like 3. Here is a situation in which the three-point squeeze play is often made. He has to play atari at 9. 107 .

Negru can no longer accomplish much by playing ‘a’ in the corner. 8. Alb cuts at 14 and Negru has to play 15. 108 . Notice that Alb would now prefer to have Δ at ‘a’. The fighting might continue this way.Dia. (This does not mean that Δ was a bad play to begin with). 6. to give himself more room on the lower side. Alb makes a satisfying amount of territory as Negru pushes him along the side. 7. Now we come to the diagonal play at Alb 4. Dia. Continuing. Diagonal play Dia. but Negru has a big wall and sente to make a wide extension on the lower side. so he will fight with 5 and 7 instead.

If Alb wants to keep Negru out of the corner. After settling his own position. After Alb 8. he can do so by playing 4. This is the most aggressive way to attack. Negru plays 9 to build a living position. Tsuke Dia. This is joseki in some situations. Dia. 11. and Alb needs to defend. and it gets complicated. a defensive way of playing. but here. it is rather cowardly. 109 . (just as in section 13. 10.Dia. Continuing from Dia. this is one possibility. 9. and with his two-stone wall Negru can cap Alb’s stone on the right side at 7. 2). considering that Negru has two stones in the upper right corner. but it provokes Negru 5. Negru is aiming at the point ‘a’. Dia. Another way for Negru to answer Alb 4 is to dive into the corner at 5. 10.

1. Alb 13 is a solid play. and the only one that is going to find its way into the present book.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. One way to continue is with 10 to 13. Negru announces his intention to engage in a running fight by playing 4 and 6. ‘d’. Negru 2 is the oldest. a double-threat move which prepares for either Alb ‘a’ or Alb ‘b’. 1 and 3. then 110 . for instance. Against Alb 3. Alb’s defense is at 7. Dia. either of which separates the two Negru stones. That makes them especially useful as invasions between the kakari stone and a position in the adjacent corner. Alb can reply to it with ‘a’ or ‘b’. or with a tsuke at ‘c’. SECTION 17 Of the squeeze plays that can be used against Alb 1 above. 2. Alb strikes on the right side at 9. If Negru connects at ‘a’. as in Dias. or ‘e’. The last of these is the subject of this section. Alb will attack him with ‘b’. or if Negru plays ‘b’. Running fight Dia.

if Negru does not want to assume a separated shape. and similar to ones that develop when Alb plays 3 at ‘a’. similar to the many other running fights that have appeared so far in this chapter. In the present joseki. In Dias. as we shall see next. which can lead to a hard and desperate battle. then Alb attacks on the lower side with 9. 1 to 3 we have a typical running fight provoked by a squeeze play. ‘b’. however. 111 . (If Alb tries to play 11 at ‘a’. Dia. as in some others. If Negru defends the right side with 8.Alb has ‘a’. 3. or ‘c’ in the diagram at the head of this section. Negru still plays 12). and this sequence is joseki. there is a way for him to avoid it. Negru can handle this onslaught with 10. In another variation Alb uses 13 to cut at ‘a’.

or by making a wide extension on the lower side. 5. 4. When Negru plays atari underneath with 8. lead to complications. 112 . The joseki continues as shown up to Negru 16. and Alb can finish it by playing 17. Negru plays 8 underneath Dia. Alb should reply with a counter-atari at 9. Negru joins up his position by cutting in behind Alb 3 and reaching up the side with 4 and 6.Negru moves to connect Dia. both of which. Negru can next play either ‘a’ or ‘b’. Alb’s only way to fight is to push in between Negru’s two stones at 7. unfortunately.

If Alb can capture the stone in shicho by playing ‘a’ instead of 13. 8. but then Alb does likewise. Negru has a chance to capture with 10. 113 . but Alb has sente. At this point the joseki branches into two variations. 9. Dia. Negru has the stronger position.Dia. Alb plays 9. 7. In the simpler one. Alb captures at 13 and Negru captures at 14. and while Alb captures one stone on the right side. Considered in isolation. that improves things somewhat. and Negru has no choice but to play 10 and 12. Dia. and he can cut off Alb 15 by playing ‘a’. 6. this exchange is generally good for Negru. this exchange is good for Alb. then Negru can play 10. When Alb plays atari at 9. And now there is the case in which Negru plays 8 from above. but Negru is still happy. Negru plays 8 from above Dia. If Alb just connects with 9.

Depending on a shicho. and Alb would like to avoid it. (see Dia. Now again Negru has two choices. This second possibility we leave you to figure out for yourself. Negru connects at 18. Dia. If there is. 11. 9 would be rather good for Negru. but then Alb continues to develop on the right side with 17. 10. and the battle continues until they become stabilized. say. This diagram shows the first possibility. and the fight goes on.Dia. a Negru shimari in the upper right corner. Negru gets the corner with 14 and 16. 12). he can do so by playing 13. or he can give them up by pushing through with ‘b’ and onwards. capturing Alb 15 in return. At the end of this diagram there are three weak groups on the board. Alb continues at 19. 114 . then the variation in Dia. These moves are not hard to understand. He can connect his two stones at ‘a’.

only one variation. If he wants to strike a bargain with Alb and settle the situation quickly. he can choose from among the other variations of this joseki. for Negru. After the cross-cut at 5 there is. Alb can handle the situation with a tsuke at the threethree point. 1 to 3.Dia. SECTION 18 In the last section of the chapter we see Negru making a squeeze play against the ogeima kakari. he can choose the variation of Dias. for a change. 12. In conclusion Alb cannot play 13 if the shicho shown here works If Negru wants to embark on a protracted running fight. 115 .

strong position in the upper right corner. 2. but he knows that 3 and 5 will give him a good position in the corner. 116 . 1. By comparison. 3.The idea behind the ogeima kakari Dia. if Alb plays a kogeima kakari at 1 and Negru makes the same squeeze play at 2. Dia. The ogeima kakari is appropriate when Negru has a large. Dia. forming a safe position which greatly reduces the effectiveness of Negru’s strength. If Negru answers it at 2. Alb will be quite satisfied to extend up the right side at 3. Alb rather expects a squeeze play like 2. it is not as easy for Alb to handle his stone.

but whatever the strategic merits of Negru’s position on the right side. Negru plays atari at 6 and 8. Be careful of the order of Negru 6 and 8. after the crosscut at 5. This is simple. Alb will play 9 and dominate the corner by capturing Negru 6. but if he keeps on. one thing he can do is to exchange 12 for 13. If Negru reverses the order of 6 and 8. his opponent has taken the corner. 4. Alb 11 is a possible stopping-place for the sequence. 6. Negru can play tenuki after Dia. Dia. 4. To continue with the joseki. 5. Dia. then connects at 10. 117 .The joseki Dia.

8. Dia. 7. Alb anticipates Negru’s squeeze play and deals with it by giving Negru what he wants on the right side.Dia. 118 . Especially considering the closeness of Δ. but Alb has nothing to complain of as he springs out into the center. It is not hard for him to make two eyes on the side. should that become necessary. In conclusion This section illustrates the kind of thinking that makes for good go strategy. Negru may want to play 12 on the lower side to provoke some fighting. which could go about like this. Negru can stubbornly play 4 and 6 to make Alb fight on the right side. taking his own profits in the corner where the taking is easier.

1. is in a considerably different position from one played closer in to the corner. Negru will close it off by adding another stone. Such an exchange can be bad for Alb if made.CHAPTER 4 Four-four point joseki: invasion and tsuke INTRODUCTION A stone on the four-four point. if Alb stays away from the corner too long. The difference is that now Alb has enough room to invade at 1 in Dia. 2. strong Negru position. 119 . Negru can hold Alb to a small territory in the corner and along one side while building himself a strong. but in this chapter we will be talking only about Alb 1 in Dia. Alb 1 in Dia. instead of making a kakari from the outside. 1 is not always a good play. say. Of course a kakari is still possible. Let’s look at a couple of situations in which the threethree point invasion is appropriate. 1. 1 and a similar play. On the other hand. at the very beginning of the game. or when there are some Alb stones near enough to be endangered by a newly-created. Alb 1 in Dia. centerfacing wall. like the Negru one in Dia.

which aims into Alb’s territory on the side. Negru could more or less secure his corner territory with 1 in Dia. If Alb lets Negru play 3 in Dia.When Negru makes a double wing formation around his stone. 6. is a bad play. 3. Dia. as in Dia. for it will eat up more than half of Negru’s prospective territory. Negru will come out of the joseki with a good deal of probable territory on the outside. (This does not mean that Negru 1. but then Alb would be happy to play 2). 4. then there will be no easy invasion route left open into the huge. Negru area. 120 . the three-three point is the key point for reducing it. but that cannot be helped. 5 shows the same idea on a smaller scale. Here Alb 2 is especially destructive.

becomes which side to push on. but generally it is easy to see which is better. 7 or 8 is best. How is a three-three point invasion answered? Almost always a contact play like Negru 2 in Dia. then. the invader can expect to get only a small area for himself.As these two examples may hint. the three-three point invasion is a weapon for taking away the opponent’s territory. the kakari to be studied in the next chapter is better. In 121 . For building territory. The problem.

‘Block in the direction of your widest extension’ is the general rule. 8 Negru has no extension. so he plays 2 to get what little he can on the left side. Negru has more room for territory on the upper side than on the left side. 7. so naturally he plays 2. each in an appropriate setting. on the upper side. and no chance to make territory. In this section we will show the major ones. And what comes after Negru 2? Let’s take a look. 122 . for instance.Dia. In Dia. SECTION 19 There are a good many variations to the three-three point invasion.

If Negru wants to stop his opponent from getting so much profit in sente. Alb. Negru holds Alb down into the corner. however. Double hane Dia. has gotten to play the fairly large hane at 9 and can later push out further from the corner at ‘a’. as he usually does. although it is not the most common. This sequence might be called the basic variation.Basic variation Dia. he can play this double hane. 123 . 1. Three variations follow. building a wall in the center which here works well with the stones marked Δ. 2. all this in sente.

but this time Negru chooses to take the corner in gote with 10 and 12. then Negru can play 14. Alb plays atari at 7. Negru builds his wall in sente with 8. Alb can play ‘c’. and Alb can hardly help but connect the ko at 13. 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’. In the first one. Negru plays this way if he has no particularly good use for sente. 10. He can also play on the point ‘e’ to good effect. For example. 3. In the second variation Alb plays 7 and 9 as before. and then play ‘d’ in sente because of the threat of Alb ‘a’. ‘a’. 4. 124 . or if he needs the corner to secure room for two eyes. and 12. and the Dia. or some other point on outside.Dia.

but there are times when it is better to play hane at the other end. 125 . 6. as in this diagram. Negru has no prospects on the left side. for instance. Alb uses this joseki when the upper side is more important than the left. then ‘b’ will be a good point for Negru. so he answers Alb 3 at 4. After Negru 14. threatening a double atari at 10. Negru 4: hane in the corner In the variations so far Negru played his fourth move at the open end of Alb’s stones. where Alb is very strong. Dia. which exploits the dead stones left in the corner. taking sente and defending the largest possible amount of territory on the upper side.Dia. In the third variation Alb breaks out of the corner by playing 7 and 9 on the upper side. which of course he can do with his pon-nuki shape. Here. 5. for example when Negru’s extension on the upper side is wider than his extension on the left. if Alb wants to play another stone in this area he has a good point at ‘a’. in the corner. If he plays tenuki.

for if he exchanged 11 for 12 first. on the upper side. Alb plays hane first Dia. the hane at 4 is again appropriate. This gives him the cut at ‘a’ or the squeeze-tsuke at ‘b’ to aim at. 7. making a large ko. in fact. This ko is. for Alb does not have enough room to live in any other way. like . Alb can still play 1. Alb has to be careful not to play 11 until Negru has connected at 10. The joseki continues as shown in this diagram and the next. 10. 3. he can do so by playing 3 and 5. 9. Dia. and 5. the usual joseki when Negru has a stone at Δ. Alb should be ready to answer with 7. When Negru has an extension to Δ on the left side and wider one. 8. 6 and 7. Dia. Dia. If Negru plays 6. then Negru might be able to kill the corner by playing 10 at 13. When Negru Δ is as close in as this. If Alb wants to avoid the hane of Negru 4 in Dias. and Alb has just enough room to live in gote in the corner.Dia. Negru 6 deprives the Alb group of room for two 126 . 11.

14. the diagonal play at Alb 3 becomes the proper way to live. then Alb can get room for eyes by hopping down the side to 7. Or if Negru blocks Alb’s extension down the side. 127 . Dia. Diagonal play Dia. Alb 7 does not quite assure him of two eyes in the corner. 12. 13. but Negru cannot attack as long as the cutting point at ‘a’ remains undefended. but even dead stones can be put to use. and his corner may yet live. When Negru has added a stone at Δ. Alb will aim at the points ‘a’ and ‘b’ as before. Alb can live with the hane at 5.eyes. We leave this life and death problem for you to work out on your own. If Negru plays 4 and 6. Dia.

while Alb 1 has more to do with the outside. but Alb ‘a’ aims only at living in the corner. so to speak. Except in cases such as Dias. 128 . as you have seen in the last section. Another way. In the next chapter we will return to this invasion.In conclusion This is what to expect of a three-three point invasion made out of the blue. one way of attacking it is with the tsuke at Alb 1. as in either of the two diagrams above. 10 and 11. seeing how it works in combination with a kakari from the outside. is with a three-three point invasion at ‘a’. SECTION 20 When Negru has made a two-stone shimari based on a stone at the four-four point. the invader can live quite easily.

the standard joseki calls for Alb to play hane at 3. and Alb extends on the left side to 7 or. When Negru has the formation shown here. then Alb can develop a position on the left side while slightly reducing Negru’s corner territory. The same pattern can arise from an attack on an ogeima shimari based from the three-three point. 1. Inner hane Dia. If Negru plays ‘b’.The usual answer to Alb 1 is either ‘a’ or ‘b’. Negru plays 6. Alb 1 has a way of leading to very complicated sequences. Negru and Alb connect at 4 and 5. Dia. In the simplest continuation. Dia. if there are other Negru forces in the area. and what follow are only the most common of them. 3. If Negru plays ‘a’. but there will be cutting points left in his shape which Alb can take aim at from the outside. 129 . 2. to ‘a’. Let’s start by considering the case in which Negru answers Alb 1 by defending his corner with 2. then he may be able to keep Alb in the corner.

threatening both ‘a’ and ‘b’. or he can jump out to ‘b’. and Alb dies—and Negru 6 prevents Alb from extending into the center.Dia. 7. The order of playing 3 and 5 is important. Negru ‘b’. If Negru does not play 6. 6. Dia. . Alb will make a wall with 11 and 13. depending on the surrounding positions. This gives him a very nice base from which to extend down the left side or. as here. and a ko fight. Dia. 3. Instead of following Dia. Alb 7. What if Negru answers Alb 3 by cutting at 4? This too is joseki. 5. 7. then Negru can play 6. 4. or he can play ‘a’. He need not be afraid of the cut at ‘a’—Alb ‘a’. Alb ‘c’. Alb can get eye shape by playing there himself. . and 9. Dia. If Alb reverses them. The way for Alb to handle it is to play 5. again expecting Negru 6. 130 . Here Negru has a stone at Δ. Negru ‘d’. and so Alb does not have room for a satisfactory extension on the left side. If Negru protects against the former by playing 10 in the next diagram . he now makes a kaketsugi at 5. inviting Negru to start a ko fight. into the center.

but has the advantage that Alb cannot play 6 in sente. This joseki is frequently used when Negru has an extension like Δ. Negru can pressure him with the sequence from 6 to 10. 131 . since he is not afraid of Negru’s playing 6 at ‘a’. There are a good many other variations besides the ones above.Dia. But here Negru has an ogeima shimari. If Alb simply extends to 5. Dia. 9. and now Alb can play 3. but we will leave them in order to go on to the case in which Negru answers Alb 1 by playing hane from the outside. This gives up points in the corner. and Alb does not want to invade at the three-three point for fear that Negru will get too much territory on the outside. In this variation Negru plays 4 instead of ‘a’. 8.

although ‘a’ and ‘b’ are other possibilities. which is sometimes correct. There is a second way for Alb to play counter-hane with 3. Dia. Dia. We leave you to find for yourself what happens if Negru plays atari at ‘b’ instead of 4. the standard joseki calls for Alb to play counterhane. In this diagram Alb gets a good life in the corner. and Alb lives in the corner. and can aim to cut at ‘a’ later. If Negru connects at 4. 132 . as shown here. then Alb’s connection at 5 is the usual play. 10. when Negru has a one-pointjump shimari. 11. Once again. Next Negru plays 6. 12.Outer hane Dia. with the cut at ‘a’ or the squeeze-tsuke at ‘b’ left as sizeable threats.

the outcome of which will be determined by the presence or absence of other stones in its path. Dia. Negru ‘b’. 15. 13.). but Alb can cope by cutting at 7. then Alb plays 18 and gets up to the third line and out into the open. Dia. If Negru answers at 19. Alb can play 17 here.Dia. Alb can play 11. then a crawling battle develops on the left side. and then live by crawling along the second line. etc. (Alb ‘a’. and 15 in sente. 131 133 . If he cannot afford to live so humbly. This is one of the more complicated variations. Negru seems to be trying to kill all the Alb stones when he plays 4 and 6. 13. a tesuji worth taking note of. Sacrificing two stones. If Negru plays 18 as shown. 13 Dia. 14.

Dia. but we leave that for a more advanced book. and Alb can live safely with 7 to 13. In conclusion The tsuke at 1 yields far more complications than the simple three-three point invasion of the last section. except that now Alb gets his best result by playing nobi with 3 instead of hane. Alb can also play 3 like this. Dia. however. an important tool for getting into a territorial framework based around a stone on the four-four point. As before. Negru will play 6. The joseki shown here is about like the one in Dia. Dia. Another. surprisingly complicated family of variations starts when Alb plays ‘a’ instead of 5. The mutual connections at 4 and 5 form one joseki. 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. The last combination of possibilities is when Negru has an ogeima shimari and answers Alb 1 from the outside. 17. 10. He has something to aim for in the cut at ‘a’. It is. 18. Following the last diagram. 134 . 16.

More often than not. if Negru answers Alb 1 with a squeeze play at 2 in Dia. however.CHAPTER 5 Four-four point joseki: kakari INTRODUCTION In the last chapter we studied the three-three point invasion and the three-four point tsuke. All other things being equal. After Alb 9. Alb 1 in Dia. for two reasons. 2. The second reason is that Alb 1 works well with an invasion at ‘b’. The first is that from 1 Alb can slide into the corner by playing ‘a’. 1 is the best kakari to make against a stone on the four-four point. Alb 1 has been cut off. he is more concerned with making shape on one side or the other than with ravaging the corner territory. moves which make an immediate penetration into the corner. Alb can go right to 3. Negru would like to make a kaketsugi by playing at the point on which Alb 1 rests. and Alb comes skipping out of the corner at 11. Alb can play 135 . but it need not go to waste. but he cannot. and then he will make a kakari from the appropriate direction. For example. so he has to make do with the shapeless tight connection at 10. when Alb plays against a stone on the four-four point.

Negru may answer at 3. he could not expect to keep sente. After Negru 3 he would still have to defend against the possible invasion at ‘c’. Usually he plays his kakari at 2. 1. expecting Negru ‘b’. too. as at 2 in Dia. 136 . and frequently the conditions dictate some choice other than Alb 1 in Dia. he can play another ogeima kakari at ‘a’. which is mostly Negru’s domain. But a kakari is made in order to develop on the side. 4. attacking Negru’s eyeless group. and Negru’s corner territory will not be unduly large. a common opening position. If Alb made a kogeima kakari. In Dia. (or right away). Alb would like to deal quickly with the left side.‘a’. but Alb can then leave the left side as it is and turn elsewhere. 3. and he has a useful move at ‘b’. Later. then turn to some other part of the board where he has more of a chance to make territory.

5 shows one kind of position in which Alb should make a high kakari at 1. and starting to make a large area of his own on the upper side. and Alb can continue with 3. 137 . as in Dia.Dia. reducing Alb’s left side to easily manageable proportions. using his wall in the lower left to develop a huge potential area. 6. If Alb played a kogeima kakari. Negru would answer with 2 and 4. Negru 2 is the usual answer.

because Negru can always jump out to ‘d’ to keep Alb from getting any territory on the left side. then after Negru 2 he would be vulnerable to an invasion behind 1.In Dia. 138 . If Alb played any higher up. say at ‘b’. Compare this with Negru ‘a’. The choice of Alb 1 is easily understood. where it will be of use in the fighting to come in the center. Better to have 1 up on the fourth line. (at ‘c’). 7 we see the 2-point high kakari being used to give room for eyes to the Alb group on the left side and to reduce Negru’s potential area in the upper left. There would be no point in playing 1 on the third line.

9 is the one-point jump at Negru 2. 24. who will have to care for two weak groups while Negru attacks from his own strong one. Dia. 8 are reasonable answers to Alb 1 in various circumstances. Now let’s look at a few more. 10. You have already seen a couple of them in the preceding diagrams. The chief weakness in this move is that Alb can still invade the corner easily at ‘a’. or to one of the points marked x. 23. and 25. Besides starting to build territory on the upper side. 11. aiming to slip under Negru’s stone to ‘b’. The standard answer to a kakari at 1. Another weakness is that Alb may sooner or later play 3 in Dia. 11 is not very good for Alb.There is a wide choice of ways to answer a kakari. in Dia. and it will be treated in sections 21. Negru 2 makes a good base for jumping out into the center. or ‘b’ in Dia. ‘a’. then Alb 3 becomes very effective. 139 . all of the points marked in Dia. supporting an extension to 1. Considered in isolation. but if there are some additional Alb stones in the surrounding area.

It aims at making a larger corner territory than Negru ‘a’. but it is not as strong on defense. Negru 2 in Dia. Negru would do well to play 2 on the third line instead of at ‘a’. Alb ‘b’. Negru can make a secure corner enclosure with 4. With the Alb stone so 140 .In Dia. Negru 2 is often used when Alb plays 1. for defensive purposes. 13 used to be the standard reply to Alb 1. Then if Alb attacks with 3. threatens an invasion at ‘c’. 12. for instance. in Dia. and it is still used. for instance. or ‘a’. 14.

Negru should play this way whenever he already has a strong formation around the middle of the upper side. It would be an over concentration of strength. and 25. 141 . 12 will be mentioned alongside the one-point jump in sections 21. Negru 2 secures the corner. 16 would be incorrect here. and of course it also attacks Alb 1. and so there is not so much point in his playing 2 at ‘b’. In Dia. or Negru ‘a’.far removed from the corner there is not much point in Negru’s advancing toward the center. Negru 2 in Dia. is correct. 15 we have a good case where Negru 2. and Alb could easily invade at the three-three point. This Negru 2 and the Negru 2 in Dia. 24.

The tsuke responses to a kakari are treated in sections 22 and 26. Finally. an interesting idea that we will be looking at in section 27. too. 19 is also made for constructive purposes. A squeeze play may be used to keep Alb from building territory on the side. or to construct Negru territory there. 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. 142 . 17. as in Dia. and we shall study these double-kakari joseki in sections 28 and 29. Squeeze plays are common. The squeeze play in Dia. A kakari is not as pressing an attack as the three-three point invasion or the three-four point tsuke. as in Dia. 18. Alb usually makes his second move from the other side.

Alb’s weakness Dia. is quite similar and will also appear in this section. Alb slides into the corner at 3. 143 .SECTION 21 Basic joseki 21 If we survey recent Japanese professional games. The variation on the right. If Negru does not mind solidifying Alb’s position. Both sides get stable. it seems that the most frequently used four-four point joseki is the one on the left above. Observe that Alb’s stones in the basic joseki are all on the second or third line. in which Negru answers Alb’s kogeima kakari with a one-point jump to 2. (next page) Since we will have lots to say shortly about Negru’s weaknesses in this joseki. in which Negru makes a kogeima with 2. Negru defends at 4. easily defended positions. and Alb makes a two-point extension to 5. he can make it even harder for Alb to reach the center by playing the moves in this diagram. 1. This means that it is not so easy for him to extend upwards into the center. let’s get Alb’s main weakness out of the way first.

2 in this diagram and the last is such a big point that Negru should seize any reasonable excuse to play it. On the upper side Dia. he will find himself short of eye space. it can almost be considered as part of the basic joseki. Negru 2 is usually the correct answer to Alb 1. he can play 1 here instead of extending on the third line. The drawback of this move is that it gives Negru a good attacking point at ‘a’. If Negru does not get around to playing ‘a’. Alb has a good move at 1. since if Negru lets Alb play both 1 and 2. Even when Negru has made the defensively stronger kogeima. 2. Dia. Just from the standpoint of corner territory.Dia. 3. A Negru extension to the point ‘a’ is a large move. it is a good idea for him to answer 1 at 2. If Alb wants a higher position. 144 . 4.

If Alb cannot afford to have his two stones on the left side cut off. This is more a middle game move than an endgame move. 145 . 7. 5 at 8 still gives him a big profit. If Negru fails to answer Alb 1 in the previous diagram. he can gain some more by exchanging 3 for 4. Since it is so large. Dia. but that gives Alb the play at ‘b’. Alb has made a big gain as compared with a Negru play at 1. 6. he may fall victim to this sequence. although this solidifies Negru’s corner somewhat. Later. 5. by playing 2. Occasionally Negru plays 4 at ‘a’ to make eye shape. although it is usually too slow to be worth playing in the opening. let’s see what happens when Alb plays 1. Dia. Even if Negru does answer Alb 1.Alb plays the key point in the corner Dia.

and Negru is in trouble. but of course that would strengthen Alb on the upper side. To point up one of the principal dangers in this joseki. 8. since Alb can play 2. 8. 9. (What we have to say here applies equally to the case where Negru Δ is on the fourth line.Dia. 146 .) Now it is too late for Negru to make eye shape by defending at 1. Alb easily connects to his stone on the upper side. Negru could follow this way if he had exchanged Negru ‘a’ for Alb ‘b’ before playing 1 in Dia. Dia. If Negru connects at 3. suppose that Negru has let Alb play both of the stones marked Δ in Dia. 8.

but when hane at 8. In other variations. plays Another idea is to play 3 and 5 this way. Alb plays 9 at ‘a’ or ‘b’. In conclusion The key move in this joseki is Alb 3. Variation in the basic form Dia. The simplest continuation is the one shown. In the next section. which slides into the corner and. coupled with the extension down the left side or the play at the three-three point in Dia. 10.Alb Dia. we will see what happens when Negru prevents Alb 3. Negru is in trouble again. 11. There is one major variation in this joseki: instead of defending his corner. a straightforward exchange of corner territory for an outer wall. or at 10. 11. gives Alb plenty of room for two eyes. Negru can play 4 on the outside. letting Alb take the three-three point with 5. 147 .

SECTION 22 When Negru wants to keep Alb from playing the keima of the last section. Negru 4 is also an attacking move. Negru ‘c’ or Negru ‘d’. are sometimes appropriate instead of Negru 4. 1. The purpose of Negru 2 is not to defend the corner territory —as we shall see. preparing for a capping play at ‘b’. Alb can make no better extension than 5 on the left side. Negru 2 is standard practice. but it is obvious that his three stones are badly overcrowded. which leave Alb less room to make trouble in the corner. When there is a Negru stone at or around Δ. When to play the diagonal tsuke Dia. 148 . he exchanges 2 for 3 above before jumping out to 4. but they have little offensive meaning. 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.

3.Dia. 2. 149 . If Negru lets Alb broaden his base by sliding into the corner at 3. Negru can continue his attack as shown. the Alb stones will be much safer. Compare Alb’s narrow shape here with what is in the next diagram. Dia.

Negru 2 and 4 are also appropriate here. 150 . 4. will become a good maneuver for Negru. 5. his position would be too cramped. getting ready for activity in the center. The space between Alb 1 and 3 and Alb 5 is still too narrow for comfort. If he played 5 on the third line. 6. Notice that Alb plays 5 on the fourth line. Later on Negru ‘a’. Negru ‘c’. Alb ‘b’.Dia. and Negru could attack from the outside at ‘a’. which defends the corner while damaging Alb’s shape. Dia. for Alb is afraid to extend any farther down the side than to 5 because of Negru’s thickness in the lower left corner. Dia. Here is a common opening position in which the diagonal tsuke is used.

151 . Alb should have waited until his stones on the left were a little bit safer. Dia. Alb 1 in Dia. the three-three point invasion is a bit dangerous. Alb can live on the upper side by playing 3 and 5. Negru 2: first variation Dia. . we are going to spend some time going through the fairly complicated family of variations. Negru is alive in the corner and has become very strong on the outside. and after Negru 14 Alb still needs another play on the upper side. The joseki continues this way. When the Alb stones on the left side are still weak. Indeed. Negru should reply at 2. and it is not going to be much fun for Alb to take care of his original three stones on the left side. 7.The three-three point invasion We now come to the problem of Alb’s invasion at the threethree point in this joseki. but . 8. and since it is so common. 7 was played too early in the first place. .

but Negru lived in the corner and was left with no weak points at all to worry about. and then Negru should play 2 as follows. but there remains the possibility of Alb ‘a’ or ‘b’. the Alb position is safe beyond all attack. and Negru 2 in Dia. and the Negru stones do not have two eyes yet. it is important for Negru to preserve some eye space in the corner. starting with the diagonal play at 5 instead of the previous move at 6.Dia. Now Negru confines Alb to the corner. Usually Alb plays the three-three point invasion when his stones on the side are still a bit weak. 9. Another way for Alb to play is shown here. however. Alb broke out along the upper side. 10. attacking them. In the last two diagrams. 152 . Especially with Alb Δ on the board. Negru 2: second variation Dia. is the best reply. 7. and that he can do by sacrificing one stone in the way shown. Sometimes.

Dia. but his eye shape was already secure. Here we have another joseki starting with Negru 2. After this.Dia. he should exchange 1 for 2. 11. the corner is safe. This time Negru connects at 4 instead of playing hane at 5. is that there are weak points like ‘b’ and ‘c’ in the corner. of course. as compared with the one in Dia. 10. 12. 153 . but that is another matter. The only drawback of this joseki. He is aiming at the point ‘a’. if Negru has a chance to do so before Alb comes crashing into the corner. Dia. Alb gets to make a pon-nuki in sente. 13. Alb may not bother to answer at 2. so it does not matter very much. In this kind of position.

and of course there may develop the possibility of Alb ‘b’. waiting for the right moment to put Alb 1 to use. this diagonal play is often a strong move. and 9 on the upper side. His extension to 9 is safe because ‘a’ is his sente. There are yet other ways to answer the three-three point invasion. 154 . 14. The exchange of 1 for 2 has not cost Alb anything. and he can leave the corner as it is with a clear conscience. After answering Negru 2. A similar idea is to reverse the order of 2 and 4. Alb can no longer live in the corner. 16. Dia. 7. (or by playing 3 at 5. One final answer to Alb 1 is the connection at 2. but he can make shape with 5. or at ‘a’). Alb may be able to live in the corner with 3 and 5.Negru 2: other variations Dia. 15. it in no way strengthens Negru’s position or attacks Alb’s. but unlike the moves studied previously. This is sometimes the best move. but he is going to suffer from Negru 4. Dia.

In conclusion Aggression is the theme of this joseki. Alb can live in the corner by playing 1 to 9.Dia. of course. 155 . although 3 above is the one most often correct. it is not unusual to find Alb just making an extension of his own on the left side. The point of extension varies. He lives rather small. and Negru 8 undermines his position on the left side. and Negru should not be afraid to trade his territory for a chance to attack on the outside. 17. and the rest of this section will be spent looking at some of the various extensions and their meanings. SECTION 23 When Negru extends to 2. At the right time. Alb should look for the earliest good opportunity to challenge Negru at the threethree point. according to circumstances. (or ‘a’ or ‘b’).

What if Alb plays into the corner with 3? This may not be necessarily a bad move. 1 shows one setting for the joseki above. but although this move has some value in cramping Alb’s style. 156 . but Negru can build a large prospective area in the center with the joseki up to 8. Negru can play kikashi at 4.Dia. Notice that ‘a’. Dia. as you will remember from the last section. the usual vulnerable point of an extension on the fourth line like Alb 3. 2. Alb does not want to extend any farther than 3 for fear of an invasion between 1 and 3. Alb can still invade the corner at the three-three point. is almost worthless to Negru since Alb can jump out to ‘b’ from the lower left corner.

6. If Alb played 3 on the fourth line. however. 157 . 1. With the present Alb structure. except that now Alb has played 3 on the third line for reasons shown in the next diagram. 3. if Negru invades. Here. but there would be room for a Negru invasion between Alb 1 and Alb ‘a’. Dia. The joseki of section 21 would be another good choice. he will have to do so between 3 and Δ. Dia.Dia. and there will be two strong Alb stones on either side of him. This is about like Dia. As the mid-point between Alb 1 and Δ. Alb 3 seems to strike the right balance on the left side. Dia. Another setting for Alb 3. 5. 4. ‘a’ might seem like a better extension than 3. Negru 6 would become too good an attacking move.

Dia. because that greatly lessens his chances for a successful invasion at ‘a’. 7). (after Dia. 7. and Alb’s position would be too narrow. Here Alb makes a three-point extension on the third line. Negru should not play 1. 9. however. Dia. would be just a bit reckless. Dia. A two-point extension is thinkable. 8. but with the upper left corner open and an extension from Alb 3 to Alb ‘b’ still possible. To extend any farther than 3. 158 . but then Negru could play 4 and 6. Alb should be able to handle Negru ‘a’ well enough. which in this particular case seems to be right. There is some danger from a Negru invasion at ‘a’.

mainly because the corner is still open. and if Alb fails to play 2. 10. In conclusion Alb’s immediate extension down the side leaves a rather unsettled position. 10 or 12. Instead. we see Alb making a five-point extension. The reasoning is that if the exchange of 4 for 5 is made later.Dia. 10. 12. Negru can invade at ‘a’ and almost surely capture the upper one of Alb’s stones. With this much open space on the side. Alb will have a satisfactory shape. he should look for an opportunity to play 1 here. This strongly defends the corner. before Alb invades it at the three-three point. Alb’s invasion is the subject of the next section. as in Dia. Dia. as compared with his cramped one in Dia. 159 . 11. Often the main point of this joseki becomes whether Negru gets to defend the corner. Dia.

and Alb invades at the three-three point. ‘a’. Negru has extended to Δ. Dia. Obviously Alb had better consider what is going to become of the left side before starting in on this joseki. 160 . and so is Negru ‘c’. and when Alb does not play ‘c’. Negru cuts Alb 1 off from the outside with 2 and 4. but is forced to connect in bad shape at 6. and then Alb can come out of the corner to 9 on the upper side. Alb lives with 7. it may be because he wants to keep open the possibility of playing 1. but he can afford a moderate loss there since he has completely taken over the corner and the upper side. Later Alb may be able to do something on the left side by playing ‘a’ or ‘b’.SECTION 24 In this section we will consider what happens when Alb has made a kakari. which prevents them. Both Alb 1 and Alb ‘c’ are quite large. Negru plays 8 to take command on the left side. Alb 1 is an alternative to Alb ‘c’. or ‘b’. 1 shows the most typical joseki.

on the one hand. but then Alb can push out at ‘d’. Alb ‘b’. This is suitable mainly when Negru already has a stone somewhere around the middle of the upper side. and can hope for territory between it and the wall he builds. starting with Negru ‘a’. but then Alb plays ‘a’ and gets the maximum possible amount of corner territory. sometimes Negru can play 8 and pen Alb up in the corner. Negru ‘c’. 3. 17 is an interesting move. threatening to capture one of the two Negru groups he has cut apart. leaving Negru to deal with the cutting stone Δ as best he can. Negru can play ‘d’ in sente.Dia. 2. 161 . On the other hand. Instead of letting Alb run out along the upper side as in the last diagram. Alb can sometimes fight by playing ‘a’ or ‘b’. Or Alb can just play 17 to live. Dia. Negru can reduce Alb’s corner to seki in sente. The drawback of this idea is that even though Alb’s corner is not alive after Negru 16.

Dia. in return for sente. but in this case these plays come too close to Negru Δ to be worth much. should he get to play it. A completely different way for Negru to deal with Alb’s corner invasion is to let Alb connect to the outside. He can play 10 and 12 here to hold Alb into the corner. The exchange of Negru 6 for Alb 7 is played to make sure that ‘a’ will be Alb’s gote. When Negru has a stone at Δ. and what he can do to prevent it is to play kaketsugi at 5. Alb may not want him to play as in the last two diagrams. 162 . making territory on the upper side. 4. Negru should do this only when he has some particularly good use for sente. In this joseki ‘a’ is left as a large endgame point. Presumably he will not try. Negru cannot cut the connection between 9 and the corner because of Alb 5. 5. but just play the important point at 10. and Negru ‘a’ looks bigger. or some good reason for hanging on to his territory on the upper side. since he has given up the corner and gained nothing on the left side. 6. Dia.Dia. then jump out to 9.

Here we see the three-three point invasion into the kogeima formation made by Negru Δ. Up to Alb 7. Negru defends his cutting point with 12. making excellent shape on the outside. Negru can often continue by playing 8. 8. After Alb lives with 9 and 11. 1.Dia. 163 . see the next two diagrams. Dia. the moves are the same as they were in Dia. Alb may be not so willing to invade as he was when Negru Δ was on the fourth line. Negru cannot always play this way. 7. however. Because of this.

Negru should play 8 this way. even though Alb is not yet alive in the corner. When Negru makes the ogeima extension at 2. When Alb has a stone at Δ. After Negru 16. Dia. 12. Dia. This time he crawls out at 5 before playing the hane at 7. 10. Dia. 11. 164 .Dia. a Alb extension on the left side and a very wide Negru one on the upper side are to be expected. 9. The joseki continues with Alb living in the corner in sente and making shape on the left side with 13 and 15. Negru is in considerable danger after the cut at 11. Instead of trying to block Alb. it is joseki for Alb to invade the corner immediately at 3. pressing from above and then playing 10 to defend his shape.

In conclusion Such is the size of the corner that the invasions of this section are played quite early. perhaps. generally in the late opening stage of the game. The three-three point invasion is often used to answer a squeeze play. 6. and 8. play ‘a’ later and cut off Negru Δ. Provided that making territory on the outside is not essential to his overall strategy. There is the compensating advantage that Alb can. Alb should not hesitate to jump into the three-three point. 11-12. This time. so rather than burden himself with weak stones there. 165 . 13. Alb would have no room to extend on the left side if he followed Dias. letting Negru have the point 9. and that he will not be giving Negru too grand a territory there.Dia. he plays 4.

else Alb takes the same point. but then 166 . 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. 1. Another possibility would be to invade at the three-three point and take the corner.SECTION 25 After a Alb kakari and a Negru extension. and then there are two possibilities for Alb 3. the tsuke at Alb 1 is another possibility worth considering. Alb 3: first variation Dia. Alb 1 could be used in the presence of Negru Δ.

2. and provided he has a ko threat of his own big enough to keep Negru from then taking and connecting the ko. Dia. as shown in this diagram and the next. 167 . Dia.Alb would lose any chance of attacking Negru Δ. a big ko fight is in the offing. and even then he may not like this result. If Alb ignores a Negru ko threat be can cut at ‘a’. because Negru can cut at ‘a’. and when Alb plays 5. Sometimes there is another way for Alb to answer Negru 4. 3. Alb should only play this way if the shicho in which the sequence ends works for him. aggressive moves. Alb 3 and Negru 4 are both good. he can next capture the corner with ‘b’.

Now when Alb plays 5. More aggressive than the previous Negru 4 is the move shown here. At the end of this diagram Alb has made an eye. who can get excellent eye shape with ‘b’. 6. 168 . One better way for Negru is to play a second hane at 4. 7. Negru can play atari at 6. and there remain the points ‘c’ and ‘d’ at which Negru can attack. Negru 8 at ‘e’ would be another possibility. and pushes at 11 to give himself some room for the outside group. . connects at 9. Dia. Dia. Negru could answer Alb 7 by capturing. Dia. By playing this atari and pushing through at 6. but then Alb would develop upwards with 9 and 11. but then Alb could extend to T. but this makes life too simple for Alb. 4. Another possibility for Alb is the hane at 3. 5. which aims at handling the situation without re-course to ko fights or shicho. Faint-hearted Negru players sometimes answer Alb 3 by connecting at ‘a’. Negru separates Alb’s stones into two weak groups. then . .Alb 3: second variation Dia. While cuts at 7. but at the same time Negru’s corner has become secure.

When Alb has played his kakari at Δ. Other settings for the tsuke Dia. 169 . There is also a hane variation. since it keeps Negru from playing a similar tsuke at ‘a’. Of course this leaves his outside stones pretty weak. in which Alb plays 3 to trade the corner for the outside. Negru ‘b’. Dia. One way for Alb to continue is to live in the corner with 13 and 15. Another way is for him to give up the corner but make shape on the outside. Notice the possibility of ko left behind.Dia. 9. Alb ‘c’). Dia. The exchange shown here is often played before making an extension down the left side. 8. 11. (starting with Alb ‘a’. the three-four point tsuke is the usual way for him to bite into the corner. 10.

and 9 in sente. If Negru seems to come out ahead in some of these sequences. A joseki that solidifies the corner immediately is the tsuke-osae above. his position can be attacked with some force at ‘a’. and Alb plays 5. In conclusion Bear in mind that in most cases. 12. (Negru 2 is a tsuke 170 . when Negru answers Alb’s kakari simply by extending.Dia. Negru 4 is a strong and sure answer. Alb cross-cuts at 3. Although he can now play tenuki. 7. the purpose of the tsuke is not to make territory. but to defend against attack. SECTION 26 As has been seen in the last few sections. when he is threatened with annihilation. This is the standard joseki for making shape on the left side when Negru has played an ogeima extension at Δ. it is an indication that Alb should save them for use in real emergencies. he leaves Alb a lot of room to play around in the corner.

or even ‘b’. on the left side. then extend along the upper side to or in the direction of 12. Alb 7: first variation Dia. and he has at least three choices as to how to continue. Negru can also just answer 7 at 8. hence the name.and Negru 4 an osae. 1. with a ko left behind for later. When Alb connects here with 7. Negru can capture one stone in sente. 171 . If Alb plays 11 at 12. it behooves Alb to defend one of his cutting points. although there is the danger that Alb may play ‘b’ before Negru gets into action. Dia. 2. Negru gets to play ‘a’.) After playing atari with 5. This leaves him the possibility of playing ‘a’ later.

Alb 7: second variation Dia. 172 . Alb 7 is one move that Alb employs when he is in a position to make the left side his territory. but if he is willing to risk a loss there. Negru 10 threatens Negru ‘a’. Negru can answer by protecting his corner at 9. too. 3. and one which threatens an incursion into the corner. When Alb connects at 7 in Dia. again Negru usually extends to 8. is this Alb 7. he has an excellent opportunity to cut at 8 instead. The cut at ‘a’ is another possibility to consider if the conditions are right. and then Negru captures a Alb stone with 12. Alb 7: third variation Dia. This looks very good for him. 4. Another move that defends the left side territory. 3. so Alb has to play 11.

7. 6. Negru can also play atari with 10 instead of blocking at ‘a’. Alb 3: another possibility Dia. Alb could choose one of the other variations studied above. His corner is better defended by 12 than it was in the previous variation. In this diagram Alb Δ conies out at least one line too close to the Alb wall to be efficient. because Alb can invade the corner with 1. but any of them would produce the same kind of over-concentration as shown in this diagram. Here Alb already has a stone at Δ when he plays his kakari. it is not as good as it looks.Dia. If Negru plays 2 at 4. 6 is the beginning of a long and hard fight in the center. Actually. Dia. Alb will play 2 and live. but needless to say. Dia. and Negru has gained a definite advantage. 173 . and that makes the tsuke-osae especially appropriate. 5.

After atari at 4. This is the shicho. Negru ‘d’. Negru can take a large upper side with Negru ‘b’. and instead of 7 Alb will have to play ‘a’. Then. Dia. Negru plays double hane at 10 and 12 in sente. If the shicho works. 8. Alb would cut at 6 and Negru would be in a little trouble. 9. the next order of business for Negru is an extension on the upper side. If Negru tried to play 6 at 9. There is an interesting sequel to the sequence in Dia. but later he can come back and cut at 1 in the next diagram. which we have shown here. Negru will definitely play 4 from underneath. 8. limiting Alb’s take in the corner and leaving him with some cutting points. Dia. There is a way for Alb to deal with this problem. he can push in between Negru’s stones at 3. 174 . and Alb gets to come into the corner at 9. even without putting 2 in motion. 10. Alb ‘c’. If it does not work. After this. Negru must connect at 6. although it depends on shicho.Dia.

but the way. 12. In conclusion Negru’s tactics in this joseki may lack the light touch. as shown in the next diagram. not just in the corner. but at least he has destroyed most of Alb’s left side territory. 8 without having a stone already in place around the middle of the left side. (else Negru plays ‘a’). is why Alb does not normally play Dia. and then Negru can make shape on the left side. 11. The tsuke-osae. This. incidentally. is a maneuver that can be played anywhere along the side where Negru has territory to defend. Alb Δ is in his way. Alb has to capture the stone in the corner. If Alb Δ were not on the board. 175 . Dia.Dia. After Negru 3. With more open space on the left side. Negru plays the squeeze-tsuke at 5 and makes quite good shape all around. Negru could do still better. but they defend the corner strongly and are often used by professional players.

Negru is trying to make full use of his stone Δ by building a wall facing it. look at what happens when Alb tries to push out toward the center with 7 in Dia. and the onepoint squeeze play happens to be a good way to start. Other cases would call for other squeeze plays. 1.SECTION 27 There are many occasions on which Negru answers a Alb kakari with a squeeze play. Negru 6 is the key move of this joseki. as above. or to keep Alb from doing so. To understand the power of Negru 6. he may want to make territory on the left side. The last of these cases is illustrated in the sequence above. or even to make good shape on the upper side. 176 . The easiest way for Alb to answer any squeeze play is to go in to the three-three point. a Alb stone there would completely reverse the situation.

177 . More simply. Negru pushes through and cuts on both sides with 10 and 12. Alb has maybe ten points in the corner.Alb’s failure Dia. if he is strong enough in the area. That leads to this position. play ‘a’ and let Alb try to get away with ‘b’. with little chance for growth. he can. 2. After Alb 13. Dia. in which Negru has built a strong wall and can look forward to a large territory on the upper side. 1. he can play ‘b’ himself.

4 is also joseki. 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. he is threatening to connect at ‘c’. In this joseki Negru can sometimes omit.Joseki Dia. 3. Dia. The last two diagrams are not joseki. Notice that if Alb plays ‘b’ on the left side. but this time his territory on the upper side is not complete until he plays ‘a’. 178 . 10. and Negru does not have the chance to play tenuki that he had in Dia. although that leaves the threat of Alb ‘d’. Instead. or postpone. Alb should play 7 in this diagram. Again Negru makes a good wall with 8 and 10. 3.

‘a’ is left as a big point for either side. and a sequence something like the one in Dias. 1 and 2 is followed. Alb does not have enough room on the left side to make two eyes. 179 . 6. If Alb had a strong position in the lower left he might answer Negru’s squeeze play with this one-point jump.Alb 3: one-point jump Dia. The one-point jump is more appropriate when Negru has made his squeeze play on the fourth line. Dia. In this joseki. intending to follow with an attack on the left side. for then Alb can get eye space for his group by slipping under Negru’s stones at 5 and 7. 5. When Negru plays 2 there is also a variation in which Alb plays 3 at the three-three point. The danger in playing 3 is that if Negru 2 gets away.

In conclusion In answer to any squeeze play. Negru 12 here is another way. Double kakari joseki are the subject of the next two sections. the three-three point invasion featured in most of the diagrams above is rarely a bad move. 180 . Negru makes his original squeeze play a bit farther from the corner than before. Dia. 7. The main difference is that when Alb invades the corner at 3. but he can counterattack with the sequence shown. Negru may lose some of his territory. Negru is aiming at a larger territory than in Dia. Negru cuts him off from his stone at 1. In addition. When Negru makes his squeeze play in order to take territory on the left side. 7. you may recall. This kind of play was studied in section 4. if possible. 9. however. he does things a little differently. another way— one that is often used in handicap games because it can lead to complications—and that is to make a second kakari. There is. He also has the squeeze-tsuke at ‘a’ to use if he gets into trouble. 8. If Alb starts to attack the Negru stones with 1. Negru 12 is one way of ending the sequence. so as to leave more territory between it and the wall he makes.Negru goes for the left side Dia. Negru can also just push Alb along by playing 12 at ‘a’. For that matter. another way of lengthening his wall. Negru can play tenuki. Dia.

A second kakari at 3 is a good way for Alb to continue his attack on the corner. and in the next one we shall look at similar situations in which one or both of Alb’s stones are on the fourth line. Negru makes no direct answer to Alb’s kakari at 1.SECTION 28 There are many times when. 181 . for one reason or another. In this section we will see what ways Negru has to deal with Alb 1 and 3.

A second kakari is one way of answering a squeeze play. for his next play. he has a chance to play ‘a’. and the joseki gets a little complicated. ‘a’. including the Alb stone Δ. When Alb plays 7 at the three-three point. ‘c’. Since this formation is so common. 182 . and Negru 6. building up power to use against the weaker one. Negru has made his wall and is in a position to swallow up the left side. At this point Alb has at least four choices. the key point for enlarging his left side while reducing Alb’s upper side. however. and ‘d’. 2. 1.Tsuke-nobi Dia. ‘b’. The usual counter-measure against this double kakari is to push against the stronger of Alb’s stones. we shall take the time to go through the variations from ‘a’ to ‘d’. (nobi). Before doing anything else. That is the idea behind Negru 4. especially in handicap games. (tsuke). Up to Alb 13. Dia. it is natural for Negru to block at 8.

Negru can surround him with these plays. If he played 16 without playing 14. 4.Dia. after which a cut at 14 could be answered by Alb ‘c’. First Negru plays kikashi at 14. Alb answers at 17 or suffers the fate shown in the next diagram. and Negru would have gote. 3. Alb might answer by exchanging ‘a’ for ‘b’. Dia. he may be able to put 14 to use again. Negru has already gotten something out of his kikashi at 14 in that he has played 16 in sente. If Alb omits 17 in the last diagram. later. and then he takes the key point at 16. 183 .

and this is joseki. which are a bit tricky. 5. There are some variations in which Alb plays 9 at 10 and Negru plays 10 at 9. Later. strong position with power on the upper side and in the center. This brings up the tsuke at the three-four point. Negru can also answer Alb 7 with 8 here. 184 . Alb can cut at ‘a’ and take the corner. 3. By playing 10 Negru gets a high. 6. Although it may seem inconsistent with the original idea of going after the left side.Dia. letting Alb live in the corner and on the left with 9. but let’s leave those. Dia. The end result of this joseki is about like Dia.

7. Alb does not want to let Negru cut at 11. 8. He need not fear the cut at 9. (he would hardly exchange 7 for 8 if Negru had already cut at 11). then fight on the outside with 14. following the course of Dia. so he connects there and Negru plays 12. After exchanging 7 for 8. Negru blocks his thrust at 8. Both Dias. since Alb has already usurped the point 7 which Negru took for himself. in Dia. Better to play 10 as shown. At the end of this diagram Alb has the corner. What if Alb invades the corner with 9? For Negru to answer by playing 10 at 12. would involve a loss.Dia. 7 and 8 are joseki. getting into one of the tricky sequences alluded to earlier. 185 . 3. 2. When Alb plays 7 here. (at 16). Dia. but his stones on the upper side are in rather bad shape. for he can live in the corner with 10 and 12.

Negru 18. 9. while Alb makes weak. Finally. is necessary to keep Alb from invading the corner at ‘a’.Dia. 186 . threatening to push through at ‘a’. by the way. See if you can work that out for yourself. Negru 10 defends. which Negru must block at 8. but hopefully manageable groups on both sides. Dia. 10. Negru lives in the corner and gets out into the center. and the sequence continues as in the next diagram. there is this Alb 7. Alb plays 9. In one well-established joseki.

which is sente since it forces Alb to extend down the left side. Diagonal plays Although tsuke-nobi and tsuke-osae are the most generally useful ways of answering Alb’s double kakari. letting Negru move out into the center by playing tsuke-nobi at 10 and 12. Negru can make a living shape in the corner by connecting at ‘a’. 12. Negru can still live in the corner. If Alb captures at ‘a’. 11. More often Alb connects at 9. After Alb 17. When Negru is not interested in attacking either of Alb’s stones. but then Negru will cut at ‘b’. and Alb’s wall will be a bit flimsy. they are not the only ways. After Negru 8.Tsuke-osae Dia. The diagonal play at Alb 13 happens to be good in this position. he can play tsuke-osae instead of tsuke-nobi to make sure of the corner. 187 . Dia. Alb can wall Negru in by playing ‘a’. or he can wait to play on the left side himself.

for that matter. with Negru going for the left side. (Even a triple kakari. this diagonal play toward the center. is not fatal to the corner stone. There is also. He is alive in the corner. When Negru already has stones on both sides. 188 . In conclusion There is little to fear from a double kakari. 13.) 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. where he already had the stone Δ. 14. Negru will push and cut with 3 and 5. 13 is rather like some of the previous ones in this section. (or 3 and ‘a’). Dia. If Alb tries to blockade Negru with 2. from which he can connect to either of his two kakari stones. and if he does not. the diagonal move at the three-three point is good. The result in Dia. and Alb has two weak groups to try to save. Alb can answer it by playing 2 at the three-three point. at least he can get a living shape in the corner with the tsuke-osae joseki. for example.Dia.

‘e’. We shall see him doing that in the next few diagrams. or T in the corner is preferable. if Negru wants to attack on one side. which is not always very good. He has diagonal plays at ‘c’ and ‘d’. The only new idea is the tsuke at ‘e’. Negru can make tsuke plays at ‘a’ or ‘b’. is much like the one studied in the last section. 13 and 14 of the last section. which are exactly similar to the diagonal plays in Dias. Often a play at ‘d’.SECTION 29 The double kakari formation on the left above. he should begin by playing tsuke against the Alb stone on the other side. 189 . since his only way of coming out into the center is ‘c’. where Alb has one stone on the fourth line. The double kakari formation on the right above is the hardest one for Negru to handle. Getting back to the formation on the left. which are similar in purpose to the tsuke plays before.

3. but after Alb 6 Negru has made a wall which works well with his stone in the middle of the upper side. Here Negru plays 1 in order to attack Alb Δ. Now Negru wants to attack on the left side. 2. but one which makes it easy for him to get two eyes. Next he might play ‘c’. (Alb would push through at ‘b’).Negru plays tsuke Dia. so he uses the tsuke on the right. but just wants to make a safe position. not a large-scale move. after Alb 6. One way for Alb to respond is with the . Dia. Then. he plays 7. Dia. lengthening his wall and further isolating Alb Δ. This sequence can also be used when Negru is not interested in attacking. He cannot play 5 at ‘a’. 1.

Alb can play 4 at the three-three point. Alb can exchange ‘a’ for ‘b’. There is also the possibility of Negru’s trading the corner for a high. 5. 6. 3. 4. letting Negru take the corner.hane at 2 and the kake-tsugi at 4. or anything else Alb might use to try to break up Negru’s territory. Negru 5 takes the corner. with Alb eyeing the cutting point at ‘a’. . it would mean less chance for success with Alb ‘c’. Instead of connecting with 4 in Dia. When Negru blocks at 3. Dia. Before connecting at 10. It is also joseki for Alb to play at the three-three point immediately after Negru’s tsuke at 1. Dia. and if Alb tries to escape with Δ. the sequence comes out about like the one just before. Dia. strong position on the upper side by playing this way. but since that would solidify Negru’s shape. he will be in for a hard running fight.

and Alb might continue with an extension on the upper side. Dia. which starts from the tsuke at 1 and the diagonal play at 3. (or tenuki). and of course Negru has taken the corner and severely weakened Alb’s stone on the upper side. . If not. he may want to avoid the result of the previous diagram. Negru naturally plays 3. he will have no trouble managing his stones on the left side.Diagonal tsuke Dia. If he does. 7. If Alb lacks the ko threats. they may be rather cumbersome. 8. Double high kakari When both of Alb’s stones are on the fourth line. ends with a ko shape. This joseki. the number of possible joseki is much smaller than before. in which case he plays Alb 2 in this diagram. Whether it is good or bad for Negru depends on whether Alb has enough ko threats to cut at ‘a’ or not.

They figure not only in all handicap games. With Alb Δ on the upper side. the four-four point is second in popularity after the three-four point for the opening play in the corner. is compensation enough. but frequently in even games as well. because ft supports large-scale extensions without the making of a shimari. . but Negru 3. and the joseki ends with Negru capturing one of Alb’s original kakari stones. 10. Alb naturally enters the corner at 2. Negru would do best to take the corner at 1. when high-speed opening development was the style. Negru 5 at ‘a’. spoiling Alb’s territory on the upper side. 9. Dia. When Negru comes out toward the center at 1. Among professional players. an attempt to make a largerscale capture. In conclusion This concludes our study of the four-four point joseki. might be better if Negru Δ were closer. That lets Alb build on the outside with 2. The four-four point was much in vogue during the ‘shinfuseki’ period of the nineteen thirties.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. There are three common ways to attack a stone on the three-five point. his whole opening strategy should proceed along those lines. is the easiest. . like the Alb one in Dia. and in order to make best use of the stone in Dia. by attacking at ‘a’ instead of at 1. Alb is aiming at the upper side rather than the right side. Secondly. 1. Negru expects Alb to answer at ‘a’. Two things can be said about a stone so placed. He can make the opposite exchange if he wishes. The invasion at 1 in Dia. (section 30). (section 35). 2. and will be satisfied to make a simple trade of corner profit for an outside wall. (and obviously). he is going for quick outside development rather than corner profit. 1. Firstly.

3. Negru can also answer Alb 2 by invading. etc. he may answer Negru 1 by just extending to 2. if Alb played there he would greatly expand his area. In the rest of this book. (sections 31 to 34).). we have nothing special to say about the joseki which follow from Alb 2. . and the resulting joseki have a way of becoming complicated. or ‘b’. This pattern. 4 goes unanswered.When Negru wants to get his share of both the corner and the outside. in Dia. 6. (or ‘a’. he attacks at 1 in Dia. Negru 3 is the key point. often arises when Alb 1 in Dia. if he wants to make matters complicated. Alb has several squeeze and pressure plays to use against Negru 1. If Alb’s sole purpose is to develop on the upper side. as at 3 in Dia. however. 5. of course.

described in section 19. 7. various players have experimented with Alb ‘b’ or ‘c’ with mixed success. This move may be compared with the three-three point invasion under a handicap stone.If Negru does not get around to making any attack. 7 and 8 here. Alb 2 is the usual . Instead of Alb 1 in Dia. but now the invading group cannot be confined as closely as it was there. 8. although that shimari has a weakness at ‘a’. SECTION 30 Negru 1. 8. is the simplest way to attack a stone on the three-five point. an invasion at the three-three point. if he wants his shimari to face across the upper side. All three of these plays are strong toward the center but weak in the corner. he can play 1 in Dia. Alb can form a shimari with 1 in Dia. Since we are not going into shimari joseki in this book. Or. the opposite of Alb 1 in Dia. we shall drop the subject of Dias. 7. This makes Negru 1 rather attractive.

Negru should not hesitate to cross-cut by playing 9 at 8. In this sequence. ‘b’. but leaves the position as it is in Dia. expanding his corner territory. What can he do? . 1. it is also joseki for Negru to continue with these moves. If Negru does not play Dia. but keep in mind such other possibilities as ‘a’. In many cases he will make his next play somewhere on the upper side to counter the wall Alb has gotten. 1. 2. Dia. Alb 4: nobi Dia. ‘c’. 2. or tenuki. then Alb may be the one to play next in the corner. Shows the basic joseki pattern. and after Alb 6. for the ensuing fight will turn out well for him. if Alb plays 8 at 9. he has sente. However. Negru pushes along the third line with 3 and 5.response.

Dia. Alb 1 here is another possibility. Looking at the last three diagrams. Alb can capture either the Negru stone on the three-three point or the two Negru stones below Alb 1. do better to answer Alb 1 at 3 instead of at 2. after 3. you can investigate that possibility on your own. To begin with. Negru’s corner is still perfectly safe. Dia. Alb 1.Dia. Alb 1 and 3 are gote. Alb 1 is a fairly large move. is gote. . is threatening the twin cutting points ‘a’ and ‘b’. If Negru answers at 2. and Negru is at a loss to find a good answer. putting Alb in a position to profit on the right side as well as in the center and on the upper side. but after them ‘a’ becomes Alb’s sente. If he plays tenuki after this diagram. 3. then Alb. you can appreciate the value of the moves in Dia. however. Negru may. 2. 5 shows a third way for Alb to assail Negru’s corner. in many situations. 4.

Alb 12 at ‘b’ is also possible in this joseki. With the shicho not working. since Negru may be able to cross-cut at ‘a’. This sequence is not joseki: if the shicho works it is bad for Negru. Negru 9 is necessary. instead of nobi at ‘a’. but if Alb can capture Negru 5 in shicho by playing 10. Negru is alive in the corner. and a fight in the center involving Negru 5 and 13 and the two separated Alb groups is about to take place. 8. he has by far the better position. Dia. and the cross-cut at 5 is wrong. 7. Alb would like to answer with 6 and 8. Dia. . this gets a bit complicated.Alb 4: hane Dia. (either of them threatens to kill the comer). which is a great help to him in managing his stones there. 6. while if the shicho is broken then Alb 8 and 10 are incorrect. this is the standard joseki. On the upper side Alb can play ‘a’ or ‘b’ in sente. Unfortunately. If Negru does cross-cut at 5. It would be unfair to leave this joseki without showing what happens when Alb plays hane at 4.

so he has to connect at 8 and follow the sequence shown. 4. but since Alb still has the cutting point at ‘a’. What makes it disagreeable is that with the strong Negru stone at Δ. instead of playing hane with 4 at 5? Dia. Dia. His weak stones at 10 and 14 will be nothing but a worry for him.Dia. Alb can push his opponent in with the tsuke at 1. if Negru tries to cut at ‘a’. and 6. and Negru will have to reply with 5 to 9. or some such move. As a sequel to the last diagram. Negru invades at 1. Negru’s position is very low. 11. . Alb plays 2. this is joseki. Before leaving this section’s joseki. Why does Alb let himself be pushed around like this. When the shicho works for Alb. Alb can capture the cutting stone in geta with ‘b’. Dia. Alb cannot do much on the right side. If Alb did play hane at 4. The shicho is against Alb. Observe that after Alb has played 5. 12. 10. 9. Negru would cross-cut at 5. let’s look at it in operation during an actual game. and then Negru plays 7. he will definitely play the hane at 4. on the upper side.

The latter is a constructive play. The former is largely a tool for destroying the opponent’s territory. . and can be made without hesitation in the earliest stage of the opening. leading to a more active position. and is made in the late opening or middle game.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.

SECTION 31 When Negru plays the kogeima kakari at 1. so as to build territory on the upper side or in the center. he cannot be confined to the corner as he was when he played the three-three point invasion. but Alb can still press him down with 2 and 4. In this section we shall discuss the continuation from the position above. and consider alternatives which exist to Alb 4 and Negru 5. .

‘b’. The effect of Alb’s plays in Dia. 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. 1. and we leave you to devise subsequent moves for yourself.Continuation Dia. and Alb can later play ‘a’ to take the corner for himself. . 3. better yet. If Alb played 17 at 18. Alb’s plan is to cordon off the entire upper side. The sequence continues through Negru 22 and onward. 2. The purpose of 13 and 15 is to give Alb profit in the corner. but first he has a chance to play a kikashi of his own at ‘b’. Dia. he plays 8 and 10 to turn Alb’s advance and reach a higher altitude. Dia. 2 is that Alb Δ keeps Negru from making any corner territory. This position might appear at the beginning of the game. Negru has to defend at ‘a’. Next. Alb intends to keep on with his wall by playing ‘a’ or. Since Negru cannot allow himself to be pushed forever along the third line. so after Negru 4 he continues pressing with 5 and 7.

Alb may just extend to 1 on the upper side. using the same ideas as in Dia. he should play 4 this way. Negru 4: variation Dia.Dia. 2. 4 shows another way of playing. (see Dia. but Alb need not necessarily complain. instead of continuing to push down the right side. 4. but it has a big drawback. At times this maneuver is necessary. After the basic joseki. and 6. for he has the possibility of pushing at ‘a’ and cutting at ‘b’ to work with on the right side. . 5. Alb 5 is forced. Negru can then bend Alb around with 2. but starting from the basic joseki position. Dia. If Negru wants to keep Alb from making an extension on the upper side. 8). 6. and then Negru can play on the upper side himself.

With the exchange of Alb 3 for Negru 4 it may seem that nothing special is going on. 7. Now it is Alb. who is in a position to make territory on the right side. not Negru. If Negru fails to answer. If Alb extends to 1 after the moves marked Δ and Δ. but think what will happen if Negru cuts at ‘a’ or pushes at ‘b’. The drawback is that Alb can play 7 in sente. 6 is necessary. but you may want more of an explanation. Negru will take the key point at 2.Dia. his corner can be killed. It is easy to see that the exchange of Δ for Δ is solidifying Negru’s position. 8. Dia. . while helping Alb very little at all. An experienced player feels instinctively that Alb 5 in Dia.

Dia. Alb can vary this joseki by making a one-point jump with 3. This variation of the joseki continues up to Negru 10. 9. Alb ‘a’ would be sente. If Negru played 10 on the upper side to stop Alb’s extension.Alb 3: one-point jump Dia. and Alb should now make a very wide extension on the upper side. 11. 10. If Negru tries to push out with 4 and 6. Dias. but it is quite safe. 12 to 14. Dia. he will get into the same kind of pattern as in section 9. This way of playing looks a little bit loose. .

(i) Alb presses Negru into a low position on the right side. Therefore. . If he wanted to develop there. 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. but that is not usually such a good idea. but one of the squeeze plays in the next three sections. this joseki can be used to reduce a developing Negru territory to a moderate size. The taisha is known as the joseki of a thousand variations. SECTION 32 Alb 1 above begins the taisha. (great slanting). he would not choose the pressure play at 2.In conclusion The main purpose of Alb’s pressure play at 2 is to build on a large scale toward the center. (ii) Alb more or less gives up any hope of making territory on the right side for himself. but two other points about this joseki should be borne in mind. joseki. the most notable feature of which is complexity. for Alb can then get a very strong formation by playing ‘a’.

First tsuke Dia. which duplicate one of the variations in the last section. 3. which bears a close resemblance to the basic joseki of the last section. tsuke plays are more in keeping with the spirit of the taisha. Negru can again come marching down the side.Avoiding trouble Dia. Negru may continue his progress down the right side at 6. Second tsuke Dia. For Negru 2. he can play 2 this way. with 4 to 10. 2. Then there is only one variation. This one can lead to Alb 3 and 5. If Negru is looking for a simple answer to the taisha. . If Alb answers at 3. Here is another way for Negru to play tsuke at 2. 1.

7. 6. 4. Before Negru connects on the outside at 6. . After Alb 5. Third tsuke Dia. while Negru cuts and gets a large corner. and Alb will cut on the other. he has an easy exchange of corner territory for outside strength and sente. however. 5. but if it does. Negru has to connect on one side of Negru 4.Dia. creating three cutting points in Alb’s position. Alb 3 is standard. Dia. when Negru separates Alb’s two stones with this tsuke. Alb connects at 7 and makes an outer wall in sente. he must make sure that the shicho works. The real fun begins. Dia. Or Negru can play 4 this way. In the most typical variation of this variation.

Dia. letting Negru capture and connect the ko. starting a ko fight. Negru’s eye shape is not very good. 8. . so an extension like 16 is called for. Usually Alb continues with this 11. When Negru connects on the inside and Alb cuts at 7.Dia. but obviously getting a perfectly satisfactory result. but he needs some truly large ko threats to carry this off. Here there is the gruesome possibility that Alb will play 11 at ‘a’. 9. the simplest continuation sees Negru sacrificing a stone and playing 8 and 10.

11. for it can lead to almost any kind of pattern. In conclusion Thus ends our cursory glance at the taisha joseki. 10. Those who play it often have nothing more in mind than to lure their opponents into complicated fighting. and ‘c’ for the eleventh move. and thereafter the variations become too numerous and involved for any but the most devoted to learn thoroughly. It is sometimes considered as the standard taisha joseki. This is one of the shorter variations. ‘b’. but at the end of this diagram Alb can choose from among ‘a’. The next two moves are fixed. Generally speaking. Dia. the taisha has no particular strategic meaning. More complicated variations follow when Negru answers Alb 7 by drawing out of atari at 8.Dia. from which they hope to emerge victorious. .

In the first one. a difficult joseki. We shall take them in that order. the diagonal play at 3 will serve the purpose on most occasions. Although Negru has various ways of answering it. much as was done in some of the joseki of sections 28 and 29. There are then two things for Negru to consider in choosing his next move. The time-honored play Dia. 1. like the taisha of the preceding section. but for Alb 6 there are two choices. which he may be able to attack. so its variations have been well worked out. and we shall stick to it in this book. Negru just connects at 7. The other is . Another possibility is to play tsuke with Negru 3 against the stronger of Alb’s stones. ‘a’ and ‘b’.SECTION 33 The one-point squeeze play at Alb 2 is. Alb 4 and Negru 5 are standard after Negru 3. One is the line of Alb stones on the right side. and Alb defends on the upper side at 8. Alb 6 used to be the only recognized continuation from the basic joseki diagram.

If Alb answers at 2. Dia. and Negru will be left with neither territory nor a place to make two eyes. the main advantage of this exchange is that he can connect at ‘a’ if his three stones on the right are attacked. If Alb plays 2 and so on this way. to be used at 9. Negru gives up the corner. 2. Dia. Negru secures the corner with 3 and Alb’s upper side needs defending at 4. 3. . but makes a wall on the upper side and gets sente. From Alb’s point of view. Therefore Negru sometimes plays 1 before going into action on the outside. perhaps. the weak point in the corner. he can connect to either the upper side or the right side.‘a’. If Alb plays ‘a’.

Negru has to make some answer to Alb 6 to keep Alb from pushing through at 11. is correct in this joseki. Negru 13. 10. 4. (The latter reach one line less toward the left. but there is no doubt about its being a sound play. preparing for an extension to the left.) Dia. in which case Alb should defend the corner by exchanging 18 for 19. Negru 7 here also does the trick.Dia. rather than Negru ‘a’. The new-fangled play Dia. 5. Usually. or Negru can use 17 to attack on the right side. but it need not be the solid connection. Alb 6 in this diagram has been in use for less than a decade. however. since if Negru later plays ‘b’. Alb answers with 8. . and 12. Alb continues with 14 and 16. it is better for him to have 13 and ‘b’ than ‘a’ and ‘b’. in which case Alb may get a chance to cut on the upper side. 6. Negru can connect at 17.

Alb 8 becomes a good blockading move. Alb will immediately exchange 10 for 11. the diagonal tsuke at 7 is one possible answer to it. Dia. making Negru 9 into a bad move. for instance.Although a bit passive. . Negru 9 at ‘b’ would be no good either. Alb would have answered at ‘b’. After the last diagram there is no good way for Negru to get out into the center from his corner position. It would be better for Negru to do nothing at all than to play 9 or ‘b’. 6 for Negru is to play 9 and 11 and allow himself to be surrounded. The best continuation from Dia. but of course if Negru had originally played 9 at ‘a’. At least he has the cutting point at ‘a’ to aim at. 8. for exactly the same reason. If he plays 9 this way. Dia. Clearly Negru ‘a’ would now be better than Negru 9. 7.

9. Negru often answers Alb 6 with an attack on the right side at or around 7. leaving the diagonal tsuke at ‘a’ for possible use later.Dia. Alb 8 starts a running fight. Rather than get barricaded into the corner. . and what comes next depends on the position in the lower right corner. It is best made when Alb is backed up with some stones in adjacent parts of the board. 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.

the most natural thing for Negru to do is to advance toward the center with a diagonal play at ‘a’. In answer to either of them. Against the squeeze play on the third line. however. and the squeeze play on the fourth line when he wants to develop on the upper side. but they lead to rather different joseki.SECTION 34 The pair of Alb 1’s above can both be classified as two-point squeeze plays. . just as in the previous section. Alb uses the squeeze play on the third line when he wants to develop on the right side. there is also the tsuke at ‘b’ to be considered.

Before Alb has time to do so. .The squeeze play on the third line Dia. 3. Negru is left in a good position to gain territory on the upper side. Alb will look for a chance to play ‘a’ and rob Negru of his eye space. Negru should take the valuable eye space in the corner with 5. and then Alb lives with 4 and 6. The aggressive way for Alb to answer Negru 1 is to come out toward the center with 2. 1. The safe way for Alb to answer Negru 1 is to dive into the corner at 2. Now that both sides are out into the center. which makes up for his losing the corner. lest Negru enclose him there. 2. Negru must play 3. Dia. Given that Alb’s intention in playing 1 is to develop on the right side. lest Alb enclose him by playing at the same point. Negru can be expected to close Alb in at 3. The issue now becomes the attack and defense of the one Alb and two Negru stones in the corner. Negru should try to attack with some move like 1 in the next diagram. Dia. and Alb must play 4. he will reply to Negru 2 by extending to 3.

and so is Negru 8. unless he is in a strong position to attack on the right. 5. but his four stones on the right side are rather weak. 5. and 7 are natural. too. You will see how that goes in Dia. Alb plays 9. and Negru. instead of 1.If Negru is not in a good attacking position on the upper side. . Dia. Alb 3. 6. 4. Dia. Assuming the danger on the upper side to be the more serious. Unless there are some other Alb forces in the surrounding area not only is Alb’s single stone on the upper side in danger. Alb’s groups are both still in need of attention. it may be better for him to play 5 in the first place. This brings us to Negru 2. the second way of answering Alb’s squeeze play on the third line. takes the corner with 10.

Alb has sente and can extend to 7. 6. at ‘a’. Alb 1. having this resource. imagine the situation if they were omitted and Alb got in to the two-three point. The reason for playing Alb 1 on the fourth line can be seen in the next diagram. and 5 is to make it hard for Negru to get into Alb’s extension. . is an excellent point. but now there is not so much open space. for instance. Negru could easily invade. without going through the preliminaries. Alb 1 would not be so good if Alb Δ had been played on the third line. When Alb puts 1 on the fourth line. The purpose served by Alb 1.The squeeze play on the fourth line Dia. he really has the upper side in mind. or whatever point he has his eye on the upper side. taking the corner. Alb need not be afraid of being attacked on the upper side. Negru 4 and 6. By the way. If Alb had just played 7. 3. 7. ‘a’ is another point for Alb to aim at in this joseki. loosely confining Negru to the corner and linking up Alb’s positions. Dia. are important. Now. and so he answers Negru 2 by playing 3. however.

In conclusion Being one line further from the corner than the one-point squeeze play and taisha of the preceding two sections. he can play 1. leaving lots of possibilities open for the future. Following the exchange of 3 for 4. the usual pattern has been for Negru to take the corner while Alb develops on the outside. or extend up into the center. . Alb wants to handle the corner with just a few moves. SECTION 35 In the three-five point joseki seen so far. inviting Alb to defend the corner with 2. the two squeeze plays of this section are less aggressive. or extend down the right side. Negru can play tenuki. If Negru has some reason for preferring the opposite exchange. however. We shall look at both ways of extending. and then take up a possible variation in Alb 4.

and thereby gain profit at the edge of the board. this extension is good. Dia. In this situation. 4. The three-line interval between Negru 5 and the two-stone wall is correct. Negru 2 in the last diagram is not absolutely sente. Dia. At the proper time—in answer to Alb 1. Alb can play 1 himself to forestall a Negru play there. as he does here.Negru 5: extension down the side Dia. which threatens an invasion at ‘a’. . 3. See if you can work out the effect of Negru ‘a’ for yourself. Dia. for example—Negru can play 2 in sente. 2. When Negru wants to give himself some room for his stones on the side. elbowing his way around Alb’s corner and leaving Alb with the threat of Negru ‘a’ to worry about. Negru can play 1 and so on in this diagram. but if Alb fails to answer it. Negru 2 is sufficient defense against the threat of Alb ‘a’. 1.

however. 6. that will be a good point for Negru to take. Dia. Negru 5 to 7 are standard joseki plays. Here Negru already has a stone on the side. he should go into the center. so if he wants to make an extension. by provoking Negru 2 he is reducing the value of his possible extension to ‘a’. Negru 5: extension into the center Dia. 5. . If Alb omits 8. Alb should definitely exchange 8 for 9. lest Negru’s side territory grow too large. This time. The two-point jump to 5 is also joseki.

Alb 4: a variation Dia. 7. Alb 4 here is also joseki. It practically forces Negru 5, by threatening a Alb play there. Alb 6 and Negru 7 are one way to finish this joseki.

Dia. 8. One use for Alb 4 is to give Alb the chance to play 6 on the right side, if he feels that is necessary. Negru will answer with the tsuke at 7. Dia. 9. Here is the normal continuation from Negru’s tsuke. It is obviously undesirable for Alb to have to play 8, 10, and 12 on

the second line while Negru plays 9, 11, and 13, so he should choose this variation only when the situation on the right side urgently calls for a Alb stone at or near Δ. In conclusion Negru’s plays in this joseki have the virtue of simplicity, but they give up a fair amount of corner territory. Therefore, they should be part of a sound plan for development on the outside. There are ways for Alb to steer this joseki into complications, (starting with his playing tsuke at move 2), but they are rarely an improvement on the natural moves shown above, so we shall skip over them and go on to the next chapter.

Four-five point joseki INTRODUCTION A stone is played on the four-five point, like the one in Dia. 1, to make profit on the side rather than in the corner, and in that way the joseki of this chapter bear some resemblance to those of the last chapter. Compared with the three-five point, the four-five point gives a better chance to develop toward the center, but it is weaker in the corner. This can be seen by comparing the shimari formed by Δ and 1 in Dia. 2 with the one that would be formed by 1 and Alb ‘a’.

As you might expect, a play on the four-five point invites the invasion at 1 in Dia. 3. Alb 2 is the usual answer, and since it produces the same joseki as in section 30 of the last chapter, there will be no section on the three-three point invasion in this chapter, even though it is quite commonly used. One occasion for the

three-three point invasion is shown in Dia. 4. Alb 1 almost cries out for Negru 2, because the usual joseki through 10 turns out extremely well for Negru. He has ruined the territory Alb was trying to make on the right side.

Another way of attacking a stone on the four-five point is Negru 1 in Dia. 5, and the three sections of this chapter will all be spent on the joseki which come from it.


The keima at 1 best keeps to Alb’s original intention in playing his first stone at the four-five point, which was to develop toward the center. The simple exchange that follows from Negru 2 to Alb 5 leaves Negru alive in the corner, but his small territory there is worth much less than Alb’s outer wall. The equalizing factor is, of course, that Negru has played only three stones to his opponent’s four, and has sente. Among the variations in this joseki, there is a long and complicated one in which Alb plays 3 at 4. We are not going to get involved in it, but we shall mention a couple of the other variations that Alb can choose, and finish by showing what can happen if Negru plays tenuki instead of 2.

The nature of Alb 1 To help you see what kind of move Alb 1 is, we shall show one situation in which it is very good, and one in which it is rather poor. Dia. 1. This shows Alb 1 at its best. With Alb Δ it builds toward a large territory on the right side, while keeping Negru from making anything much of the lower side. It would be a good point for Negru, too, in this formation. Dia. 2. Here Alb 1 is not so good. On the right side Negru Δ keeps Alb from making a satisfactory extension, and on the lower side Negru 6 spoils his chances for getting territory. Even if Negru does not actually play 6, the fact that he could do so is enough to show that Alb 1 is on the wrong point. A better move would be the three-three point tsuke described in section 38.

Kikashi Dia. 3. After the basic joseki, if Alb wants to interfere with Negru 6 in the previous diagram, he should play kikashi at 1 in this diagram. Alb 1 by itself is enough to get in Negru’s way, but if Alb does not mind giving up sente, be can follow with Alb ‘a’ and confine Negru securely to the corner.

Alb 3: a variation Dia. 4. In one variation of this joseki, Alb plays 3 here and cuts with 5. His plan is to use 5 and 7 as sacrifice stones to help him build up his outer position. Dia. 5. While giving up his two stones, Alb gets to play 9, 11, and 13 in sente, after which he connects at 15. Negru immediately plays kikashi at 16 on the chance that this stone may come in useful later, and Alb 17 finishes the joseki. This technique of sacrificing two stones to make a strong shape is worth knowing, since it can be used anyplace along the side of the board. This variation seems to be a favorite with amateurs. Professionals, however, tend to shy away from it, because even though Negru’s corner is not very big, it is absolutely safe; Alb cannot so much as make a ko threat against it. Professionals do

not like to see their opponents’ positions become so solid if they can help it.

Alb 5: variations Dia. 6. Alb can connect this way with 5, instead of at ‘a’. There is little to choose between the two moves. Dia. 7. Alb 5 here is another possibility. Since it threatens Negru’s eye shape in the corner, he had better play 6 at once, and Alb can finish with 7. If 5 and 7 give Alb a good territorial framework on the right side, as they do in this diagram, then they are good moves. Otherwise, however, they would be open to suspicion, since Negru has gotten to play 6 in sente.

10. Negru should refrain from playing unnecessarily at ‘a’ or ‘b’ in Dia. and it is better for him to jump down to 2. Alb 3 defends. planning to exchange the corner for a base on the right side.Negru plays tenuki It often happens that Negru lets Alb’s keima without an answer. Instead of 1 in Dia. Even if it dies. after which he could play ‘a’ instead of 2 and make a base on the right side. but he would find himself tightly shut into the corner. Alb 1 in this diagram is one possibility. Negru Δ is not going to waste. with which Negru can break out of the corner. As long as he thinks he might want to use this sequence. because it enables Negru to play ‘a’ or ‘b’ effectively. Another idea would be for Negru to try to get a stone on the point ‘b’. Now Negru’s countermove is the diagonal play at 2. 8. Dia. . and then Negru extends to 4. Alb can play 1 at the threethree point. which threatens the hane at ‘a’. Dia. 8. Something else to keep in mind after the last diagram is this combination. How then should Alb proceed? go Dia. Negru could still make his stone Δ live. 9. 8.

In conclusion The tenuki variations of this joseki are important. The hane at 2 is correct. then capture the cutting stone. since it leaves the double cutting points ‘a’ and ‘b’. As the last three diagrams make clear. and there will be many times when Negru will want to counter it from the outside. . and Alb’s best reply is to draw back at 3 Negru 4 may seem strange. making eye shape. letting Alb kill the corner with a fourth stone. Alb’s keima is a move with a large-scale meaning. he will not have made an unfair trade. and even if he plays tenuki again. leaving his corner stone to be attacked again. he still has lots of ways to fight. SECTION 37 Alb’s second way of answering Negru’s kakari is the outer tsuke at 1 in the diagram above. but it is Negru’s plan to have Alb cut at one of them or the other.

Alb cuts on the outside Dia. However. Dia. and Alb taking the corner. . Dia. Negru capturing the cutting stone. If Alb does not answer Negru 10. 1. and with his good eye shape he can leave this part of the board and play elsewhere. blocking Alb from the center. 2. then Negru can play the point 12. Considering that Alb has played one more stone than Negru. If Alb answers as shown. the exchange is fair. then Negru has built up his position in sente. 3. Negru has sente. Negru can also continue with 10. The most common variation of this joseki has Alb cutting on the outside at 5.

. and Negru should be able to live on the right side with 7. Because of Negru Δ. taking the corner. and having played 7. to forestall a stronger attack. 1. because then Alb would cut at ‘a’. Dia. If Alb cannot kill the Negru stones. Alb has a kikashi at 1. he may have to prevent the invasion by capturing at 4 immediately when Negru plays 1. If Negru does not play 10 as above.Dia. but Negru Wants to defend at 2 anyway. in which Alb follows the cut at 5 with 7 and 9. Dia. Negru should not play 8 at 9. 6 shows another variation of the joseki. his position would be markedly better than in Dia. The 1-2 exchange hurts Negru’s eye shape and pushes him down along the side. Another reason for playing Negru 10 in the last two diagrams is that it makes possible Negru 1 in this diagram. This play does not threaten the life of the Negru stones. and is profitable to Alb. 5. 4. trying for an outer wall instead of the corner. This variation can be something of a puzzler because of the ko. Alb has to answer Negru 3 at 4 instead of at 5. allowing Negru to connect at 2.

(or just as happily cut on . Variation Dia. If Negru mistakenly played 4 in the usual way. etc. 7 shows the variation in which Alb cuts on the inside with 5. ‘c’. but this time Negru should play 4 on the second line instead of at ‘a’. and Alb has countered with the tsuke at 1. avoiding Alb’s cut.—but he has poor eye shape and Negru’s stones are working effectively. Negru has made a squeeze play at Δ.Alb cuts on the inside Dia. Naturally he must make sure that the shicho works. Negru 2 is still good. squeezing Alb from both sides. 8. Alb would happily cut and take the corner. After the 5-6 exchange Alb has various possible moves—’b’. Dia. 9.

Negru has good eye shape and sente and a perfectly equal result. Negru Δ would then lose its attacking force. 1 to 7 may look. and would be left too close to the strong Alb position for comfort. An extension to or around 5. In conclusion There is a go saying which tells us to ‘capture the cutting stone’. including tenuki.the other side if the shicho in Dia. which are shown below. 7 worked). and make a stable position. Negru 2 and Alb 3 are fixed. SECTION 38 Alb’s third way of answering Negru’s kakari is the inner tsuke in the diagram above. giving Alb some room on the side. and another which says that ‘pon-nuki is worth thirty points’. is fairly important. No matter how big and strong Alb’s positions in Dias. For Negru 6 there are several possibilities. and is a good move even though it is played on the second line. . Negru 4 makes a strong shape. This joseki provides good illustrations of both of them.

Dia. . Negru must extend "high with 6. With his first three stones on the second and third lines.Negru plays 6 Dia. reaching a little farther to the left. Negru often plays 6 here. 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. and now Negru has to figure out what to do about the Alb stone left on the lower side. Dia. Alb will look for a chance to attack as in one of the next few diagrams. Negru 6: tenuki If Negru does not make one of the moves in the last three diagrams. This is one possibility for Negru 6. He has reached a firm shape. 2. This is a more aggressive choice for Negru 6. 1 of section 6. 3. Alb plays 9 so as to provoke Negru 10 and give Himself a good excuse to connect at 11. Here Alb would play 1. Negru 2 and Alb 3 are joseki. 1. it gives the same position as in Dia. Dia. After 7 and 8. 4.

If Negru now plays ‘a’. and seen that it does not work for Negru. So Negru will play 6 this way. . and start a fight in the center. Negru may prefer to fight back with 2 and 4 in this diagram. Alb 7 and 9 are necessary for making shape on the lower side. 5. Dia. We have been through that pattern before.Dia. and then Negru 10 and 12 are necessary to live in the corner. ‘a’ is Alb’s sente. Alb 5 is a good connection. 6. (in section 9). Negru must reply at ‘b’ or be killed by a Alb play at that point. which are also joseki. Alb will play ‘b’. Later.

he has sente to play 8. Alb’s aims are different from in Dia. When Negru plays 2 closer. With the situation in the lower left corner reversed. and still Negru’s group is not safe.Dia. and although Negru’s position on the lower side is none too strong. so as to make full use of his shimari. Negru 2: tenuki Dia. and 7 are natural. he builds a vast area across the lower side. Continuing with 3 and 5. and prepares for a possible counterattack against 2. 7. Here. hitting right at Negru’s sore spot. 8. This gives him good eye shape. Now he will attack with 1. If Negru prefers to ignore Alb’s original tsuke at 1. we see him playing 2 on the center point on the right side. for instance. 9. . 4. 5. Alb 3. Dia. Alb should change his tactics slightly by playing 5 as shown. there is no great problem about it.

Both styles are joseki. Alb’s plays in this section stress development along the side. In conclusion While the joseki of the preceding two sections stressed development toward the center. That is. whereas before Alb played as though the envisioned areas stretching high and far across large portions of the board. If Alb played 5 as here. leaving Alb without certain eye shape in the corner. and both have their places in the opening. 10. . now he is only going for a modest side position. Negru could strengthen himself in sente with 6 and 8.Dia.

or English alternatives for Japanese terms. Gote (go-teh): A move is gote if it does not evoke an answer from the opponent. A player has gote if his opponent has the initiative. Diagonal play (kosumi): an extension like the one in the diagram. Atari (check): an immediate threat to capture. or pronunciation of Japanese terms. Diagonal tsuke (kosumi-tsuke): a diagonal play which is also a tsuke.GLOSSARY OF TECHNICAL TERMS Note: The parentheses give Japanese alternatives for English terms. Gote is the opposite for sente. . Double hane (nidan bane): Two successive hane plays.

After it has been answered. . Keima (knight’s move): see the diagram Kikashi: a forcing move made. The virtue of a kaketsugi is that it makes some eye shape. (usually). Kaketsugi (hanging connection): a connection like the one in the diagram. outside the main flow of play. The drawback is that Negru can play ‘a’. Kakari (approach): a move that approaches a single enemy corner stone from the outside. but the expectation is that it will turn out to be valuable later on.Hane (ha-neh): A move which bends around an opponent’s stone. a kikashi play is typically ignored for a while.

Shicho (ladder): a zig-zag pursuit. threatening to make it fail. that is. Sente (sen-teh): A move is sente if it calls for an answer. cross-cut. if it is his turn and there are no threats he need answer. etc. A player has sente if he has the initiative.Nobi (no-bee): an extension away from an opponent’s tsuke. Nobi Ogeima (large knight’s move): as in the diagram. Shicho-breaking move: a stone played in the path of a potential shicho. . as in the diagram.

but not in contact with any friendly stones. Tsuke (tsoo-keh): a play made in contact with one of the opponent’s stones. A shimari does not exactly secure the corner. 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. Tesuji (teh-soo-djee): the best play in a local position. Squeeze play (hasami): a play that attacks by preventing the opponent’s extension down the side. a tactically sound move. The diagram shows a typical example. .Shimari (closure): a two-stone corner formation. but it does make a base around which it is hard for the opponent to gain a foothold. and turns elsewhere.

1400 North Shoreline Blvd. intermediate books with a double asterisk and advanced books with a triple asterisk. 2 38 Basic Joseki by Kosugi Kiyoshi 7-dan & James Davies The ideal introduction to josekis. 415-964-7294. Building A7. Covers the fundamental ideas of the fuseki (opening). Japan or in North America from Ishi Press International. All the josekis that you need to know until you reach expert level. Tel. All the books listed below are available from the Ishi Press... Tokyo. 1 In the Beginning by Ishigure Ikuro 9-dan Required reading for all beginning players. *G2 Basic Techniques of Go by Haruyama Isamu 9-dan and Nagahara Yoshiaki 6-dan A general introduction to tactics. A free catalog of go books and go equipment is available on request. **G6 Strategic Concepts of Go by Nagahara Yoshiaki 6-dan Some of the basic concepts of go and the middle game are analyzed. endgame and handicap go. Inc. ELEMENTARY GO SERIES *G10 Vol. California 94043. *G11 Vol. Mountain View. with a large number of problems that utilize these concepts. fuseki. CPO Box 2126. .Bibliography Elementary books are marked with a single asterisk.

*G16 Vol. Examples are from handicap games. 4 Life and Death by James Davies The basics of life and death with over 200 examples and problems. **G19 The Breakthorough to Shodan by Miyamoto Naoki 9-dan Basic principles you need to know if you are going to reach expert level. **G15 Vol. **G14 Vol. Lots of examples and problems. *G13 Vol.*G12 Vol. Covers the fundamentals of positional judgment as well as other topics. . 5 Attack and Defense by Ishida Akira 9-dan & James Davies The basic book on the middle game. 7 Handicap Go by Nagahara & Bozulich The fundamental principles of handicap go are presented with a problem section. *G17 Kage’s Secret Chronicles of Handicap Go by Kageyama Toshiro 7-dan The correct way to play handicap go. 6 The Endgame by Ogawa Tomoko 4-dan & James Davies The standard book in English on the endgame. 3 Tesuji by James Davies The basics of tesujis (tactical brilliancies) with over 300 examples and problems.

**G27 Kato’s Attack & Kill. ***G24 Enclosure Josekis.DICTIONARY OF BASIC JOSEKI. **G29 Reducing Territorial Frameworks by Fujisawa Shuko 9-dan An excellent book on the middle game. **G26 The Direction of Play. 2: 3-4 & 5-3 Point Josekis ***G23 Vol. All about building and and reducing large frameworks of territory. by Kajiwara Takeo 9-dan Fuseki theory as expounded by Kajiwara. by James Davies & Richard Bozulich . by Kato Masao 9-dan Attacking techniques in the middle game. by Ishida Yoshio 9-dan ***G21 Vol. 1: 3-4 Point Josekis ***G22 Vol. by Kageyama Toshiro 7-dan A chatty and easy to read book about the fundamental principles of go strategy and tactics. the great modern fuseki theoretician. G30 An Introduction to Go. by Takemiya Masaki 9-dan Josekis that occur in the middle game with emphasis on the ones that involve attacking and defending comer enclosures. 4-4 & 3-3 Point Josekis The standard reference work in English on josekis from the point of view of even games. How to attack and kill your opponent’s stones. *G28 Lessons in the Fundamentals of Go. 3: 5-4.

the golden age of go. published since 1977. 160 games with detailed commentaries by modern professionals of the greatest go genius who ever lived. The Treasure Chest Enigma. by Kano Yoshinori 9-dan. A collection of nearly 1500 hundred problems for the beginner. essays and instructional articles. . Go World. by Takagawa Shukaku A thorough analysis of the sanren-sei opening pattern. A panorama of 19th century go in Japan. G41 The Magic of Go. you’ll find it all in this book. Graded Go Problems for Beginners. by Kato Masao A thorough analysis of the Chinese-style opening pattern.*G31 The Second Book 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. by Nakayama Noriyuki 5-dan. The authoritative go magazine in English. A entertaining collection of essays about go and its players. Cho Chikun The rules arid strategy of the game are thoroughly covered in a logical step-by-step approach. drilling them in the basic tactics of go. go news from around the world. The finest go book ever written. The second part is a collection of unique and fascinating full-board problems that is sure to entertain both beginner and advanced players. computer go and how go relates to intelligence and learning. All major Japanese tournament games are presented with detailed commentaries as well as general interest articles. **G33 The Chinese-Style Opening. From history to modern tournament play. **G32 The Power of the Star-Point. by Richard Bozulich Written for players who have just learned the rules of go. Volumes 1 to 4. a quarterly magazine on go. edited by John Power. A must for every serious go player. Invincible: The Games of Shusaku. Essay are interspersed with the technical chapter that will broaden your understanding.

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