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


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

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

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

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

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

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

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

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

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

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

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

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

17 .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. because they could connect to the left hand corner at ‘a’. If Negru had played 6 here Alb would have skipped out to 7. 10.

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

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

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

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.


Negru 2 is a tsuke and Negru 4 is a hiki. 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 6. in the next section we shall see an alternative choice for 3 which builds more toward the center and lower side. and Alb 7 are one way to finish it. and in fact Negru can get all the corner territory by playing 2. Alb 5. 29 .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.

and so is suitable if Alb wants territory on the lower side. By and by Negru may annoy playing ‘c’ himself. Sometimes Alb plays 6 as shown as to be able to play ‘a’ later. 2. Negru can make a solid connection with 5 and then extend to 7. aiming at ‘d’ in the corner. 30 here. Dia. If Alb wants sente he can play tenuki after Negru’s hiki. Negru. but it is not as Alb ‘c’. so the way to build solid as Alb by . 3. keeping the three-line interval between 7 and 5. the spacing between 7 and Δ is also just right. In this situation. The point ‘b’ may become another good extension for Negru later on. however. has much greater prospects on the lower side and in the center than before. Dia. 1. (or ‘a’). Alb 6 gets in of Negru ‘b’. as shown here. for if Negru cuts at 1 in this diagram Alb can still make a position for himself with 2 and 4. The basic joseki ends in Alb’s gote.Some variations Dia.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

If he does not play 4. Dia. after which Negru can neither make much territory in front of his shimari nor attack Alb. 1. Negru has various strong-arm tactics to use against Alb’s two stones. The ogeima kakari is understandable in this position.Dia. He can hit them from underneath by playing Negru 1. looking for profit in the center. Alb 1 and 3 do something to reduce the effectiveness of Negru’s shimari in the upper right corner. then Alb will approach closer at ‘a’. although it is at least temporarily out of style. 3. but Negru can still make a good extension to 4. Negru 1 to 7 in this diagram would be appropriate if there were an extension like Δ on the board. making profit on the edge while attacking. Or he can hit them from the outside. After 4. 2. however. 57 . Dia.

Dia. 5. This time Alb uses 1 and 3 to attack on the right side. There is a good reason for his playing 3 on the fourth line instead of the third. If 3 is played on the third line. 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. Negru will lose no time in striking with 4. 4. If Alb played 3 correctly at 5 and Negru played 4.Dia. 58 . 4. Alb would answer with ‘a’. not 3.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Negru can play 4 this way.Dia. 3. 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. Dia. 4. which gives him a safe group between two vulnerable Negru ones.

5. Negru 8 is necessary to capture Alb Δ. Instead of playing as above. 74 . Dia. it would be more circumspect of Negru to push through and cut with 2 and 4 in this diagram. Alb 5 is a skillful way of handling Negru’s tactics. Dia. Here is another version of the joseki.Exchange Dia. 6. The joseki ends this way. with both sides getting good positions. It is much easier for Negru to make a fair trade like this than to get involved in an unfavorable fight on the right side. the alternative mentioned at the head of the section. 7.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Dia. then after Alb 4 he wants to play 5 as shown to confront Alb Δ while defending against Alb ‘a’. If Negru plays keima at 3. inviting this exchange. which does not bode well for the fighting that should develop from Alb 6. 14. Dia.15. 94 . If he wishes. however. Negru cannot make good use of his wall. Alb Δ makes Negru 1 a doubtful move. Negru ‘a’ would be too close to it to be efficient. 13. Alb can answer Negru 1 more loosely at 2. Negru 5 offers no resistance to Alb’s movements in the center. Dia. On the third line. for after the usual joseki shown here.

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

Negru 1 above is the most aggressive of them all. or at ‘b’. for it gives Alb the least room in which to operate. (which works out about as in section 10). ‘c’. or he can. 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 . or ‘d’.SECTION 14 After spending the last five sections on the two-point high squeeze play. ignore Negru 1. Alb can answer at ‘a’. as always. We shall restrict ourselves to Alb ‘b’ and ‘d’.

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

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

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

This is joseki. Alb resists by pushing Negru back toward his strong position in the upper right with 2. 100 . Negru plays 5 to defend the lower side. 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. Negru wants his territory on the right side to be as large as possible. After Alb 4 there are essentially two variations. and he has not made much territory with it. He cannot use it to attack Alb’s group. which is alive.Alb 2: tsuke Dia. and Alb cuts at 6. 8. In one of them. especially considering the possibility of Alb ‘a’. Dia. so he plays 1 as far down as he can. Although it is always hard to say which squeeze play would be best.

as seen in many of the diagrams of this section. of which ‘c’ and ‘d’ are the most interesting. 10. So in this case Negru had better choose the other variation and connect at 5. In conclusion When Negru makes his squeeze play as close as this. Negru’s simplest course is to live in the corner with 7 and the rest. except that it is played on the fourth line. Alb has five different ways to answer it. SECTION 15 This squeeze play is like the one in the previous section. marked ‘a’ to ‘e’. 101 . but at the same time it becomes possible for Alb to push back on Negru in one way or another. Alb can attack on the lower side at 6. he is putting maximum pressure on Alb.Dia.

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

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

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

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

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

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

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

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

Alb strikes on the right side at 9. ‘d’. Alb 13 is a solid play. Against Alb 3. Negru announces his intention to engage in a running fight by playing 4 and 6. Alb will attack him with ‘b’. Dia. 1. either of which separates the two Negru stones. If Negru connects at ‘a’. Alb’s defense is at 7. 1 and 3. Alb can reply to it with ‘a’ or ‘b’. and the only one that is going to find its way into the present book. Running fight Dia. a double-threat move which prepares for either Alb ‘a’ or Alb ‘b’. One way to continue is with 10 to 13.In conclusion This and other long-range squeeze plays give both sides a fair amount of room to work with. Negru 2 is the oldest. That makes them especially useful as invasions between the kakari stone and a position in the adjacent corner. or if Negru plays ‘b’. or ‘e’. as in Dias. If Negru defends the lower side with 8. 2. or with a tsuke at ‘c’. The last of these is the subject of this section. SECTION 17 Of the squeeze plays that can be used against Alb 1 above. then 110 . for instance. one which makes it a bit hard for Negru to get good shape on the right side.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

There would be no point in playing 1 on the third line. 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.In Dia. where it will be of use in the fighting to come in the center. because Negru can always jump out to ‘d’ to keep Alb from getting any territory on the left side. Better to have 1 up on the fourth line. then after Negru 2 he would be vulnerable to an invasion behind 1. 138 . If Alb played any higher up. (at ‘c’). Compare this with Negru ‘a’. The choice of Alb 1 is easily understood. say at ‘b’.

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

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

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

and nothing too serious will happen if Negru lets Alb attack a second time. too. 19 is also made for constructive purposes. A kakari is not as pressing an attack as the three-three point invasion or the three-four point tsuke. one common answer to a Alb kakari is no answer at all. Squeeze plays are common. The squeeze play in Dia. Alb usually makes his second move from the other side. as in Dia. A squeeze play may be used to keep Alb from building territory on the side. as in Dia. 142 . or to construct Negru territory there.The tsuke responses to a kakari are treated in sections 22 and 26. Finally. and we shall study these double-kakari joseki in sections 28 and 29. an interesting idea that we will be looking at in section 27. 17. 18.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

and when Alb does not play ‘c’. Negru cuts Alb 1 off from the outside with 2 and 4. Obviously Alb had better consider what is going to become of the left side before starting in on this joseki. 1 shows the most typical joseki. Negru has extended to Δ. it may be because he wants to keep open the possibility of playing 1. 160 . Both Alb 1 and Alb ‘c’ are quite large. Alb 1 is an alternative to Alb ‘c’. Negru plays 8 to take command on the left side. Alb lives with 7. ‘a’. Dia. or ‘b’. and so is Negru ‘c’. 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. which prevents them. 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’. and Alb invades at the three-three point.SECTION 24 In this section we will consider what happens when Alb has made a kakari.

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

Dia. Negru should do this only when he has some particularly good use for sente. but in this case these plays come too close to Negru Δ to be worth much. In this joseki ‘a’ is left as a large endgame point. Negru cannot cut the connection between 9 and the corner because of Alb 5. Alb may not want him to play as in the last two diagrams. should he get to play it. Dia. 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. making territory on the upper side. then jump out to 9. Presumably he will not try. He can play 10 and 12 here to hold Alb into the corner. 4. When Negru has a stone at Δ. 162 . 6. and what he can do to prevent it is to play kaketsugi at 5. in return for sente. and Negru ‘a’ looks bigger. 5. but just play the important point at 10. The exchange of Negru 6 for Alb 7 is played to make sure that ‘a’ will be Alb’s gote. Dia. A completely different way for Negru to deal with Alb’s corner invasion is to let Alb connect to the outside.

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

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

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

the tsuke at Alb 1 is another possibility worth considering. Another possibility would be to invade at the three-three point and take the corner. The purpose of this move is to make shape on the left side when there is not room enough for an ordinary extension. Alb 3: first variation Dia. Alb 1 could be used in the presence of Negru Δ. 1. else Alb takes the same point.SECTION 25 After a Alb kakari and a Negru extension. but then 166 . Negru almost has to play 2. and then there are two possibilities for Alb 3.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

an attempt to make a largerscale capture. They figure not only in all handicap games. 9. With Alb Δ on the upper side. but Negru 3. Negru would do best to take the corner at 1. In conclusion This concludes our study of the four-four point joseki. spoiling Alb’s territory on the upper side. When Negru comes out toward the center at 1. Negru 5 at ‘a’. because ft supports large-scale extensions without the making of a shimari. is compensation enough.Dia. Dia. Alb naturally enters the corner at 2. when high-speed opening development was the style. 10. That lets Alb build on the outside with 2. but frequently in even games as well. and the joseki ends with Negru capturing one of Alb’s original kakari stones. the four-four point is second in popularity after the three-four point for the opening play in the corner. The four-four point was much in vogue during the ‘shinfuseki’ period of the nineteen thirties. might be better if Negru Δ were closer. Among professional players. .

CHAPTER 6 Three-five point joseki INTRODUCTION This chapter is devoted to the joseki which start with a stone on the three-five point. Alb is aiming at the upper side rather than the right side. 1. . 1. 2. he is going for quick outside development rather than corner profit. by attacking at ‘a’ instead of at 1. (section 35). Two things can be said about a stone so placed. The invasion at 1 in Dia. (and obviously). his whole opening strategy should proceed along those lines. like the Alb one in Dia. is the easiest. Secondly. and in order to make best use of the stone in Dia. Firstly. There are three common ways to attack a stone on the three-five point. Negru expects Alb to answer at ‘a’. (section 30). He can make the opposite exchange if he wishes. and will be satisfied to make a simple trade of corner profit for an outside wall.

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

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

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

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

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

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

leading to a more active position.In conclusion There is considerable difference between the three-three point invasion which occurs in four-four point joseki and the three-three point invasion of this section. and is made in the late opening or middle game. 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. .

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. . In this section we shall discuss the continuation from the position above. but Alb can still press him down with 2 and 4. and consider alternatives which exist to Alb 4 and Negru 5.SECTION 31 When Negru plays the kogeima kakari at 1.

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

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

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

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

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

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

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

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

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

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

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

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

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

It is best made when Alb is backed up with some stones in adjacent parts of the board. Negru often answers Alb 6 with an attack on the right side at or around 7. Rather than get barricaded into the corner. . 9. and what comes next depends on the position in the lower right corner. In conclusion The one-point squeeze play is suitable when Alb is in an aggressive frame of mind and wants to try for territory on both sides of the corner. leaving the diagonal tsuke at ‘a’ for possible use later.Dia. Alb 8 starts a running fight.

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

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

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

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

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

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

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

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

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

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

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

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

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

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


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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Sign up to vote on this title
UsefulNot useful