This action might not be possible to undo. Are you sure you want to continue?
38 BASIC JOSEKI
by Kiyoshi Kosugi and James Davies
THE ISHI PRESS, INC. Tokyo
Published by the Ishi Press, Inc. CPO Box 2126, Tokyo Copyright 1973 in Japan by the Ishi Press All rights reserved according to international law. This book or any parts thereof may not be reproduced in any form without written permission from the publishers. This and any other Ishi Press publication may be ordered from: THE ISHI PRESS, CPO Box 2126, Tokyo, Japan
First printing April 1973 Second printing April 1975 Third printing December 1980 Fourth printing September 1984 Fifth printing February 1989 Printed in Japan by the Sokosha Printing Co., Ltd.
To the beginner, the game of go appears as a jungle of confusion, full of pitfalls past which only Providence could possibly guide him. As he gains experience, he may learn to sort out the events of the middle and end games, recognize patterns, and play rationally, but the opening is apt to remain a mystery to him. Indeed, it remains something of a mystery even to professional go players, and there are no tabulations of go openings comparable to the books on chess openings, which tell how to play from move one onwards. There are, however, patterns which arise in parts of the board again and again during the opening. They occur in especially large numbers in the corners, where the initial fighting of the game generally takes place. These corner formulas, which have been discovered by trial and error, and worked out through centuries of go playing, and are still being added to and discarded, are called joseki. This is intended as a first book on joseki, so it contains only the more common of them. In choosing our material, we have taken pains to avoid the kind of long, complicated sequences that one can spend hours learning, and then go for months without using. We have also decided not to spend time on doubtful or ‘trap’ moves, although occasionally a mistaken play is shown to explain the meaning of a good one. These
commissions will limit this book’s usefulness as a reference work for advanced players, but they should be welcomed by readers at the sub-shodan level, for whom we are writing. There are no major gaps in our coverage of joseki, and we hope that our explanations are clear enough for even beginners to understand. With the exception of chapter four, we have limited ourselves to those joseki in which one player plays a stone in the corner, and before he has a chance to reinforce it with a second stone, his opponent moves in after him. The first stone ordinarily goes on one of these five points: the 3-3 point (san-san) the 3-4 point (komoku) the 4-4 point (hoshi) the 3-5 point (mokuhazushi) the 4-5 point (takamoku) We shall take them in that order, starting with the three-three point and moving out toward the center. We shall stop at the four-five point because, although it is not necessarily bad to start farther out from the corner, it is rather unusual, so there are no joseki built specifically around such moves. The reader of this, or any other joseki book, may be dismayed at the large number of variations it contains. Let him be reassured that he need not worry about forgetting them; in fact, it is a good idea to forget them. Too much dependence on rote learning of joseki stifles a player’s imagination, and blinds his overall vision of the board. It is best to remember pieces of
He plays joseki not from memory. Joseki books. joseki books. or what is going to follow it. not as texts to be learned by heart. and concepts that can be put to use in many situations. He may pull new surprise moves on his opponents. but from his general feeling for what moves are good in any given situation. individual moves. like other books. exactly what makes it a good move. He may not know. Watching these student professionals. 5 . starting with sequences they remember from books or from stronger players’ games. Amateurs must learn joseki in the same way. or even criticized in. should be looked upon as sources of ideas. Even professional players read joseki books. testing them out in their own games. He adapts his joseki to the surrounding positions. varying them. and they are more likely to be thought up on the spur of the moment than to be the product of secret study the night before. and therefore regularly produces moves not found in. and finally being able to play on their own with confidence. but do not yet really understand. at the apprentice stage of their development. but he is confident that the subsequent moves will bear out his judgment. we can see them using and misusing joseki that they have picked up from their reading. This gives their games an awkward appearance. no longer studies joseki much. A full-fledged professional. but relies on his accumulated experience. coming to understand them.joseki—shapes of stones. when he plays a stone. having read dozens of go books and played and watched thousands of games.
1972 Kiyoshi Kosugi James Davies 6 . most of the diagrams and ideas in it were supplied by Kosugi in a series of consultations stretching from April to October.This book has been designed to encourage that development: rather than just compile long lists of joseki. applying what appears in one place to positions arising in other places without having to be told. 1972. and not taking what he reads to be blanket statements covering all situations. and show how they should be altered to meet varied situations. The text was written by Davies. who also contributed what diagrams he could. Concerning the authorship of this book. We expect the reader to use his head a little. and to Richard Bozulich of the Ishi Press for offering suggestions on parts of the manuscript. We are indebted to the Japanese Go Association for the use of their facilities. we have taken a relatively few number of them and tried to explain them. October. Tokyo.
............... part 1 .............………….....TABLE OF CONTENTS Preface .......…………………………..........…………... 26 7 . 3 Chapter 1: 3-3 point joseki ....... 12 Chapter 2: 3-4 point joseki......
........ 60 8 .Chapter 3: squeeze plays ........…………......
.......135 9 .................119 Chapter 5: 4-4 point joseki.. invasion and tsuke …………...Chapter 4: 4-4 point joseki... kakari ………..........
..………............…………..................……….Chapter 6: 3-5 point joseki ............. 226 Glossary of technical terms ... 194 Chapter 7: 4-5 point joseki .....242 10 .......
He graduated from Oberlin College in 1967 and entered graduate school at the University of Washington. reached 2-dan the next year. go-playing family. he became a professional shodan in 1957. which determines a professional player’s rank. He is known to foreign go visitors to Japan for his good command of English and his lively sense of humor. In 1967 he took second place in the second division of the Oteai tournament. ____________________________________________________ JAMES DAVIES was born in 1945 in Philadelphia. Under his father’s tutelage. At present he lives in Ota-ku. he is a regular contributor to Go Review magazine. In 1970 he came to Japan. and younger brother— are professional go players. only to have a mathematics professor interest him in the game of go. and was promoted to 5-dan. and three of them—his father. and 3-dan the year after that. Besides writing for the Ishi Press.ABOUT THE AUTHORS ___________________________________________________ KIYOSHI KOSUGI was born in 1939 in Tokyo into a large. Tokyo. where his go playing has advanced to the amateur 5-dan level. 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. Besides go. he likes to read and play mah-jong. 11 . with his wife and two daughters. mother.
This used to be considered a poor play. as in Dia. The drawback of a play on the three-three point is that. 1. 12 .CHAPTER 1 Three-three point joseki INTRODUCTION Generally speaking. but that belief has been dispelled in the present century. 1. 1 is easy to understand: it denies Negru access to the corner. The two sections of this chapter will show what happens when Negru approaches the Alb stone in Dia. the simplest joseki start with a stone on the three-three point. If Negru attacks. he will have to build his position in the center or along one side of the board. tucked so far back in the corner. it does not give much help in developing into the center. where it is harder to find security. The virtue of the stone in Dia. when professional players have come to make frequent use of three-three point joseki.
a move which approaches an isolated enemy corner stone from the outside. and Negru 3 to 5 are the standard continuation. Alb makes a modest amount of corner territory. Such a move. This is the basic joseki pattern. then sooner or later Alb will want to make a shimari.If Negru does not get around to playing against Alb’s stone. is of great value. It is worth quite a lot for Alb to push back against this particular kakari with 2. SECTION 1 Negru 1 is our first example of a kakari. reinforcing the corner. Alb 4. 13 . and Negru 5 are often played differently. by adding a stone at 1 or ‘a’ in Dia. Negru 3. and preparing for wide extensions on both sides. We shall examine the meaning of the moves in the basic joseki. and then look at some of the variations. while Negru gets a center-facing position. 2. In particular. reaching out into the center. but it is often altered to fit surrounding circumstances.
he will be confined much more tightly than before. This formation is better for Alb than just a shimari would be.The basic joseki Dia. 2. see section 19. Negru 5 in the basic joseki is easier to leave out than the three moves which preceded it. Dia. 3. Dia. If Negru omits 3 and Alb gets to play 4. for if Alb leaves it out and Negru gets a chance to play 3. 14 . Alb 2 in the basic joseki is a big move. but it does prevent Alb 1 in this diagram. then although Alb can still live in the corner. Alb 4 is important for the same reason. Therefore Negru 3 in the basic joseki is another important move. then Negru 1 becomes almost useless. 1. a move which prepares both to attack the Negru stones and to make territory on the left side.
6. although that gives Negru sente. leaving Negru to take ‘c’ or some other point.Dia. To prevent Negru 1 in the last diagram. and stopping Alb from enlarging his corner in that direction. 5. After the joseki. Alb 4: variations Dia. Here is one variation in the basic joseki. Dia. 15 . so Alb usually plays 8 at ‘b’. Alb often continues the basic joseki by playing 6. 4. Negru 7 prepares to wall off the left side at ‘a’. Sometimes it is best to play 1 instead of Δ. preparing to make territory and eye shape on the lower side. Negru 1 here is a big move.
and Alb wedged in at 7. After 5. 7. he cannot get a lot of territory here. let’s examine this sequence. 8. but unless by some chance he succeeds in actually capturing them. Negru jumped out to 6. Negru makes a one-point jump Dia. Alb attacked Negru Δ with 1. Against Alb 5.Dia.. 16 . Dia. Alb can attack the stones Negru has played. taken from a professional game. Negru can finish the sequence with 13. but . By way of introducing some of the other variations in this joseki. Negru 1 is especially appropriate when Alb has made two extensions like Δ from his corner stone. 9. Instead of following the basic joseki pattern. giving himself some room for eyes and getting ready to attack Alb Δ. Compare his prospects in this diagram with what they would be if he could make a shimari at 3. this is a situation where Negru might play 5 at ‘a’ for a faster get-away into the center. and Negru 2 and 4 made a nice reply.. in this situation Alb might well play 4 and so on to take territory on the left side. Either way is joseki. Incidentally.
because they could connect to the left hand corner at ‘a’. 10.Dia. and it would have been hard for Negru to do much of anything with 6 and Δ. 17 . If Negru had played 6 here Alb would have skipped out to 7. He could not very well attack the Alb stones in the middle of the lower side.
because then Alb 9 would have taken a large lower side and left Negru Δ very weak. But it would not have been good for Negru to play 8 after Alb 7 here. 12. Alb plays 7 as shown to take territory on the lower side. and there would remain ways. even if Alb first played ‘c’. 11. such as Negru ‘d’.Dia. Dia. 18 . In one variation of this joseki. for him to break into the lower side. 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.
13. 14. Next Negru was able to live on the lower side by playing ‘a’ and ‘b’. Alb could have secured the lower side territory by playing 11 here—the connection between it and Δ could not be broken—but then Negru would have played 12 and Alb would have been faced with the need to make an invasion on the right side. 11 is a joseki move for Alb. 19 . Dia. So the actual game continued this way. 13. he cannot get the worry-free position he had in Dia. 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.Dia. but however he invades. since Alb does not want to be pushed toward Negru’s strong wall in the lower right.
Depending on the situation. or he may choose not to answer Negru 1 at all. The exchange of Negru 1 for Alb 2 forms a simple joseki. Negru should make a kakari like 1 when his purpose is to do something constructive on the left side. instead of attacking at ‘a’. Since such shoulder-blows are one of the common ways of reducing large potential territories. however. ‘b’. When his aim is to destroy Alb territory. SECTION 2 It often happens that Negru wants to approach Alb’s stone from one side or the other.In conclusion These sequences can be used not only in the corner. the patterns of this section turn up frequently in the opening and early middle game. the shoulder-hitting kakari of section 1 is better. ‘c’. but whenever a stone anywhere on the third line is attacked with a shoulder-hitting move like Negru 1. 20 . As a rule. or ‘d’ instead of at 2. there are other similar kakari which we shall look at. Alb may answer Negru 1 at ‘a’. instead of Negru 1. Also.
Ogeima kakari Dia. 1. In this common position Negru 1 is often played. It and Negru 3 give Negru a position on the left side, weakening Alb Δ. 4 is a good point for Alb, but Δ still does not have room to make two eyes on the side, and Negru can attack it with 5. Dia. 2. If Negru played this joseki, then he would be putting much less pressure on Alb Δ; this time, after Alb 6, Negru ‘a’ would pose very little threat to Alb.
Dia. 3. When Alb has made an extension like Δ from his corner stone, Negru 1 may be used to reduce the size of his prospective territory. Compare its size now with what it would be if Alb made a shimari at 1. Here Alb should definitely play 2 on the fourth line, for this builds toward a larger territory than Alb ‘a’ would. Next, ‘b’ is a good point for either player. Dia. 4. The reason Alb does not always play 2 on the fourth line is that Negru can then attack from the other side with 3. This aims at ‘a’, from which point Negru can connect to either 1 or 3.
Dia. 5. In this case Alb might answer 1 at 2 instead of ‘a’. The argument for doing so is that even if Alb extended to ‘a’, Negru would still be able to invade the lower side, at ‘b’ for instance. Since Alb needs two stones to defend the side anyway, 2 and, later, Alb ‘b’ make a well-balanced formation, and 2 makes the corner stronger than Alb ‘a’ would. Other kakari 22
Dia. 6. When Negru approaches Alb Δ from the side, he need not always use the ogeima kakari. The kogeima kakari is possible too, although it must be used with discretion, since it provokes this sequence, in which Alb makes a lot of secure territory on the lower side.
Dia. 7. In this situation Negru 2 would be the correct kakari. Alb could play ‘a’ or ‘b’ instead of 3. Dia. 8. If we move Alb 1 and Negru Δ a line higher, then Negru 2 should be moved accordingly.
Tenuki Dia. 9. When Alb fails to respond to 1, the keima at Negru 3 is the standard play. Alb can slide out to ‘a’ or ‘b’, but he is being pressed into a very low position.
Later on Dia. 10. After the basic joseki, Negru can play kikashi at 1 and 3, useful points because they interfere with Alb’s extending to ‘a’. However, these moves make Alb solid and strong, and Negru should not play them too early, since there are other things he may want to try against the corner.
Dia 11. This shows one of those other possibilities. Negru 1 and 3 aim at exchanging the corner territory for the outside, and might be used if Negru Δ became hard to defend. If Alb played 4 at 7, Negru could play 5 at 4 or ‘a’, and in one way or another it should be possible for him to make eye shape.
In conclusion Generally speaking, Negru’s plays in this section are much more loose and open than his ones in the previous section. For that reason they allow Alb to build toward larger territories than before, but at the same time they leave more possibilities for Negru in the corner itself. Dia. 11 is just one example of the kind of thing that can happen there later on.
Three-four point joseki: part 1
INTRODUCTION The Negru stone in Dia. 1 rests on the 3-4 point, which has long been the most popular starting point in the corner. A stone placed here, like one on the 3-3 point, protects the corner territory, but it is not as likely to be shut in from the outside. If Alb attacks with 1 in Dia. 2, copying the idea of the joseki in section 1 of chapter 1, Negru will be more than happy to reply with 2, 4, and 6, getting a favorable result. Rather than have Negru solidify such a large corner, Alb usually attacks with one of the plays shown in Dias. 3 to 6.
If we think of the Negru stone as a stone on the third line, then Alb 1 in Dia. 3 is a natural way to attack. Alb’s general aim is to establish a position on the right side or in the center, while Negru takes the corner territory. All of the joseki in this chapter illustrate that idea, and most of them start with Alb 1 in Dia. 3.
If we think of the Negru stone as a stone on the fourth line, then Alb 1 in Dia. 4, aiming to slide in to the point ‘a’, is natural. Most of the joseki starting this way have Negru answering with a squeeze play on the right side, and are to be found in chapter 3. In this chapter, (section 7), will be found Negru’s reply at ‘b’. The ogeima kakari in Dia. 5 is used when Alb puts special emphasis on the right side, as opposed to the corner. Section 8 of this chapter and section 18 of the next are devoted to this play. The kakari in Dia. 6 stresses side and center at the expense of the corner. It is sometimes used by those who like a quick opening development, their idea being to ignore whatever reply Negru makes, (‘a’ and ‘b’ are typical replies), and rush on to some other part of the board. We shall forego any further discussion of this kakari.
One of the advantages of playing on the 3-4 point is that a stone there is in an excellent position for making a shimari. Dias. 7 to 10 show the four shimari plays that Negru has available. The one in Dia. 7 defends the corner best. Negru 1 in Dia. 8 is stronger toward the center, and makes a better wall from which to extend along the lower side, but suffers from the disadvantage that Alb can play at ‘a’, threatening to run into the corner at ‘b’. The shimari plays in Dias. 9 and 10 stake out larger territories, but they are a bit open as compared with the previous two. After any of these four shimari, an extension on the lower side becomes a large move for either player. There are special joseki starting from these four shimari, but they are not part of this book. In this chapter we shall see what happens when Alb attacks the single stone on the three-four point and Negru answers by defending his corner. There is another large group of three-four point joseki in which Negru answers Alb’s kakari by counterattacking with a squeeze play, but that is the subject of the next chapter.
and Alb 7 are one way to finish it. Alb plays 3 if he is interested in the right side. and in fact Negru can get all the corner territory by playing 2. in the next section we shall see an alternative choice for 3 which builds more toward the center and lower side.SECTION 3 Alb 1 tries more for a position on the outside than for corner profit. 29 . but of course there are variations. the spacing of 5 and 7 being Rood. Alb 5. Negru 6. Negru 2 is a tsuke and Negru 4 is a hiki. so this joseki is usually called the tsuke-hiki joseki.
1. Negru. 2. keeping the three-line interval between 7 and 5. (or ‘a’). Negru can make a solid connection with 5 and then extend to 7. The basic joseki ends in Alb’s gote. aiming at ‘d’ in the corner. The point ‘b’ may become another good extension for Negru later on. the spacing between 7 and Δ is also just right. Dia. If Alb wants sente he can play tenuki after Negru’s hiki. 3. but it is not as Alb ‘c’. so the way to build solid as Alb by . 30 here. Dia. for if Negru cuts at 1 in this diagram Alb can still make a position for himself with 2 and 4. In this situation. Sometimes Alb plays 6 as shown as to be able to play ‘a’ later. Alb 6 gets in of Negru ‘b’. and so is suitable if Alb wants territory on the lower side. has much greater prospects on the lower side and in the center than before. as shown here. however.Some variations Dia. By and by Negru may annoy playing ‘c’ himself.
4. and Negru 6 should turn out to be useful in the fighting to come. and so Negru could be satisfied.Dia. Alb will reply at 2. Then after Alb 9 he can attack with 10. Negru Δ turns out to be almost completely wasted. 5. but then Negru Δ would not be on the board. instead of just ‘a’. but not as much as Alb. 5. building a wall which works beautifully with his shimari. In this situation he might choose to make a shimari at 7 instead. He must play 6 right after Alb 5 if he wants Alb to answer it at 7. (or 6 and ‘a’. 6. Alb could even apply this sequence in answer to Negru 6 in Dia. It is futile for Negru to play 1 after Dia. Dia. Negru can play 6 and 8. or 6 and ‘b’). 31 . Dia. 4. Thinking of this. After the kaketsugi at 5 Alb need not always extend at ‘a’. Of course Negru is getting territory too.
32 . 7. The loss of Δ costs Alb very little. while the lower side is still open. Sometimes Alb is unable to extend up the right side. Even if he is unable to capture the cutting stone in shicho. he can make shape as shown. Alb need not fear this Negru 6. 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. and Negru Δ begins to look very weak. Alb should jump out into the center with 5 instead of playing ‘a’. again it is not so important. (Alb 9 at 10). and if Negru cuts at ‘a’ and captures another stone. In this situation. making a quick escape. for example. and then he must change his tactics accordingly. Negru takes the vital point at 6. When he jumps out to 5. 8. Dia.Dia. Alb 7 establishes room for two eyes on the right side.
A common opening pattern on the right side Dia. 9. Alb. happy with the exchange of 13 for ‘c’. Dia. but then Negru will play ‘a’. Of course Alb can defend with ‘c’. gives Negru the chance to invade at good for Alb to reply by pressing 2 and 4. 10. since Negru can connect and the hane at ‘a’ still threatens 33 . That 1. so maybe Alb should play 14 at ‘a’. Negru 13 is a big point. The reason that Negru 13 is so big is that it prepares for an invasion at ‘b’. too. although Negru ‘a’ would be big. Here is one common opening pattern in which the joseki we have just been studying is often played. It is not so from above with underneath at 5.
If Negru is determined to make trouble he can play tsuke at 3. Alb ‘e’ has become a strong move for later on. Dia. 11. Negru had better be sure of his ko threats before starting this fight. and if Negru plays 3 at ‘d’ Alb will play ‘b’. 34 . 12. If Negru plays 3 at ‘c’ Alb will play ‘a’. leading to a ko. Now Alb is ready to play either ‘a’ or ‘b’ to connect his position. Alb can play 8 at ‘a’ or ‘b’.Dia. Alb 2 here is the correct answer to Negru 1. At the same time.
Alb comes out of it with a higher position. 35 . Dia. In conclusion This is a simple and satisfying joseki for Negru.Dia. so there is nothing unfair about it. but it will be hard for him. 13. but must submit to being cut in two as shown here. But on the other hand. since he gets a strong corner while Alb’s shape is still open to attack. and it is easier for him to develop a really large territory than it is for Negru. If Alb lacks ko threats he cannot play 4 and 6 in the last diagram. Thus Alb 1 is quite large. He can still fight in his separated shape. 14. for after it the invasion at ‘a’ is not likely to pose any threat at all. There are many opening situations where it is a reasonable choice for both Players.
and ‘d’. Negru has four choices for his next play. 36 . ‘a’. for Negru has a serious weakness in the cutting point at ‘a’. Alb has good plays at ‘a’ and ‘b’. which means avalanche in Japanese. and Alb does likewise at 7. With this shimari in the lower left corner it is a good idea for Alb to make the kaketsugi at 9. Negru defends his weak point at 6. Negru 6: simplest variation Dia. No variation is possible in Negru 4 and Alb 5. while Alb is vulnerable to a hane at ‘b’. Dia. but now Alb slides along the top with 3 instead of playing hane at ‘d’. and he can also play tenuki. This joseki is known as the nadare. We shall concentrate on Negru ‘a’ and ‘b’. ‘c’. After Negru 8. 1. working toward a large territory across the lower side. 2. It does not stop here.SECTION 4 This joseki starts out like the one in the last section. ‘b’.
Negru can attack with 10. Now it is obvious that there is too little territory below Alb 9 and too much open space above it. this is the same situation as before. but the fight is a fair one. 4. except that Alb has only a single stone in the other corner. Dia. So Alb may prefer to make a play like 9 here. Alb 9 is not a bad move. 5. 37 . but now Negru can easily make a position on the side with 10 and 12. If he plays it here.Dia. With the joseki turned on its side. Negru will just push out with 10 and 12. 3. Alb must be careful not to play 9 too close to the lower right corner. both the Negru and the Alb groups being weak. Dia.
Do you see the relation of ‘a’ to Alb ‘b’? Dia. Alb can play kikashi at 1. 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. 7. he should do so at 10. by preventing Negru ‘a’. Negru’s best response is 2. This play enlarges Alb’s wall and. 38 . If Negru fails to answer Δ. Dia.Dia. If Negru answers Alb 9. 6. reduces Negru’s prospects on the right side. If Negru plays 10 here he leaves a serious weak point at ‘a’ which Alb can exploit if he has a stone further up on the right side. 8.
Dia. is the key to this variation. Negru 12 is a good tesuji and Negru 16 takes the corner. Alb 9. but the cutting point at ‘a’ remains.The small nadare joseki Dia. Alb cuts and makes a position for himself on the right side. threatening both ‘a’ and ‘b’. Negru attacks with 6 and Alb counter attacks with 7. and Alb 11 defends. 9. Dia. 39 . this is another possible variation. 12. After Alb 11. and after this the joseki continues with a fight involving the weak Negru stones in the center. 11. One idea for Negru’s next move is ‘a’. Dia. Negru 10 threatens to capture all the Alb stones. forming the so-called small nadare joseki. 10.
When the shicho is against Negru. but on the other hand if the shicho favors Alb. Alb loses everything. 13. If the shicho works. and 18. and when Alb cuts at 13 Negru attacks with 14. and this is not so good for Alb either. What happens if Alb plays nobi with 11? The feasibility of this move depends on a shicho. then Negru 13 captures the corner stones. Negru can crawl out at 12. 14. If Alb plays 13 at 16. 16. 40 . So if the shicho favors Negru. this diagram is not very good for Negru. Alb 11 is impossible. Next Alb should take the vital point at ‘a’. Dia. he must play as shown here.Dia. taking the corner. and of course ‘b’ is his sente on the right side.
16. Dia. Perhaps you can figure out what happens if Alb does not answer Negru ‘a’.Negru 6: the other two variations Dia. basically a simple idea. so Alb will often answer it by playing tenuki. then this diagram shows the simplest way. 15. Negru 6 here forms the so-called o-nadare. If Alb does continue with the joseki. This move is not as aggressive as the hane at ‘a’. (big nadare). 41 . but there are many complicated variations to the nadare joseki. Finally there is this double hane variation. joseki. In conclusion Alb is offering Negru a modest amount of corner and side territory in return for a wall. without playing 9. which leaves Negru with good plays at ‘a’ and ‘b’. including a whole family arising from the o-nadare which we have not mentioned. Another idea is to exchange 7 for 8 and then tenuki.
The tsuke at 6 secures the corner territory. Alb can continue by playing ‘b’ or ‘c’. (if Alb fails to play 10 then Negru can play there himself and completely encircle Alb’s corner). in which Negru plays 3 at ‘a’. Alb 6: first choice Dia.SECTION 5 In answer to Negru’s kakari at 1. Let’s start with the two ways of playing Alb 6. You may be impressed with Alb’s large profit in this sequence. not to be found in this book. but Negru has sente. is sente if played at the right time. as well as a variation in which Negru plays 5 at ‘c’. threatening to continue with ‘b’. or he can leave the shape as it is. We shall look at all three of these possibilities. (threatening ‘d’). 1. the tsuke on the outside is also possible. although there is a difficult variation. and in addition Negru ‘c’. and strength to use on the right side and in the center. 42 . Alb’s position is not solid: Negru can play ‘a’. After Negru 5. The sequence up to Negru 5 is the usual joseki.
2. 2. and he may be able to put Negru 9 to use later. but Negru is also stronger. Alb ‘b’. (to take sente).Alb 6: second choice Dia. although 13 at ‘a’. The idea behind this Alb 6 is to build a wall over the lower side. Alb has a higher wall than before. Instead of 8 in Dia. (Negru ‘a’. Before doing so. Alb can play the double hane shown here if he likes.). and 15 at ‘b’ are other possibilities. 3. Dia. etc. and after Alb 8 Negru typically makes some move on the lower side to reduce the amount of Alb territory there. Alb can still play ‘c’ later on to take the corner. he may push Alb a bit farther. 43 . The sequence may continue this way. to build up his own strength over the right side.
Dia. if played correctly it ends in Negru’s defeat. he is not so badly off. but since he gets to play a shicho-breaking move in the upper right corner. Negru can still confine Alb with these plays. Alb is confined to a small corner. and Alb 2 to 8 are the correct response. Dia. then Negru will play the tsuke at 1. If Alb lets Negru have the next play after the basic joseki. Continuing from the last diagram. and although the ensuing semeai in the corner may be difficult. If the shicho does not work. Negru captures two stones in shicho.Alb plays tenuki Dia. if Negru plays 7 at 8 then Alb will play 8 at 7. 6. In this sequence. 4. which is not finished. 44 . 5.
7. This variation of the joseki continues with Alb cutting at 6 and taking the corner. Alb 10 is a tesuji in this shape. 8. and from Δ he can easily invade the lower side. and Negru 11 an important kikashi. 2 or 3. After all. doesn’t that allow him to take sente? 45 . Alb will get too much territory on the lower side. Here is one situation in which Negru should play 5 instead of ‘c’. Negru has sente and can build territory on the right side.Negru 5: variation Dia. 9. Dia. for if he plays ‘c’ and gets into Dia. You may wonder why Alb doesn’t play 10 here. making ‘a’ Alb’s gote. Dia.
46 . after which this joseki has three variations. can occur not only as shown in the corner. Sometimes Alb plays tenuki after it. In conclusion This simple joseki.(in Dia. but then Negru can play 1 and 3 here sente). which do terrible damage to the corner. Negru can play ‘b’. makes it difficult for him to form eye space on the lower side gracefully. 10. Yes. Therefore Alb usually continues with 3 and 5. so its basic moves are well worth learning. but anywhere along the side of the board. or ‘c’. but then a second attacking move at ‘a’. but it is no less a good move. or tenuki. or thereabouts. which is a favorite with the famous professional player Sakata. SECTION 6 The keima at Negru 2 is a less forcible response to Alb 1 than the tsuke moves we have studied previously.
flattening out Alb’s territory on the lower side while expanding his own area. 2. Negru can play kikashi with 1. Negru 8 and 10 are consistent with Negru 6. If Alb fails to extend to. 7. 1. and are typical follow-up moves to this joseki. or in the direction of. This Negru 6 is suitable for building territory on the right side.Negru 6: first variation Dia. since it leaves Negru with no weak points. then again Negru can attack at ‘a’. Later on. 47 . Dia.
but Alb is already out into the center. The original keima. and the right side is still open to Alb ‘a’. Alb may never get a chance to exploit this weakness. but with his weak group on the lower side to look after. Negru Δ is looking very weak. which threatens Alb ‘c’. In comparison with the last diagram Negru has made more corner profit. as in this diagram.Negru 6: second variation Dia. in line with the general principle of not playing in contact with the stones to be attacked. In this particular situation Alb might extend on the fourth line to 7. This Negru 6 is more suitable for attack and is especially good when Negru already has stones on the sides. Dia. is thought to be a good way to start the attack. for Alb can make excellent shape by following the sequence up to 13. 48 . 4. (Negru Δ). The idea is to keep Alb weak by interfering with his eye space along the lower edge. so as to make a quick march into the center at ‘a’ next. 3. The drawback of Negru 6 is that it leaves the possibility of Alb ‘b’. The tsuke at Negru 2 is much less effective.
but Negru can defend his position with 8. Negru should play neither ‘a’ nor 7. for then Negru would defend his shape with 8. to keep Negru from taking that point and also preparing to play ‘b’ and capture two stones. but it would be a mistake for Alb to try to counter. Here is one case in which. There are other ideas in this situation: Alb might be inclined to play 3 at ‘c’ to attack at once. This is much better for him than Alb 5. Alb ‘c’. after Alb 5. leaving both Alb 7 and the three stones in the corner weak. 5. to forestall such action. 6. Dia. Alb now plays 7 in the corner. 49 .Negru 6: tenuki Dia. Maybe we are pointing out the obvious.attack with 7 in this diagram. but should play 6 to help his stone Δ. Negru ‘a’. or for that matter Negru might play 2 at 6.
but there is nothing peaceful about Negru’s intentions in playing it. when you appreciate that fact you will have learned something about go. ‘b’. It has three purposes: it prevents Alb from making another attack on the corner. and it prepares for a wide extension on the lower side. it makes ready to put pressure on Alb 1. SECTION 7 When Alb makes a kogeima kakari with 1. Alb usually answers it. the diagonal play at Negru 2 is the simplest reply. 50 . or some such point. by extending up the right side to ‘a’. if at all.In conclusion The keima response to Alb’s kakari looks like a quiet move. Aggressive action often starts slowly like this.
In this sequence Alb makes his most ambitious defense. 1. but Negru has brought the situation under control. 51 . and his territory takes on gigantic proportions.When the diagonal play is needed Dia. but with the strength he has in the upper right. Alb should try for the greatest possible territory by playing 2 as shown. then Alb will land on the vital point at 1. and Negru 1 is urgently needed to keep the Alb territory on the right side from growing too large. Here is an example of one kind of position in which the diagonal play is particularly necessary. In this case Alb 2 at ‘a’ would be far too timid. Alb ‘b’ would be better. Dia 2. If Negru fails to make the diagonal play. Alb has a solid fortress in the upper right corner.
If Alb plays tenuki after Δ in this position. 4.Now let’s see what Negru can do if Alb doesn’t answer his diagonal play. This is not at all good for Alb. Alb plays tenuki Dia. There are two ways for him to attack. The exchange of 1 for 2 by itself is usually good for him. 52 . Negru may also play tenuki. Alb’s strength in the upper right goes completely to waste. Dia. Let’s take a closer look at Negru 1 and Alb 2. ‘b’ and ‘c’ are similar. he should play ‘a’. If Alb makes the next play after 2. We have just shown ‘a’. Negru will press him with 1. and ‘d’ and ‘e’ are other possibilities. 3. and Negru has a wall to use for building territory over the lower side. Negru has many ways to proceed from this exchange.
Because of the nearness of Negru Δ there is no sense in playing 1 at 2 to build a wall.Dia. 6. Alb will usually capture the cutting stone. This is not bad for Alb—note the endgame point left for him at ‘a’. 53 . Negru has the corner. Here Negru 1 and 3 are appropriate. but he also has gote. Dia. 5. If Negru pushes through and cuts. making good shape on the outside.
Even though he can fight a little bit on the outside with Δ. Negru can confine him with 3. 4. 7. but Negru might get to play ‘a’ and Alb could find himself fighting a running battle without any base on the side.Dia. Dia. It may be better for him to look for eye space than just to run away into the center. 8. Here is one likely setting for such a move. Alb could run out at 3 if he had any chance of counterattacking. It is possible for Alb to resist Negru 3 with Alb 4. Against this Negru 1. and if so. he will soon have to play ‘a’ to live in the corner. but is not really so smart of him to do so. but he lives comfortably with 4 and 6. Sometimes Negru may want to attack from the side instead of playing as in Dia. he should play 2. 54 .
absolutely necessary in situations like Dia. Whereas in Dia. 10. 1. here it is just one among many possibilities. It would be better for Negru first to play ‘c’ and then think about 1. In conclusion Although most of the joseki stemming from the kogeima kakari involve squeeze plays and are postponed to the next chapter.Another example Dia. then Alb answers at 6. then Negru can extend toward the shimari with 3. he is in no danger. Considering that there is still room for Alb to extend upwards from Δ to ‘c’. 55 . then Negru can attack on the right side at ‘a’. Alb has 2 and 4 to play. 9. If Alb defends on the right side at 2. If Alb plays 2 on the lower side. If he plays 5 to defend against it. Alb’s four-line extension to Δ may look unsafe. the diagonal move is of basic importance. but it is easy to understand. but if Negru invades at 1. which give Negru the cut at ‘a’ to worry about. 1 Negru 1 was the only good move. Dia. which opens up the possibility of a connection underneath at ‘b’.
SECTION 8 The ogeima kakari at 1 is not usually as good as the other two kakari considered in this chapter. so Alb 1 is reserved for situations where Alb has a special need to occupy the right side. than Alb’s side position. his corner is larger and safer. but then Alb has an easy way to handle the corner. After Alb 3. Negru can simply defend the corner at 2. 56 . as we shall see in section 18. Of course in those situations Negru may want to answer Alb 1 by playing at or around 3. and has more potential for development.
The ogeima kakari is understandable in this position. Alb 1 and 3 do something to reduce the effectiveness of Negru’s shimari in the upper right corner. but Negru can still make a good extension to 4. After 4. although it is at least temporarily out of style. Negru has various strong-arm tactics to use against Alb’s two stones. 1. Dia. Negru 1 to 7 in this diagram would be appropriate if there were an extension like Δ on the board.Dia. then Alb will approach closer at ‘a’. after which Negru can neither make much territory in front of his shimari nor attack Alb. making profit on the edge while attacking. looking for profit in the center. 3. 57 . 2. If he does not play 4. Dia. however. Or he can hit them from the outside. He can hit them from underneath by playing Negru 1.
After 6 his stones have better shape than they could possibly get in Dia. There is a good reason for his playing 3 on the fourth line instead of the third. 4. Alb would answer with ‘a’. 58 . not 3. Dia. 5.Dia. Negru will lose no time in striking with 4. If 3 is played on the third line. and the space between Alb 3 and 5 and Alb Δ is too narrow. This time Alb uses 1 and 3 to attack on the right side. 4. If Alb played 3 correctly at 5 and Negru played 4.
6. In conclusion The ogeima kakari looks rather lukewarm so far. It is not that Negru’s eye shape is endangered. If after the basic joseki Alb advances on Negru’s corner with 1 here. 59 . Negru 2 is a good reply. Alb’s real intention is usually to provoke a squeeze play. and Negru could not attack. and then he has some good maneuvers.Dia. but if Alb were allowed to play at 2 himself. he could make territory in the center. which we are coming to in section 18.
CHAPTER 3 Squeeze plays INTRODUCTION In the last chapter we saw what happens when Negru answers Alb’s kakari by defending the corner in one way or another. letting Alb extend unhindered along the side. The squeeze plays on the fourth line are the creations of the present century. 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. a famous Japanese professional go player. ‘c’. Negru ‘e’. 1 is one squeeze play. and ‘e’ are others. around 1700. they did not become really popular until the post-World-War II era. ‘d’. ‘b’. was not much played until a year or two ago. In this chapter we come to the joseki in which Negru stops that extension with a squeeze play. the newest. and ‘a’. Negru ‘c’ was introduced by Dosaku. (Alb 1 in Dia. 60 . Negru 2 in Dia. Squeeze plays are particularly often used against the kogeima kakari. in fact. 1). and the most thoroughly studied. Negru ‘a’ and ‘b’ are the oldest.
Squeeze plays can also be used against other kakari. (sections 9 to 13). is often met with a squeeze play. The ogeima kakari. but the joseki proceeding from it are not yet really well worked out. 2. Negru ‘b’ is too much like Negru 2 to need a separate section. since it is played when the side is important. Negru ‘f is a modern play often made against Alb 1. and ‘c’. which is the most representative squeeze play. we will concentrate on Negru 2 in Dia. so we are leaving it out of this book. To keep this chapter from being longer than it is. and happens to be currently the most popular. and branch out into a large number of variations. Sections 14 to 16 contain brief surveys of the joseki starting with Negru ‘a’. and that is the subject of the last section of the chapter. (section 17). and Negru ‘e’ is too new for us to be able to say much about. too. 1.Squeeze play joseki are difficult. 61 . ‘d’. such as Negru 2 against Alb 1 in Dia.
If Negru wants to keep Alb from making a large territory on the right side by playing ‘g’ in Dia. but he can not take away all of Alb’s territory. 3. as in section 7. 5. without having to worry about his strong stones in the upper right corner. where it serves both to attack Alb’s stone and to extend from a Negru position in the other corner. and by attacking Negru ‘g’ Alb can build up strength for use in other directions. it is better for Negru to play at 1. as in Dia. he can easily do so.A squeeze play is most effective in a situation like Dia. In Dia. a squeeze play would be above criticism. then a squeeze play is no longer so good. 1. If we reverse the colors up there. nor make much territory of his own there. 4. where Alb has only one stone in the upper right corner and Negru can aim to attack it. Now let’s start sampling the joseki that begin with Alb 1 and Negru 2 in Dia. however. 62 . 4.
63 . he can do any of four things: he can attack Negru 1.SECTION 9 Negru plays 1. After jumping well out into the center with 2. and Negru runs along the lower side with 3—this is one of the most interesting of the squeeze play joseki. he can play at the 3-3 point to get eye shape in the corner. We shall take up these four possibilities one by one after looking at two of the variations in the basic joseki. he can pressure Negru’s two stones on the lower side. Alb jumps between Negru’s stones at 2. but there is a lot of flexibility in his position. There is not a solid connection between Alb’s two stones. or he can do nothing at all.
and in fact Negru can even allow Alb to play another stone against it. but while he is living in the corner. The Negru stone in the corner is not dead. If Alb plays ‘a’ Negru can still cause trouble by playing ‘b’. but sometimes it may be more important for Negru to defend the right side than to play 3 on the lower side. as you will see in the next diagram. If Negru uses 3 on the right side. Dia. 1. This is a very large shift in circumstances. Alb is getting stronger on the outside. who can make territory on the lower side. If Negru wants to. not Negru. 2. Alb will play 4. and now it is Alb. he can play these moves after the last diagram.Two variations Dia. 64 .
It may be joseki. 4. Now back to the basic joseki and the four possibilities left after it. but the fighting gets difficult. There is also this messy continuation. or he can play 6. in which both sides make good shape. Negru can slice into Alb’s position this way. ‘b’. Alb can next play ‘b’. 65 . and ‘c’ but it is Negru’s turn. a recent invention. Dia.Dia. This is the usual continuation. Alb has good points at ‘a’. and not much is known about it. 3. Instead of playing 3 as in the basic joseki. 5. After Negru 5 he is ready to cut at either ‘a’ or ‘b’. Dia.
66 . making a good extension while attacking. Dia. Alb should not allow this.1. Dia. Negru 2 is the usual defense. since it threatens to cut Alb. 6. 6. Attack on the right Dia. There are several ways in which he can do so. Alb 3 prevents the cut. 8. if Alb plays 3. (or ‘a’. Here is one of them. and the sequence up to 11 is a good way for both sides to continue. or ‘b’). For example. Negru will cut him with 4. so before jumping further out into the center he must do something to tighten the connection between his stones. and 8. When Alb has a stone in the upper right corner he need lose no time in playing 1. 7.
and now when Alb attacks with 9 he has a big wall to push Negru’s stone against. for he can push through and cut with 2 and 4 here. Pressure Dia. If Negru accepts the invitation by playing 2. then this sequence may follow. then Alb 5 at 4 would give him plenty to worry about. Before making his attack Alb can play 1. if Negru jumped out too hastily by playing 4 at ‘a’. 67 . but then ‘a’ is a large point for Alb. inviting Negru to help himself to some territory along the third line. Negru does not have to follow the easy course of the previous diagram. Incidentally. Alb 5 is a way of making good shape in this kind of situation. Of course Negru can play 6 at 9. Dia. 10. 9.2.
You may be wondering why Negru does not answer 5 with 6 in this diagram. Alb has to play 7. Alb plays the same tesuji as before at 13.Dia. 68 . 14. 13. After this. with Alb getting tremendous thickness. but when Alb plays 11 Negru is hardly likely to have any ko threats big enough to fight the ko. Dia. Alb counters with 7 and 9. Negru cuts at 10. 12. but this play has no merit. 11. the fighting follows no set course. and Alb can exchange 9 for 10 before running out into the center at 11. Dia. Negru has to answer at 8. After Negru 12. Negru should answer 5 with 6. This kind of thing can go on all the way down the side of the board. Dia.
There are times when Alb must think of defense rather than attack. The exchange up to Negru 10 is a fair one.) Dia. 15.3. Alb can make eye shape with 5 and 7. as in this diagram. 69 . (If he omits 7. Defense Dia. and then 1 and 3 become appropriate. Alb 5 then takes the corner. 16. Alb can connect by playing ‘a’ and ‘b’. for if Negru plays 6 at 7. considering that Alb has sente. But instead of playing 4 on the 2-2 point. Negru usually takes the opportunity to cut off Alb’s center stone. If Negru answers with 2 and 4. then a Negru stone on that point spoils his shape.
If Negru gets to attack Alb’s two stones after the basic joseki. 18. Dia. 17. Next Alb has good points at ‘a’ and ‘b’.4. and after Negru 13 he has ‘a’ on the outside and ‘b’ and ‘c* in the corner to work with. he generally begins by playing 1 to block Alb from the corner. Negru attacks Dia. separating Negru’s stones and preparing to attack on either side. In conclusion We have here the basic defense against the squeeze play—Alb jumps up into the center. If Negru answers at 9. but if Negru plays 7 Alb has adequate resources in the tesuji at 8. although it may look a bit strange. Alb 6 makes good shape. The danger in a diagonal jump is that the opponent will come through the middle of it. Alb pushes on with 10. 70 . so if Negru plays one of them Alb plays the other and all is well. and continues with 3 and 5.
We shall see this strategy repeated numerous times in the rest of this chapter. 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. 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. 71 . the keima at 1 is a move with a definite purpose. a kind of reverse strategy often found in go. We shall explain both of these variations. Negru plays 2 if he is willing to engage in a running battle. There is another variation in which he gives up his stone on the right side. sacrificing solidity for speed of development.
Dia. 72 . 1. Negru plays 6 to keep Alb from making eye shape. and 11. for instance. The Negru and Alb groups both lack eyes. This puts him in a strong position because . Alb can make shape with 7.Running battle Dia. and so must run out into the center. If the stone up there were Negru instead of Alb. 1 is fairly necessary. If Negru just jumps upward with 6 here. when he attacks with 5 he is making a good extension from his stone in the upper right corner. then his position would not be so attractive. Alb should only play the keima when he is in an attacking position on the right side. . and how it continues from there is up to you. 2. In this diagram. 9. . Alb has to play 7. Negru 6 in Dia.
which gives him a safe group between two vulnerable Negru ones. Dia. Negru can play 4 this way. He is threatening to carry out this sequence. forcing Alb 5. 73 . 4.Dia. 3. and then protect the right side with 6. but when he does so he is not making territory—he is just defending—and Alb 7 is a big move made in sente.
The joseki ends this way. Negru 8 is necessary to capture Alb Δ. Here is another version of the joseki. 6. Alb 5 is a skillful way of handling Negru’s tactics. Dia. Dia. 5.Exchange Dia. 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. Instead of playing as above. it would be more circumspect of Negru to push through and cut with 2 and 4 in this diagram. 74 . 7. the alternative mentioned at the head of the section.
5. For the sake of explaining it a little more. but Negru can dodge around it if he decides it would be best not to get into a running fight. You will learn more about this joseki in section 31. This is another fair trade. 8. 10. The tesuji of Alb 5 is worth remembering. After these strong-arm tactics. which we ask you to figure out for your-self. In conclusion Alb’s keima at 1 is a rather aggressive move. Alb must give thought to Negru ‘a’. Alb should defend with 13. Whether or not Negru can successfully push through there and cut or not depends on a shicho.Dia. For the present. Dia. and this time he gets much the better of it. 75 . 9. remember the tesuji at Alb 5 in Dia. and Negru should do likewise with 14. and 11. see what happens when Negru answers it at 6. But if the shicho favors Alb. Alb can push him around with 7. having two reasonably good side groups while Negru has just a small corner and some weak stones in the center. 9. Dia. If the shicho favors Negru. he can play 1 here.
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. If Negru fails to play 4 . All the same...SECTION 11 In answer to any squeeze play. preparing to counterattack on one side or the other. so instead of running further out into the center at ‘a’. Alb 3 is not without its aggressive intentions. At this point. 76 . (Another idea is to attack at once at ‘b’). it is better for him to slide into the corner at 3. ‘a’ remains a big point for either side. A third is the diagonal play at 1 featured in this section. Negru 2 is the simplest response to it. it is natural to run out into the center.
and Alb’s corner group is suffering.. Alb Dia..The reason for Negru 4 Dia. Dia. which is more important. 77 . 1. Following Negru 8 . drifting group of stones like this. Negru is becoming strong around the outside. Negru can answer it at 2 or 5. but while he is struggling to occupy a small territory on the side. board. 3. taking away Negru’s room for eyes at the side. Alb can attack with 1 in this diagram. There is no good way for Negru to answer Alb 1. Alb manages to live. 2. it is most annoying to have a large. But with Negru Δ on the 1 loses its sting.
4. Notice a tesuji which occurs in this shape: if Negru later plays ‘a’. to fight. If Alb wants to attack on the lower side after the basic joseki. Alb will answer at ‘b’. Dia. but then Alb can play at 9. but Alb plays 3 and jumps out into the center at 5. If Negru does not feel like fighting.The right way to attack Dia. Alb 3 is a sacrifice stone. 5. he should play 1 here. he can answer Alb 1 with 2 in this diagram to connect along the lower side. Negru can answer strongly at 2. 78 . After exchanging 6 for 7 Negru takes a good point at 8. 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.
Usually Negru prefers Dia. it revives the possibility of Alb ‘a’.Dia. it prepares for an attack on the single Negru stone on the right side. 1 is also a big point for Alb. If he has a good chance to play it. 6. or in something similar. For another. 7. 8. 79 . Dia. 4 to this. it enlarges Negru’s territory. Alb has built up a lot of power in the center while pressing Negru’s territory down to the edge of the board. 1 is a big point for Negru. A large point Dia. It prevents the nonsense of Dias. For one thing. The sequence begun in the last diagram ends in this way. and it protects Negru Δ. 4-6. as will be seen in the next diagram.
11. Dia. Even if Negru gets in the two moves Δ shown in this diagram. 10. Alb 4 gives the Alb stones excellent eye-making potential. Dia. Negru had better answer Alb 1 by playing 2 right on top of it. Considering the presence of Alb Δ. If Negru attacks this way. 80 .Dia. 12. 9. Alb is safe Dia. The invasion ends in Alb’s getting the corner. but in gote. Alb can live easily by playing 1 in the corner. he gains corner profit. The Alb stones in the basic joseki are almost indestructible.
Dia. and Alb made the diagonal move at 12. and answered Negru 17 by connecting underneath at 18. Alb confronted Negru’s stones at 14 and Negru took the key point in the corner at 15. This gives him corner profit. for a reason explained in the next diagram.Variations Dia. 13. This professional game illustrates another of the variations of the basic joseki. 81 . Alb attacked at 16. but Alb is more out into the center than before. but now Negru played 13 instead of ‘a’. Negru made his squeeze play at 11. 14. One variation in the basic joseki occurs When Negru plays 2 at the three-three point to keep Alb out of the corner.
he could play 3 instead of ‘b’. Negru’s reason for playing ogeima at 1. In this situation. 82 . these variations illustrate the main themes of the joseki. was that if Alb played 2. The drawback of the ogeima is that it leaves the weak point at Alb 4.Dia. (If he did not care so much about sente. and then use sente to make another attack against the stone in the lower right. and it is well worth Alb’s while to take what room there is. In conclusion Taken together. even if it does mean playing on the two-three point. The key move is Alb 3 in the basic joseki diagram. 16. instead of kogeima at ‘a’. 15. Negru would answer it at 5. Negru 3 is a stronger attack on the Alb stone in the lower right corner than ‘b’ would be. the sliding move into the corner. Dia. he could play 5 at ‘a’ to reduce his loss in the corner). however. In squeeze play joseki there is often competition for room to make eyes at the side of the board. if Alb played 4 after the last diagram.
Negru can cause trouble by playing 2 at 3. the usual move. which are shown at the end of this section. for which there is another choice. Let’s begin our study of this joseki by looking at Negru 6. Alb plays 3 and 5 and is safe in the corner.SECTION 12 When Alb wants to settle the situation. but Alb has ways to deal with that. he can do so with the diagonal tsuke at 1. If Negru responds at 2. 83 .
With Negru Δ low.Negru 6: third line or fourth? Dia. 3. 3. When playing Δ. then attack at 5. 2. Negru has to choose between defending one side and defending the other. Dia. Dia. 4. he can play kikashi at I and 3. Negru has a good reply at 2. This diagram shows the reason for Alb 1 and 3 in Dia. aiming to slide under to ‘a’. If Alb simply plays 1. With Negru Δ on the fourth line. Alb cannot attack so well on the lower side. If he gets ‘a’ or ‘b’ in addition to 1. This variation is biased toward defense on the lower side. An important variation in the basic joseki occurs when Negru plays 6 on the third line. then Negru’s group is short of eye space. 84 . Alb can attack at 1. instead of at ‘a’. Dia. However. 1.
Dia. Here Negru plays it to get Alb’s reaction before extending toward the shimari in the upper right corner. Alb 2 makes good shape and leaves open the possibility of an invasion at ‘a’. as regarding both territory and the safety of the Negru and Alb groups. but then ‘b’ is almost sente for Negru. Negru 1 is a large point in the corner.Negru takes the offensive After the basic joseki. Negru has three ways to attack the Alb group. which are shown in the next four diagrams. 85 . 5.
If Negru is concerned with the center. Instead. 7. Alb would respond by taking the big point in the corner.Dia. but then Negru would not play 1. Alb can reply at either ‘a’ or ‘b’. 6. he would play 1 from this direction. Negru ‘d’. 8. a vital point in this shape. He cannot get out into the center past Negru 1—for instance. 86 . Alb 2 would be more appropriate if the shimari in the upper right corner were Negru. Alb 2 here is another way of answering Negru 1. Dia. although in a way Alb is reducing the value of his own shimari by pushing Negru toward it. Dia. working towards a large territory on the right side. he can attack with 1 here. Alb ‘c’.
87 . Dia. Negru should cut at 4. Alb gets out into the center and prepares to attack the stone Δ. and not before he can make an intelligent choice among the three of them. in some other direction.As you can see. 9. but first . if Negru attacks from one direction. Next Negru can play ‘a’. Now we come to the variations in which Negru plays 2 on the three-three point. he provokes a strengthening of Alb’s position. It follows that Negru should not launch into any of these attacks without reason. One way for Alb to proceed is shown here. We shall confine ourselves to Negru ‘a’. indeed. . Negru 2 at the three-three point Dia. and after Alb 5 it gets complicated. and a weakening of his own. 10. . ‘b’. or ‘c’. While Negru makes some territory on the lower side. which is the cutest of the three. But the fun comes when Alb plays 3 here to put up a fight for the corner. Negru’s attacks in the last four diagrams are far from being killing attacks.
Dia. but Negru has a good point left at ‘a’. (instead of the cut at 7). There is only one branch in this variation. 12. but the only good one Alb has. 10. 88 . 13. Before getting involved in the difficulties which follow Dia. and Alb must play 9 and 11. After these moves. Alb should answer at 7. if Negru plays 6. Dia. 10. The finish of this variation: Alb’s wall is imposing. we should point out that Negru 4 in this diagram. Dia. 11. is not very good. a strange-looking play. 14. you can probably see what is coming next. Continuing from Dia.Dia. Negru must play 8 and 10. Alb has a powerful reply at 5.
or ‘b’. but against any squeeze play except. 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.In conclusion Complicated variations aside. Negru’s next play is usually either ‘a’. 89 . Alb 1 and the rest can be used not only against the twopoint squeeze play shown in this section. the one point-squeeze play on the third line. perhaps. giving Negru a chance to put another stone into the corner. Alb’s purpose in this joseki is to gain safety in sente before moving on to some other part of the board. which lets Alb live easily but gains outside strength.
Negru generally plays 5 at ‘b’ to defend against Alb ‘a’. 90 . 1. This explains the weakness that exists after Dia. 2. 1. but he has lots to worry about: his stones on the outside are weak and his corner is not yet alive. but Alb has possibilities at ‘a’ which he is trying not to disturb. this is the expected result. When Negru plays 1 at the three-four point. After Alb 9 it is Negru’s turn.Negru plays tsuke at the three-four point Dia. Dia. and then Alb can think about attacking on the right side. Alb 4 may look like a feeble move.
For Alb 2. Negru plays 3 at 4. The only drawback of this shape is that if Alb later gets to attack at ‘a’. (see Dia. When Negru plays 1 here. and he has sente if Alb connects the ko. Negru connects at 3. Negru’s double hane in the last diagram enables him to make a perfect wall on the outside. ‘a’ is the most desirable point. Dia. 2 by playing 3 here.Dia. 9). 6. Negru plays tsuke on the outside Dia. 91 . Here is one variation. Alb plays 2. Alb takes the corner with 4. and so Alb may have to play ‘b’ instead. 5. Negru can avoid having to worry about the possibility of Dia. 4. and Negru plays double hane at 5 and 7. Dia. but that play depends on a shicho. he can omit Negru 13. it is not hard for Alb to make two eyes in the corner or on the right side. If Negru is worried that Alb might not connect and wants to be sure of sente. Negru will find himself cramped in the corner. or play 11 at 13. In another variation. 3.
Here is one possible continuation from Dia 7. but he can make shape on the side by playing ‘a’ or ‘b’. (although ‘a’ is not impossible). A similar situation occurs when Alb plays 2 at 4 and Negru plays 3 at 5. Alb 1 in this diagram is not a tenuki. Negru has all sorts of weaknesses for Alb to aim at. Alb 7 and Negru 8 are the same as before. 7 and 8 has to be modified a bit.Dia. so if Negru plays 2 and Alb plays 3. Since Alb 1 is so close. but now 92 . then he is in great trouble. In comparison with Dia. Dia. 10. Alb pushes in between the Negru stones at 2 to put some cutting points into Negru’s shape. but if it is not. it is more prudent of Negru to play 6 than ‘a’. Alb cannot play 2 unless the shicho in this diagram is good for him. These are the basic variations. 8. 7. Alb makes a counter-squeeze play Dia. now lets see how they apply in a couple of actual situations. the sequence of Dias. If it is. but a countersqueeze play. 9. Dia. When possible. 6 on the previous page. After Negru 5 this variation gets complicated Alb is barred from the corner. then of course he is more than happy with this result.
Alb 4 to 12 are one way to proceed from here. This is because Alb ‘b’. Negru ‘c’. Dia. Let’s see how this affects the joseki. Negru should play 3. Here Alb has a stone out at Δ on the lower side. 12. 93 . Negru ‘e’ would weaken Alb 1 too much. Alb’s stone is farther away Dia. Negru 2 at the three-three point is bad. Negru has no good move.Alb simply plays 9 instead of ‘b’. 11. After Alb 3. In answer to Alb 1. This time Negru 1 is correct. and if Alb plays 2. Alb ‘d’.
for after the usual joseki shown here. Dia. Alb Δ makes Negru 1 a doubtful move. 13. Dia. then after Alb 4 he wants to play 5 as shown to confront Alb Δ while defending against Alb ‘a’. however. Negru ‘a’ would be too close to it to be efficient. inviting this exchange. 94 .15. Negru cannot make good use of his wall. If Negru plays keima at 3. which does not bode well for the fighting that should develop from Alb 6. On the third line. Alb can answer Negru 1 more loosely at 2. 14. If he wishes. Negru 5 offers no resistance to Alb’s movements in the center.Dia.
Alb can probably live with this sequence. provided that Negru is not too strong in the surrounding area. 16. He still has ways of breaking up Negru’s position. 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. too. After Dia. but he is by no means giving up the corner. 16. 17. Dia. starting with Alb ‘a’. Alb can play another tenuki and let Negru have 3. he still has good chances of reviving his original stone. In conclusion By playing tenuki. of course Alb is giving Negru a local advantage. and Alb has again cut into Negru’s prospective territory.A second tenuki Dia. 18. When Negru plays 1. Dia. 95 . Even when he plays tenuki twice.
or at ‘b’.SECTION 14 After spending the last five sections on the two-point high squeeze play. (which works out about as in section 10). Negru 1 above is the most aggressive of them all. as always. 96 . ignore Negru 1. we will use this section and the next two to look at three other squeeze plays often used against the kogeima kakari. or he can. starting with the former. ‘c’. or ‘d’. Alb can answer at ‘a’. We shall restrict ourselves to Alb ‘b’ and ‘d’. for it gives Alb the least room in which to operate.
Alb’s one-point jump to 2 is the most generally useful answer to Negru 1. If a chase into the Alb has a kikashi at ‘a’ he can use. 1. be making third-line territory. rather territory. and now it seems natural for Alb to attack the other side with 4. Negru defends the lower side with 3. and Negru will than fourth-line 97 . When Negru plays 3 on the is also joseki. then there need be about playing 4. he is likely to find himself pushing Negru along the fourth line. but Negru fights back with 5. Dia. Alb should not try 4 unless he is backed up in the upper right corner and can expect a good profit on the right side. on the lower side. which no reservations center develops. Negru ‘b’). third line.Alb 2: one-point jump Dia. (Alb ‘a’. for in the running fight to come. on the lower side. 2.
But when Negru plays keima with 3. trying to avoid a running battle. If Negru plays 9 first. At the end of this diagram Alb is in a position to attack either at ‘a’ or at ‘b’. 4. Be careful of the order of 7 and 9. Alb can answer it at 7 instead of 10. and he can make an eye for his group by playing ‘c’ when the time comes.Dia. When he plays 4 in the last diagram. Dia. 3. this sequence is what Alb expects. 98 . Alb may prefer to play 4 this way.
Instead of passively playing the previous sequence. Dia. 6. it is common for Alb to attack from that direction with 4. The joseki usually ends about like this. 7. Negru naturally answers with 5.Dia. We will not even try to go through the variations. bending around Negru 5 and protecting the cutting point at ‘a’. Alb has good shape for making eyes on the right side. 5. Dia. Alb 6 and 8 are a good combination. Even though Negru plays 3 to defend the lower side. Negru can push through and cut with 5 and 7. although you can probably see some of the possibilities for yourself. but this can get very difficult. 99 .
He cannot use it to attack Alb’s group. In one of them. Negru wants his territory on the right side to be as large as possible.Alb 2: tsuke Dia. Dia. and Alb cuts at 6. 100 . Alb resists by pushing Negru back toward his strong position in the upper right with 2. After Alb 4 there are essentially two variations. but in the present circumstances Negru’s strength in the upper right goes to waste. Negru plays 5 to defend the lower side. This is joseki. which is alive. 9. 8. Although it is always hard to say which squeeze play would be best. here is one situation in which Negru 1 looks appropriate. especially considering the possibility of Alb ‘a’. so he plays 1 as far down as he can. and he has not made much territory with it.
SECTION 15 This squeeze play is like the one in the previous section. he is putting maximum pressure on Alb. Negru’s simplest course is to live in the corner with 7 and the rest. of which ‘c’ and ‘d’ are the most interesting. 10. Alb can attack on the lower side at 6. Alb has five different ways to answer it. marked ‘a’ to ‘e’.Dia. So in this case Negru had better choose the other variation and connect at 5. but at the same time it becomes possible for Alb to push back on Negru in one way or another. except that it is played on the fourth line. In conclusion When Negru makes his squeeze play as close as this. 101 . as seen in many of the diagrams of this section.
Negru can play it on the three-three point. 102 . Both Negru ‘a’ and ‘b’ threaten a hane at ‘c’. or he can carry on as in one of the next two diagrams. 3. In the usual joseki Alb attacks at 4. however. and in the corner ‘b’ is a very large point. straight up between Negru’s two stones. and Alb connects underneath at 6. This gains corner profit. and 11 to strengthen his position. 2. Dia. Negru can play 7. but now Negru’s ‘a’ is not as menacing as before. Negru can attack at ‘a’. he might play 5 at 6 to start a fight. After this diagram Negru can play tenuki. 9. Instead of playing 11 as in the last diagram. and if Negru has a lot of strength in the upper right corner we imagine Alb playing ‘a’ instead of 4. 1. If Negru has some strength in the upper right corner. Alb 2. Dia. looks like the most natural answer to Negru 1. after which Alb will probably play on the lower side to counter Negru’s wall. taking no chances. Negru jumps out to 5.Alb 2: one-point jump Dia.
Negru 5 here is a lighter answer to Alb 4. Negru’s three stones on the right side do not have eye shape yet. 5. although he also has some cutting points.Alb 2: keima Dia. or he can leave the position as it is. but Alb has not made eyes yet either. too. another good move. since he has a good play at ‘a’ to use if Negru attacks. After 9. Negru cannot answer Alb 2 at ‘b’ because of Alb ‘a’. Before playing 5 Negru should think about playing ‘a’ in the corner. By the way. Alb has ‘b’ or ‘c’ to play. hoping Alb will answer at ‘b’. and this is joseki. The keima at 2 is more flexible than the one-point jump. He often does this last. After Negru 7. One thing he can do is to play 4. Alb cannot ignore it. 6. Dia. On the lower side. and the sequence shown here is joseki. 103 . Negru has more room on the right side. Alb might continue at ‘a’. Negru 3 is one good answer to it. 4. Dia. and now Alb can continue by attacking Negru 1. When Negru plays keima with 3.
and the joseki usually ends with Negru 17. (which forces Alb ‘a). Alb is alive in the corner. 7. Alb can answer Negru’s keima at 3 by playing 4 at the three-three point. Alb 2: tsuke Dia. but he may not want to provoke Alb ‘c’ by doing so. Negru plays kikashi at 11 before defending the lower side. Negru can prevent it by playing ‘b’.Dia. so as to live quickly in the corner. 10. and 9. Dia. 7. to live on the right side. which threatens ‘a’. Dia. 8. 104 . 11. and he fights on the outside by playing 10. since he may need to connect at ‘c’. This sequence is a simple joseki. Dia. And here is a similar one starting with the tsuke at the three-three point. In the early endgame Alb ‘a’ is a very large play. 9. A more complicated joseki occurs when Negru answers Alb 4 by cutting with 5. Continuing from the last diagram. Here is one joseki stemming from a Alb tsuke at 2.
We are skipping over Negru’s squeeze plays at ‘a’ and ‘b’ for reasons mentioned in the introduction to this chapter. 105 . as can be seen from the joseki shown in this section.In conclusion Negru 1 is the most forceful of all the squeeze plays. the three-point low squeeze play. it tends to lead to solid and settled positions more often than the other squeeze plays. SECTION 16 Our discussion of the kogeima kakari ends with Negru 1. Plays farther up the side than Negru 1 or ‘b’ are possible. Because of this. but they are too far away to have a strong effect on the corner.
In this shape Negru can get some room for eyes by playing ‘a’. Dia. One way to meet Negru 1 is with the twopoint jump to 2 and the counter-squeeze play at 4. Many players would play 1 at 4.Two Common joseki Dia. as shown. 106 . This would be appropriate if. if there is a Negru shimari in the upper right corner. 1. For example. Alb would certainly prefer this way to Dia. to avoid this kind of attack. but his stone is under attack all the same. or on the point between 1 and 4. 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’. If Alb is not in a position to take the offensive. 2. Alb has a shimari in the upper right corner.
and after another atari at 11 he connects at 13. Since Alb 2 does not really put much pressure on Negru 1. 2. For Alb 4 there are three possibilities—’a’. The sequence up to Negru 9 is almost like the one in Dia. but Alb can play 8 at 9. He has to play atari at 9. Keima Dia. 4. When Alb plays 8. which changes things considerably. ‘b’. Here is a situation in which the three-point squeeze play is often made.Tenuki Dia. 1 or 2. 3. 5. Negru can make shape in the corner with 5. 107 . Dia. When Alb plays keima at 4. and ‘c’—which we shall look at in turn. for then Alb 9 would leave him with no eye shape. Negru frequently plays a move like 3. instead of following Dia. Negru must not connect at 10.
to give himself more room on the lower side.Dia. so he will fight with 5 and 7 instead. Continuing. 6. Alb makes a satisfying amount of territory as Negru pushes him along the side. 7. Now we come to the diagonal play at Alb 4. Dia. Notice that Alb would now prefer to have Δ at ‘a’. Negru can no longer accomplish much by playing ‘a’ in the corner. 108 . (This does not mean that Δ was a bad play to begin with). but Negru has a big wall and sente to make a wide extension on the lower side. Diagonal play Dia. 8. The fighting might continue this way. Alb cuts at 14 and Negru has to play 15.
but it provokes Negru 5. and with his two-stone wall Negru can cap Alb’s stone on the right side at 7. he can do so by playing 4. 2). Another way for Negru to answer Alb 4 is to dive into the corner at 5. (just as in section 13. This is the most aggressive way to attack. Negru is aiming at the point ‘a’. but here. 10. a defensive way of playing.Dia. This is joseki in some situations. Tsuke Dia. Continuing from Dia. Dia. 10. Dia. this is one possibility. and it gets complicated. it is rather cowardly. considering that Negru has two stones in the upper right corner. If Alb wants to keep Negru out of the corner. 109 . and Alb needs to defend. 11. 9. Negru plays 9 to build a living position. After settling his own position. After Alb 8.
Alb’s defense is at 7. If Negru connects at ‘a’.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. one which makes it a bit hard for Negru to get good shape on the right side. Running fight Dia. either of which separates the two Negru stones. Alb will attack him with ‘b’. as in Dias. Alb strikes on the right side at 9. a double-threat move which prepares for either Alb ‘a’ or Alb ‘b’. Dia. Alb 13 is a solid play. and the only one that is going to find its way into the present book. If Negru defends the lower side with 8. Negru announces his intention to engage in a running fight by playing 4 and 6. The last of these is the subject of this section. 1. 2. That makes them especially useful as invasions between the kakari stone and a position in the adjacent corner. 1 and 3. Alb can reply to it with ‘a’ or ‘b’. for instance. then 110 . or if Negru plays ‘b’. Against Alb 3. or with a tsuke at ‘c’. ‘d’. One way to continue is with 10 to 13. or ‘e’. SECTION 17 Of the squeeze plays that can be used against Alb 1 above.
Negru can handle this onslaught with 10. and similar to ones that develop when Alb plays 3 at ‘a’. 1 to 3 we have a typical running fight provoked by a squeeze play. if Negru does not want to assume a separated shape. which can lead to a hard and desperate battle. In the present joseki. as we shall see next. however. 3. Negru still plays 12). or ‘c’ in the diagram at the head of this section. 111 . (If Alb tries to play 11 at ‘a’. as in some others. ‘b’. If Negru defends the right side with 8. then Alb attacks on the lower side with 9. In Dias. there is a way for him to avoid it. similar to the many other running fights that have appeared so far in this chapter. Dia. and this sequence is joseki.Alb has ‘a’. In another variation Alb uses 13 to cut at ‘a’.
lead to complications. and Alb can finish it by playing 17. Alb should reply with a counter-atari at 9. unfortunately.Negru moves to connect Dia. Negru joins up his position by cutting in behind Alb 3 and reaching up the side with 4 and 6. Negru can next play either ‘a’ or ‘b’. 112 . When Negru plays atari underneath with 8. 4. Negru plays 8 underneath Dia. The joseki continues as shown up to Negru 16. Alb’s only way to fight is to push in between Negru’s two stones at 7. both of which. 5. or by making a wide extension on the lower side.
Alb captures at 13 and Negru captures at 14. Alb plays 9. this exchange is good for Alb. 113 . At this point the joseki branches into two variations. When Alb plays atari at 9. If Alb just connects with 9. Negru has the stronger position. If Alb can capture the stone in shicho by playing ‘a’ instead of 13.Dia. but then Alb does likewise. and he can cut off Alb 15 by playing ‘a’. Considered in isolation. then Negru can play 10. and Negru has no choice but to play 10 and 12. 8. that improves things somewhat. but Negru is still happy. Dia. 7. Negru plays 8 from above Dia. 6. 9. Negru has a chance to capture with 10. Dia. but Alb has sente. and while Alb captures one stone on the right side. In the simpler one. this exchange is generally good for Negru. And now there is the case in which Negru plays 8 from above.
10. 9 would be rather good for Negru. If there is. and the battle continues until they become stabilized. This diagram shows the first possibility. At the end of this diagram there are three weak groups on the board. he can do so by playing 13. 11. or he can give them up by pushing through with ‘b’ and onwards. These moves are not hard to understand. but then Alb continues to develop on the right side with 17. Dia. (see Dia.Dia. and Alb would like to avoid it. This second possibility we leave you to figure out for yourself. 114 . and the fight goes on. Alb continues at 19. Depending on a shicho. 12). capturing Alb 15 in return. say. a Negru shimari in the upper right corner. Negru gets the corner with 14 and 16. He can connect his two stones at ‘a’. then the variation in Dia. Negru connects at 18. Now again Negru has two choices.
for Negru.Dia. 115 . SECTION 18 In the last section of the chapter we see Negru making a squeeze play against the ogeima kakari. In conclusion Alb cannot play 13 if the shicho shown here works If Negru wants to embark on a protracted running fight. he can choose from among the other variations of this joseki. he can choose the variation of Dias. 1 to 3. only one variation. If he wants to strike a bargain with Alb and settle the situation quickly. Alb can handle the situation with a tsuke at the threethree point. After the cross-cut at 5 there is. for a change. 12.
1. 2. Alb rather expects a squeeze play like 2. By comparison. it is not as easy for Alb to handle his stone. 116 . if Alb plays a kogeima kakari at 1 and Negru makes the same squeeze play at 2. Dia. If Negru answers it at 2.The idea behind the ogeima kakari Dia. forming a safe position which greatly reduces the effectiveness of Negru’s strength. 3. strong position in the upper right corner. but he knows that 3 and 5 will give him a good position in the corner. The ogeima kakari is appropriate when Negru has a large. Alb will be quite satisfied to extend up the right side at 3. Dia.
Negru can play tenuki after Dia. Dia. 4.The joseki Dia. Negru plays atari at 6 and 8. 5. after the crosscut at 5. 4. his opponent has taken the corner. one thing he can do is to exchange 12 for 13. but whatever the strategic merits of Negru’s position on the right side. To continue with the joseki. This is simple. then connects at 10. If Negru reverses the order of 6 and 8. but if he keeps on. 117 . Dia. 6. Alb will play 9 and dominate the corner by capturing Negru 6. Be careful of the order of Negru 6 and 8. Alb 11 is a possible stopping-place for the sequence.
It is not hard for him to make two eyes on the side. Especially considering the closeness of Δ. Negru may want to play 12 on the lower side to provoke some fighting.Dia. Alb anticipates Negru’s squeeze play and deals with it by giving Negru what he wants on the right side. In conclusion This section illustrates the kind of thinking that makes for good go strategy. but Alb has nothing to complain of as he springs out into the center. 7. Dia. 118 . 8. should that become necessary. Negru can stubbornly play 4 and 6 to make Alb fight on the right side. which could go about like this. taking his own profits in the corner where the taking is easier.
The difference is that now Alb has enough room to invade at 1 in Dia. Let’s look at a couple of situations in which the threethree point invasion is appropriate. 1 and a similar play. Negru can hold Alb to a small territory in the corner and along one side while building himself a strong. say. at the very beginning of the game. Alb 1 in Dia. On the other hand. 2. 119 . Negru will close it off by adding another stone. or when there are some Alb stones near enough to be endangered by a newly-created. instead of making a kakari from the outside. 1 is not always a good play. 1. is in a considerably different position from one played closer in to the corner. Alb 1 in Dia. if Alb stays away from the corner too long. strong Negru position. Of course a kakari is still possible. centerfacing wall. 1. like the Negru one in Dia. Such an exchange can be bad for Alb if made.CHAPTER 4 Four-four point joseki: invasion and tsuke INTRODUCTION A stone on the four-four point. but in this chapter we will be talking only about Alb 1 in Dia.
the three-three point is the key point for reducing it. then there will be no easy invasion route left open into the huge. Dia. Here Alb 2 is especially destructive. If Alb lets Negru play 3 in Dia. is a bad play. Negru will come out of the joseki with a good deal of probable territory on the outside. 3. Negru could more or less secure his corner territory with 1 in Dia.When Negru makes a double wing formation around his stone. 6. 120 . but that cannot be helped. which aims into Alb’s territory on the side. 4. as in Dia. for it will eat up more than half of Negru’s prospective territory. Negru area. but then Alb would be happy to play 2). (This does not mean that Negru 1. 5 shows the same idea on a smaller scale.
the three-three point invasion is a weapon for taking away the opponent’s territory. In 121 . For building territory. The problem. then. the kakari to be studied in the next chapter is better. 7 or 8 is best. but generally it is easy to see which is better.As these two examples may hint. How is a three-three point invasion answered? Almost always a contact play like Negru 2 in Dia. becomes which side to push on. the invader can expect to get only a small area for himself.
7. Negru has more room for territory on the upper side than on the left side. In this section we will show the major ones. 8 Negru has no extension. 122 . and no chance to make territory.Dia. In Dia. on the upper side. each in an appropriate setting. SECTION 19 There are a good many variations to the three-three point invasion. for instance. so he plays 2 to get what little he can on the left side. so naturally he plays 2. And what comes after Negru 2? Let’s take a look. ‘Block in the direction of your widest extension’ is the general rule.
2. Three variations follow. If Negru wants to stop his opponent from getting so much profit in sente. has gotten to play the fairly large hane at 9 and can later push out further from the corner at ‘a’.Basic variation Dia. he can play this double hane. building a wall in the center which here works well with the stones marked Δ. 1. Alb. all this in sente. This sequence might be called the basic variation. Negru holds Alb down into the corner. however. although it is not the most common. as he usually does. 123 . Double hane Dia.
In the second variation Alb plays 7 and 9 as before. or some other point on outside. 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’. 4. He can also play on the point ‘e’ to good effect. but this time Negru chooses to take the corner in gote with 10 and 12. and then play ‘d’ in sente because of the threat of Alb ‘a’. For example. In the first one. Negru plays this way if he has no particularly good use for sente. Negru builds his wall in sente with 8. 10. 124 . Alb plays atari at 7. ‘a’. and Alb can hardly help but connect the ko at 13. 3.Dia. then Negru can play 14. or if he needs the corner to secure room for two eyes. and the Dia. Alb can play ‘c’. and 12.
if Alb wants to play another stone in this area he has a good point at ‘a’.Dia. but there are times when it is better to play hane at the other end. After Negru 14. 5. Dia. as in this diagram. Negru 4: hane in the corner In the variations so far Negru played his fourth move at the open end of Alb’s stones. taking sente and defending the largest possible amount of territory on the upper side. which exploits the dead stones left in the corner. Here. Negru has no prospects on the left side. where Alb is very strong. for instance. In the third variation Alb breaks out of the corner by playing 7 and 9 on the upper side. which of course he can do with his pon-nuki shape. 125 . in the corner. then ‘b’ will be a good point for Negru. for example when Negru’s extension on the upper side is wider than his extension on the left. so he answers Alb 3 at 4. Alb uses this joseki when the upper side is more important than the left. threatening a double atari at 10. If he plays tenuki. 6.
then Negru might be able to kill the corner by playing 10 at 13. 6 and 7. 11. in fact. If Alb wants to avoid the hane of Negru 4 in Dias. If Negru plays 6. Alb can still play 1. Negru 6 deprives the Alb group of room for two 126 . the usual joseki when Negru has a stone at Δ. Dia. Alb should be ready to answer with 7. Alb plays hane first Dia. Dia. Dia. This gives him the cut at ‘a’ or the squeeze-tsuke at ‘b’ to aim at. for if he exchanged 11 for 12 first. the hane at 4 is again appropriate. 7. Alb has to be careful not to play 11 until Negru has connected at 10. making a large ko. 8. This ko is. and Alb has just enough room to live in gote in the corner. 9.Dia. When Negru Δ is as close in as this. 10. The joseki continues as shown in this diagram and the next. on the upper side. for Alb does not have enough room to live in any other way. and 5. he can do so by playing 3 and 5. like . 3. When Negru has an extension to Δ on the left side and wider one.
14. but even dead stones can be put to use. Dia. 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. Alb will aim at the points ‘a’ and ‘b’ as before. then Alb can get room for eyes by hopping down the side to 7. 12. Alb 7 does not quite assure him of two eyes in the corner. When Negru has added a stone at Δ.eyes. Diagonal play Dia. 13. We leave this life and death problem for you to work out on your own. Or if Negru blocks Alb’s extension down the side. Dia. If Negru plays 4 and 6. 127 . Alb can live with the hane at 5.
but Alb ‘a’ aims only at living in the corner. while Alb 1 has more to do with the outside. is with a three-three point invasion at ‘a’. Except in cases such as Dias.In conclusion This is what to expect of a three-three point invasion made out of the blue. seeing how it works in combination with a kakari from the outside. as in either of the two diagrams above. the invader can live quite easily. one way of attacking it is with the tsuke at Alb 1. 10 and 11. 128 . In the next chapter we will return to this invasion. SECTION 20 When Negru has made a two-stone shimari based on a stone at the four-four point. Another way. as you have seen in the last section. so to speak.
to ‘a’. 3. Inner hane Dia. then Alb can develop a position on the left side while slightly reducing Negru’s corner territory. 2. but there will be cutting points left in his shape which Alb can take aim at from the outside. and what follow are only the most common of them. Dia.The usual answer to Alb 1 is either ‘a’ or ‘b’. In the simplest continuation. and Alb extends on the left side to 7 or. Alb 1 has a way of leading to very complicated sequences. If Negru plays ‘b’. then he may be able to keep Alb in the corner. Negru plays 6. Let’s start by considering the case in which Negru answers Alb 1 by defending his corner with 2. The same pattern can arise from an attack on an ogeima shimari based from the three-three point. When Negru has the formation shown here. if there are other Negru forces in the area. 1. Dia. If Negru plays ‘a’. Negru and Alb connect at 4 and 5. 129 . the standard joseki calls for Alb to play hane at 3.
What if Negru answers Alb 3 by cutting at 4? This too is joseki. Instead of following Dia. 7. Here Negru has a stone at Δ. Negru ‘d’. 6. Alb can get eye shape by playing there himself. . and 9. 7. This gives him a very nice base from which to extend down the left side or. then Negru can play 6. If Alb reverses them. 3. If Negru does not play 6. he now makes a kaketsugi at 5. Alb will make a wall with 11 and 13. and Alb dies—and Negru 6 prevents Alb from extending into the center. He need not be afraid of the cut at ‘a’—Alb ‘a’. The way for Alb to handle it is to play 5. as here. or he can jump out to ‘b’. inviting Negru to start a ko fight. or he can play ‘a’. threatening both ‘a’ and ‘b’. The order of playing 3 and 5 is important. Alb ‘c’. Dia. Dia. If Negru protects against the former by playing 10 in the next diagram . 5. depending on the surrounding positions. again expecting Negru 6. Dia. and a ko fight. into the center. Alb 7. and so Alb does not have room for a satisfactory extension on the left side. . Negru ‘b’. 130 . 4.Dia.
but has the advantage that Alb cannot play 6 in sente. but we will leave them in order to go on to the case in which Negru answers Alb 1 by playing hane from the outside. Dia. and now Alb can play 3. This joseki is frequently used when Negru has an extension like Δ. In this variation Negru plays 4 instead of ‘a’. But here Negru has an ogeima shimari. Negru can pressure him with the sequence from 6 to 10.Dia. 8. 9. since he is not afraid of Negru’s playing 6 at ‘a’. This gives up points in the corner. If Alb simply extends to 5. There are a good many other variations besides the ones above. 131 . and Alb does not want to invade at the three-three point for fear that Negru will get too much territory on the outside.
If Negru connects at 4. Dia. Dia. We leave you to find for yourself what happens if Negru plays atari at ‘b’ instead of 4. In this diagram Alb gets a good life in the corner. the standard joseki calls for Alb to play counterhane. then Alb’s connection at 5 is the usual play. which is sometimes correct. Once again. and Alb lives in the corner. 12. 132 . and can aim to cut at ‘a’ later. 10. with the cut at ‘a’ or the squeeze-tsuke at ‘b’ left as sizeable threats. although ‘a’ and ‘b’ are other possibilities. as shown here. when Negru has a one-pointjump shimari.Outer hane Dia. There is a second way for Alb to play counter-hane with 3. 11. Next Negru plays 6.
a tesuji worth taking note of. Dia. then a crawling battle develops on the left side. and 15 in sente.). If Negru answers at 19. 15. 131 133 . etc. but Alb can cope by cutting at 7. 13. Dia. If Negru plays 18 as shown. and then live by crawling along the second line. Negru seems to be trying to kill all the Alb stones when he plays 4 and 6. 13. 13 Dia. Sacrificing two stones. Negru ‘b’. Alb can play 11. (Alb ‘a’. This is one of the more complicated variations. Alb can play 17 here.Dia. the outcome of which will be determined by the presence or absence of other stones in its path. If he cannot afford to live so humbly. 14. then Alb plays 18 and gets up to the third line and out into the open.
surprisingly complicated family of variations starts when Alb plays ‘a’ instead of 5. 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. Another. an important tool for getting into a territorial framework based around a stone on the four-four point. and Alb can live safely with 7 to 13. The last combination of possibilities is when Negru has an ogeima shimari and answers Alb 1 from the outside. It is. 16. As before. Dia. Negru will play 6. Following the last diagram. but we leave that for a more advanced book. 134 . 10. Alb can also play 3 like this. In conclusion The tsuke at 1 yields far more complications than the simple three-three point invasion of the last section. The mutual connections at 4 and 5 form one joseki. 18. however. 17.Dia. except that now Alb gets his best result by playing nobi with 3 instead of hane. Dia. He has something to aim for in the cut at ‘a’. The joseki shown here is about like the one in Dia.
2. for two reasons.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. The second reason is that Alb 1 works well with an invasion at ‘b’. After Alb 9. he is more concerned with making shape on one side or the other than with ravaging the corner territory. and then he will make a kakari from the appropriate direction. moves which make an immediate penetration into the corner. Alb can go right to 3. The first is that from 1 Alb can slide into the corner by playing ‘a’. Alb 1 in Dia. Alb 1 has been cut off. and Alb comes skipping out of the corner at 11. 1 is the best kakari to make against a stone on the four-four point. Alb can play 135 . when Alb plays against a stone on the four-four point. if Negru answers Alb 1 with a squeeze play at 2 in Dia. Negru would like to make a kaketsugi by playing at the point on which Alb 1 rests. but it need not go to waste. so he has to make do with the shapeless tight connection at 10. More often than not. but he cannot. however. All other things being equal. For example.
4. too. as at 2 in Dia. a common opening position. expecting Negru ‘b’. If Alb made a kogeima kakari. attacking Negru’s eyeless group. (or right away). and Negru’s corner territory will not be unduly large. 1. then turn to some other part of the board where he has more of a chance to make territory. But a kakari is made in order to develop on the side.‘a’. and frequently the conditions dictate some choice other than Alb 1 in Dia. Alb would like to deal quickly with the left side. and he has a useful move at ‘b’. but Alb can then leave the left side as it is and turn elsewhere. In Dia. 3. Later. 136 . he can play another ogeima kakari at ‘a’. Usually he plays his kakari at 2. Negru may answer at 3. After Negru 3 he would still have to defend against the possible invasion at ‘c’. which is mostly Negru’s domain. he could not expect to keep sente.
and Alb can continue with 3. 137 . and starting to make a large area of his own on the upper side. 6. using his wall in the lower left to develop a huge potential area. Negru would answer with 2 and 4. Negru 2 is the usual answer. reducing Alb’s left side to easily manageable proportions. as in Dia.Dia. If Alb played a kogeima kakari. 5 shows one kind of position in which Alb should make a high kakari at 1.
138 . because Negru can always jump out to ‘d’ to keep Alb from getting any territory on the left side. Compare this with Negru ‘a’. Better to have 1 up on the fourth line. where it will be of use in the fighting to come in the center. There would be no point in playing 1 on the third line. say at ‘b’. 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. (at ‘c’). If Alb played any higher up.In Dia. The choice of Alb 1 is easily understood. then after Negru 2 he would be vulnerable to an invasion behind 1.
There is a wide choice of ways to answer a kakari. and it will be treated in sections 21. Dia. Considered in isolation. 11 is not very good for Alb. Besides starting to build territory on the upper side. and 25. but if there are some additional Alb stones in the surrounding area. then Alb 3 becomes very effective. supporting an extension to 1. The standard answer to a kakari at 1. 24. 11. 8 are reasonable answers to Alb 1 in various circumstances. or ‘b’ in Dia. ‘a’. in Dia. Another weakness is that Alb may sooner or later play 3 in Dia. 139 . 10. or to one of the points marked x. who will have to care for two weak groups while Negru attacks from his own strong one. 9 is the one-point jump at Negru 2. You have already seen a couple of them in the preceding diagrams. Negru 2 makes a good base for jumping out into the center. all of the points marked in Dia. aiming to slip under Negru’s stone to ‘b’. Now let’s look at a few more. 23. The chief weakness in this move is that Alb can still invade the corner easily at ‘a’.
or ‘a’. in Dia. 14. Alb ‘b’. for defensive purposes. and it is still used. Negru 2 in Dia. 13 used to be the standard reply to Alb 1. Negru can make a secure corner enclosure with 4. With the Alb stone so 140 . for instance.In Dia. threatens an invasion at ‘c’. Negru would do well to play 2 on the third line instead of at ‘a’. It aims at making a larger corner territory than Negru ‘a’. 12. Then if Alb attacks with 3. but it is not as strong on defense. Negru 2 is often used when Alb plays 1. for instance.
16 would be incorrect here. and 25. 15 we have a good case where Negru 2. In Dia. Negru 2 secures the corner. or Negru ‘a’. This Negru 2 and the Negru 2 in Dia. and Alb could easily invade at the three-three point. 12 will be mentioned alongside the one-point jump in sections 21. 141 . 24. and of course it also attacks Alb 1. Negru 2 in Dia. It would be an over concentration of strength. Negru should play this way whenever he already has a strong formation around the middle of the upper side. is correct. and so there is not so much point in his playing 2 at ‘b’.far removed from the corner there is not much point in Negru’s advancing toward the center.
142 .The tsuke responses to a kakari are treated in sections 22 and 26. 17. Squeeze plays are common. The squeeze play in Dia. 19 is also made for constructive purposes. too. 18. 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. as in Dia. an interesting idea that we will be looking at in section 27. Alb usually makes his second move from the other side. or to construct Negru territory there. as in Dia. and we shall study these double-kakari joseki in sections 28 and 29. and nothing too serious will happen if Negru lets Alb attack a second time. A squeeze play may be used to keep Alb from building territory on the side. Finally.
in which Negru answers Alb’s kogeima kakari with a one-point jump to 2. let’s get Alb’s main weakness out of the way first. in which Negru makes a kogeima with 2. This means that it is not so easy for him to extend upwards into the center. Alb slides into the corner at 3. Negru defends at 4. The variation on the right. he can make it even harder for Alb to reach the center by playing the moves in this diagram. and Alb makes a two-point extension to 5.SECTION 21 Basic joseki 21 If we survey recent Japanese professional games. 143 . Observe that Alb’s stones in the basic joseki are all on the second or third line. is quite similar and will also appear in this section. easily defended positions. Alb’s weakness Dia. 1. it seems that the most frequently used four-four point joseki is the one on the left above. If Negru does not mind solidifying Alb’s position. (next page) Since we will have lots to say shortly about Negru’s weaknesses in this joseki. Both sides get stable.
Dia. 2 in this diagram and the last is such a big point that Negru should seize any reasonable excuse to play it. The drawback of this move is that it gives Negru a good attacking point at ‘a’. 4. 2. On the upper side Dia. since if Negru lets Alb play both 1 and 2. 144 . If Alb wants a higher position. Just from the standpoint of corner territory. it is a good idea for him to answer 1 at 2. 3. If Negru does not get around to playing ‘a’. Negru 2 is usually the correct answer to Alb 1. A Negru extension to the point ‘a’ is a large move.Dia. it can almost be considered as part of the basic joseki. Even when Negru has made the defensively stronger kogeima. he can play 1 here instead of extending on the third line. he will find himself short of eye space. Alb has a good move at 1.
let’s see what happens when Alb plays 1. If Negru fails to answer Alb 1 in the previous diagram. 145 . Dia. but that gives Alb the play at ‘b’. 5 at 8 still gives him a big profit. 7. This is more a middle game move than an endgame move. Dia. Since it is so large. although it is usually too slow to be worth playing in the opening. Later. he may fall victim to this sequence. Occasionally Negru plays 4 at ‘a’ to make eye shape. 6. Alb has made a big gain as compared with a Negru play at 1. 5. he can gain some more by exchanging 3 for 4. If Alb cannot afford to have his two stones on the left side cut off. Even if Negru does answer Alb 1.Alb plays the key point in the corner Dia. although this solidifies Negru’s corner somewhat. by playing 2.
146 . If Negru connects at 3. Alb easily connects to his stone on the upper side. and Negru is in trouble.) Now it is too late for Negru to make eye shape by defending at 1. suppose that Negru has let Alb play both of the stones marked Δ in Dia.Dia. 9. but of course that would strengthen Alb on the upper side. Dia. Negru could follow this way if he had exchanged Negru ‘a’ for Alb ‘b’ before playing 1 in Dia. 8. 8. since Alb can play 2. 8. (What we have to say here applies equally to the case where Negru Δ is on the fourth line. To point up one of the principal dangers in this joseki.
In conclusion The key move in this joseki is Alb 3. Negru is in trouble again. Variation in the basic form Dia. There is one major variation in this joseki: instead of defending his corner. 11. In the next section. we will see what happens when Negru prevents Alb 3. letting Alb take the three-three point with 5. 10. plays Another idea is to play 3 and 5 this way. 147 . a straightforward exchange of corner territory for an outer wall. 11. Alb plays 9 at ‘a’ or ‘b’. The simplest continuation is the one shown. coupled with the extension down the left side or the play at the three-three point in Dia. which slides into the corner and.Alb Dia. In other variations. or at 10. gives Alb plenty of room for two eyes. but when hane at 8. Negru can play 4 on the outside.
but they have little offensive meaning. 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. Negru 2 is standard practice. which leave Alb less room to make trouble in the corner. preparing for a capping play at ‘b’. he exchanges 2 for 3 above before jumping out to 4. are sometimes appropriate instead of Negru 4.SECTION 22 When Negru wants to keep Alb from playing the keima of the last section. When to play the diagonal tsuke Dia. Alb can make no better extension than 5 on the left side. 148 . Negru 4 is also an attacking move. 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. Negru ‘c’ or Negru ‘d’. When there is a Negru stone at or around Δ. 1.
2. the Alb stones will be much safer. Compare Alb’s narrow shape here with what is in the next diagram.Dia. If Negru lets Alb broaden his base by sliding into the corner at 3. Dia. 3. Negru can continue his attack as shown. 149 .
Dia. his position would be too cramped. 4. which defends the corner while damaging Alb’s shape. Alb ‘b’. If he played 5 on the third line. Here is a common opening position in which the diagonal tsuke is used. Negru ‘c’. Later on Negru ‘a’. 5. and Negru could attack from the outside at ‘a’. will become a good maneuver for Negru. for Alb is afraid to extend any farther down the side than to 5 because of Negru’s thickness in the lower left corner. The space between Alb 1 and 3 and Alb 5 is still too narrow for comfort. 6. 150 .Dia. Dia. getting ready for activity in the center. Negru 2 and 4 are also appropriate here. Notice that Alb plays 5 on the fourth line.
and after Negru 14 Alb still needs another play on the upper side. Alb 1 in Dia. Alb should have waited until his stones on the left were a little bit safer. 7. . Negru should reply at 2. 8. the three-three point invasion is a bit dangerous. and since it is so common. The joseki continues this way. but . Dia. 7 was played too early in the first place. 151 .The three-three point invasion We now come to the problem of Alb’s invasion at the threethree point in this joseki. Negru is alive in the corner and has become very strong on the outside. and it is not going to be much fun for Alb to take care of his original three stones on the left side. we are going to spend some time going through the fairly complicated family of variations. Alb can live on the upper side by playing 3 and 5. Indeed. Negru 2: first variation Dia. When the Alb stones on the left side are still weak. .
152 . Especially with Alb Δ on the board. and the Negru stones do not have two eyes yet. Usually Alb plays the three-three point invasion when his stones on the side are still a bit weak. starting with the diagonal play at 5 instead of the previous move at 6. Alb broke out along the upper side. Another way for Alb to play is shown here. Now Negru confines Alb to the corner. and Negru 2 in Dia. 10. however. In the last two diagrams. 7. 9. and then Negru should play 2 as follows. but there remains the possibility of Alb ‘a’ or ‘b’. and that he can do by sacrificing one stone in the way shown. attacking them. but Negru lived in the corner and was left with no weak points at all to worry about. Negru 2: second variation Dia. is the best reply. the Alb position is safe beyond all attack.Dia. Sometimes. it is important for Negru to preserve some eye space in the corner.
so it does not matter very much. if Negru has a chance to do so before Alb comes crashing into the corner. 11. In this kind of position. but his eye shape was already secure. After this. he should exchange 1 for 2. 10. but that is another matter. 13. is that there are weak points like ‘b’ and ‘c’ in the corner. Dia. Here we have another joseki starting with Negru 2. 12. He is aiming at the point ‘a’. 153 .Dia. This time Negru connects at 4 instead of playing hane at 5. Alb gets to make a pon-nuki in sente. The only drawback of this joseki. of course. Alb may not bother to answer at 2. as compared with the one in Dia. the corner is safe. Dia.
Alb can no longer live in the corner. A similar idea is to reverse the order of 2 and 4. The exchange of 1 for 2 has not cost Alb anything. but he is going to suffer from Negru 4.Negru 2: other variations Dia. or at ‘a’). 7. and he can leave the corner as it is with a clear conscience. 14. this diagonal play is often a strong move. After answering Negru 2. and 9 on the upper side. 16. waiting for the right moment to put Alb 1 to use. There are yet other ways to answer the three-three point invasion. This is sometimes the best move. Dia. but he can make shape with 5. His extension to 9 is safe because ‘a’ is his sente. Alb may be able to live in the corner with 3 and 5. it in no way strengthens Negru’s position or attacks Alb’s. 154 . (or by playing 3 at 5. and of course there may develop the possibility of Alb ‘b’. Dia. One final answer to Alb 1 is the connection at 2. but unlike the moves studied previously. 15.
Dia. The point of extension varies. Alb can live in the corner by playing 1 to 9. In conclusion Aggression is the theme of this joseki. it is not unusual to find Alb just making an extension of his own on the left side. of course. 155 . and Negru should not be afraid to trade his territory for a chance to attack on the outside. Alb should look for the earliest good opportunity to challenge Negru at the threethree point. and Negru 8 undermines his position on the left side. according to circumstances. 17. He lives rather small. SECTION 23 When Negru extends to 2. (or ‘a’ or ‘b’). At the right time. although 3 above is the one most often correct. and the rest of this section will be spent looking at some of the various extensions and their meanings.
Dia. 156 . Negru can play kikashi at 4. 1 shows one setting for the joseki above. the usual vulnerable point of an extension on the fourth line like Alb 3. but although this move has some value in cramping Alb’s style. What if Alb plays into the corner with 3? This may not be necessarily a bad move. as you will remember from the last section. Alb does not want to extend any farther than 3 for fear of an invasion between 1 and 3. is almost worthless to Negru since Alb can jump out to ‘b’ from the lower left corner. 2. but Negru can build a large prospective area in the center with the joseki up to 8.Dia. Alb can still invade the corner at the three-three point. Notice that ‘a’.
5. Dia. and there will be two strong Alb stones on either side of him. if Negru invades. Here. As the mid-point between Alb 1 and Δ. 1. however. 4. 3.Dia. he will have to do so between 3 and Δ. If Alb played 3 on the fourth line. This is about like Dia. With the present Alb structure. Negru 6 would become too good an attacking move. Alb 3 seems to strike the right balance on the left side. but there would be room for a Negru invasion between Alb 1 and Alb ‘a’. The joseki of section 21 would be another good choice. 157 . Another setting for Alb 3. Dia. except that now Alb has played 3 on the third line for reasons shown in the next diagram. 6. Dia. ‘a’ might seem like a better extension than 3.
7). 8. To extend any farther than 3. There is some danger from a Negru invasion at ‘a’. but with the upper left corner open and an extension from Alb 3 to Alb ‘b’ still possible. which in this particular case seems to be right. 7.Dia. 158 . would be just a bit reckless. Negru should not play 1. however. A two-point extension is thinkable. 9. Alb should be able to handle Negru ‘a’ well enough. because that greatly lessens his chances for a successful invasion at ‘a’. (after Dia. but then Negru could play 4 and 6. Dia. Dia. Here Alb makes a three-point extension on the third line. and Alb’s position would be too narrow.
Dia. 10 or 12. we see Alb making a five-point extension. 12. This strongly defends the corner. Negru can invade at ‘a’ and almost surely capture the upper one of Alb’s stones. 10. Dia. as compared with his cramped one in Dia. Alb’s invasion is the subject of the next section. and if Alb fails to play 2. 10. Dia. The reasoning is that if the exchange of 4 for 5 is made later. as in Dia. he should look for an opportunity to play 1 here. Instead. before Alb invades it at the three-three point. mainly because the corner is still open. With this much open space on the side. 159 . Alb will have a satisfactory shape. In conclusion Alb’s immediate extension down the side leaves a rather unsettled position. Often the main point of this joseki becomes whether Negru gets to defend the corner. 11.
Both Alb 1 and Alb ‘c’ are quite large. Alb lives with 7. Alb 1 is an alternative to Alb ‘c’. which prevents them. but is forced to connect in bad shape at 6. and when Alb does not play ‘c’. Later Alb may be able to do something on the left side by playing ‘a’ or ‘b’. and so is Negru ‘c’. 1 shows the most typical joseki. Negru has extended to Δ. Negru plays 8 to take command on the left side. 160 . Obviously Alb had better consider what is going to become of the left side before starting in on this joseki. ‘a’. Negru cuts Alb 1 off from the outside with 2 and 4. but he can afford a moderate loss there since he has completely taken over the corner and the upper side. Dia. and Alb invades at the three-three point. or ‘b’.SECTION 24 In this section we will consider what happens when Alb has made a kakari. it may be because he wants to keep open the possibility of playing 1. and then Alb can come out of the corner to 9 on the upper side.
Negru can reduce Alb’s corner to seki in sente. Negru ‘c’. but then Alb can push out at ‘d’. on the one hand. 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. 17 is an interesting move. sometimes Negru can play 8 and pen Alb up in the corner. The drawback of this idea is that even though Alb’s corner is not alive after Negru 16. 2. Alb ‘b’. but then Alb plays ‘a’ and gets the maximum possible amount of corner territory. 161 . 3. On the other hand. Instead of letting Alb run out along the upper side as in the last diagram. Dia. Alb can sometimes fight by playing ‘a’ or ‘b’. threatening to capture one of the two Negru groups he has cut apart.Dia. and can hope for territory between it and the wall he builds. starting with Negru ‘a’. Or Alb can just play 17 to live. Negru can play ‘d’ in sente.
A completely different way for Negru to deal with Alb’s corner invasion is to let Alb connect to the outside. 5. Presumably he will not try. then jump out to 9. Alb may not want him to play as in the last two diagrams. Negru should do this only when he has some particularly good use for sente. When Negru has a stone at Δ. Dia. Negru cannot cut the connection between 9 and the corner because of Alb 5. 162 . or some good reason for hanging on to his territory on the upper side. 6.Dia. The exchange of Negru 6 for Alb 7 is played to make sure that ‘a’ will be Alb’s gote. In this joseki ‘a’ is left as a large endgame point. since he has given up the corner and gained nothing on the left side. 4. but just play the important point at 10. making territory on the upper side. and what he can do to prevent it is to play kaketsugi at 5. but in this case these plays come too close to Negru Δ to be worth much. He can play 10 and 12 here to hold Alb into the corner. and Negru ‘a’ looks bigger. Dia. in return for sente. should he get to play it.
see the next two diagrams. Because of this. Alb may be not so willing to invade as he was when Negru Δ was on the fourth line. Negru cannot always play this way. Negru defends his cutting point with 12. the moves are the same as they were in Dia. making excellent shape on the outside. however.Dia. Here we see the three-three point invasion into the kogeima formation made by Negru Δ. Dia. Up to Alb 7. After Alb lives with 9 and 11. 163 . 1. 7. Negru can often continue by playing 8. 8.
The joseki continues with Alb living in the corner in sente and making shape on the left side with 13 and 15. Dia. Dia. Instead of trying to block Alb. even though Alb is not yet alive in the corner. After Negru 16. a Alb extension on the left side and a very wide Negru one on the upper side are to be expected. 12. Dia. 11. This time he crawls out at 5 before playing the hane at 7. Negru should play 8 this way. When Alb has a stone at Δ.Dia. 9. 164 . 10. Negru is in considerable danger after the cut at 11. it is joseki for Alb to invade the corner immediately at 3. pressing from above and then playing 10 to defend his shape. When Negru makes the ogeima extension at 2.
and 8. 6.Dia. Alb should not hesitate to jump into the three-three point. and that he will not be giving Negru too grand a territory there. Provided that making territory on the outside is not essential to his overall strategy. 165 . letting Negru have the point 9. In conclusion Such is the size of the corner that the invasions of this section are played quite early. perhaps. The three-three point invasion is often used to answer a squeeze play. There is the compensating advantage that Alb can. play ‘a’ later and cut off Negru Δ. he plays 4. Alb would have no room to extend on the left side if he followed Dias. 13. This time. generally in the late opening stage of the game. 11-12. so rather than burden himself with weak stones there.
The purpose of this move is to make shape on the left side when there is not room enough for an ordinary extension. Another possibility would be to invade at the three-three point and take the corner. Alb 3: first variation Dia. else Alb takes the same point. 1. and then there are two possibilities for Alb 3. but then 166 . Negru almost has to play 2. Alb 1 could be used in the presence of Negru Δ. the tsuke at Alb 1 is another possibility worth considering.SECTION 25 After a Alb kakari and a Negru extension.
Alb should only play this way if the shicho in which the sequence ends works for him. Sometimes there is another way for Alb to answer Negru 4. as shown in this diagram and the next. and when Alb plays 5. 2. Dia. and provided he has a ko threat of his own big enough to keep Negru from then taking and connecting the ko. and even then he may not like this result. he can next capture the corner with ‘b’. 3. a big ko fight is in the offing. 167 . If Alb ignores a Negru ko threat be can cut at ‘a’. Alb 3 and Negru 4 are both good. aggressive moves. Dia.Alb would lose any chance of attacking Negru Δ. because Negru can cut at ‘a’.
Negru 8 at ‘e’ would be another possibility. 7. 6. . 168 . but at the same time Negru’s corner has become secure. Dia. Dia. Negru separates Alb’s stones into two weak groups. 5. and there remain the points ‘c’ and ‘d’ at which Negru can attack. Dia. Negru could answer Alb 7 by capturing. but then Alb could extend to T. More aggressive than the previous Negru 4 is the move shown here. but then Alb would develop upwards with 9 and 11. Negru can play atari at 6. Now when Alb plays 5. 4. who can get excellent eye shape with ‘b’. and pushes at 11 to give himself some room for the outside group. connects at 9.Alb 3: second variation Dia. While cuts at 7. Another possibility for Alb is the hane at 3. then . . One better way for Negru is to play a second hane at 4. but this makes life too simple for Alb. At the end of this diagram Alb has made an eye. Faint-hearted Negru players sometimes answer Alb 3 by connecting at ‘a’. By playing this atari and pushing through at 6. which aims at handling the situation without re-course to ko fights or shicho.
in which Alb plays 3 to trade the corner for the outside. Another way is for him to give up the corner but make shape on the outside. When Alb has played his kakari at Δ. the three-four point tsuke is the usual way for him to bite into the corner. 169 . since it keeps Negru from playing a similar tsuke at ‘a’. Other settings for the tsuke Dia. One way for Alb to continue is to live in the corner with 13 and 15. (starting with Alb ‘a’. 8. Dia. 11. Dia.Dia. Alb ‘c’). Of course this leaves his outside stones pretty weak. Negru ‘b’. Notice the possibility of ko left behind. 10. 9. There is also a hane variation. The exchange shown here is often played before making an extension down the left side.
Although he can now play tenuki.Dia. (Negru 2 is a tsuke 170 . when he is threatened with annihilation. when Negru answers Alb’s kakari simply by extending. This is the standard joseki for making shape on the left side when Negru has played an ogeima extension at Δ. 12. and 9 in sente. and Alb plays 5. A joseki that solidifies the corner immediately is the tsuke-osae above. Negru 4 is a strong and sure answer. SECTION 26 As has been seen in the last few sections. it is an indication that Alb should save them for use in real emergencies. If Negru seems to come out ahead in some of these sequences. he leaves Alb a lot of room to play around in the corner. 7. Alb cross-cuts at 3. his position can be attacked with some force at ‘a’. the purpose of the tsuke is not to make territory. but to defend against attack. In conclusion Bear in mind that in most cases.
with a ko left behind for later. hence the name. Alb 7: first variation Dia.and Negru 4 an osae. Negru gets to play ‘a’. or even ‘b’. When Alb connects here with 7. although there is the danger that Alb may play ‘b’ before Negru gets into action. Negru can also just answer 7 at 8. it behooves Alb to defend one of his cutting points. Negru can capture one stone in sente. 1. on the left side. If Alb plays 11 at 12. 171 . This leaves him the possibility of playing ‘a’ later. Dia.) After playing atari with 5. and he has at least three choices as to how to continue. 2. then extend along the upper side to or in the direction of 12.
but if he is willing to risk a loss there. Negru can answer by protecting his corner at 9. again Negru usually extends to 8. too. and then Negru captures a Alb stone with 12. 4. Alb 7: third variation Dia. Alb 7 is one move that Alb employs when he is in a position to make the left side his territory. 172 . and one which threatens an incursion into the corner. The cut at ‘a’ is another possibility to consider if the conditions are right. so Alb has to play 11. 3. Another move that defends the left side territory. This looks very good for him. is this Alb 7.Alb 7: second variation Dia. he has an excellent opportunity to cut at 8 instead. When Alb connects at 7 in Dia. 3. Negru 10 threatens Negru ‘a’.
6. Alb will play 2 and live. Actually. but needless to say. Alb 3: another possibility Dia. If Negru plays 2 at 4. 173 . Alb could choose one of the other variations studied above. 7. because Alb can invade the corner with 1. Dia. Here Alb already has a stone at Δ when he plays his kakari. but any of them would produce the same kind of over-concentration as shown in this diagram. 5. His corner is better defended by 12 than it was in the previous variation. it is not as good as it looks. Dia. and Negru has gained a definite advantage. Negru can also play atari with 10 instead of blocking at ‘a’.Dia. In this diagram Alb Δ conies out at least one line too close to the Alb wall to be efficient. 6 is the beginning of a long and hard fight in the center. and that makes the tsuke-osae especially appropriate.
This is the shicho. Negru will definitely play 4 from underneath. There is an interesting sequel to the sequence in Dia. After atari at 4. Then. Negru must connect at 6. Alb ‘c’.Dia. and instead of 7 Alb will have to play ‘a’. If the shicho works. 8. There is a way for Alb to deal with this problem. Dia. the next order of business for Negru is an extension on the upper side. Negru ‘d’. limiting Alb’s take in the corner and leaving him with some cutting points. If Negru tried to play 6 at 9. although it depends on shicho. even without putting 2 in motion. Alb would cut at 6 and Negru would be in a little trouble. 174 . Dia. Negru plays double hane at 10 and 12 in sente. After this. and Alb gets to come into the corner at 9. If it does not work. 8. he can push in between Negru’s stones at 3. which we have shown here. but later he can come back and cut at 1 in the next diagram. 9. 10. Negru can take a large upper side with Negru ‘b’.
In conclusion Negru’s tactics in this joseki may lack the light touch. 8 without having a stone already in place around the middle of the left side. and then Negru can make shape on the left side.Dia. but the way. Negru could do still better. 175 . After Negru 3. This. With more open space on the left side. Negru plays the squeeze-tsuke at 5 and makes quite good shape all around. 11. 12. as shown in the next diagram. is why Alb does not normally play Dia. not just in the corner. is a maneuver that can be played anywhere along the side where Negru has territory to defend. Dia. Alb Δ is in his way. Alb has to capture the stone in the corner. incidentally. If Alb Δ were not on the board. The tsuke-osae. but they defend the corner strongly and are often used by professional players. (else Negru plays ‘a’). but at least he has destroyed most of Alb’s left side territory.
To understand the power of Negru 6. or to keep Alb from doing so.SECTION 27 There are many occasions on which Negru answers a Alb kakari with a squeeze play. The easiest way for Alb to answer any squeeze play is to go in to the three-three point. and the onepoint squeeze play happens to be a good way to start. he may want to make territory on the left side. or even to make good shape on the upper side. Other cases would call for other squeeze plays. 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. as above. 176 . Negru is trying to make full use of his stone Δ by building a wall facing it. The last of these cases is illustrated in the sequence above. Negru 6 is the key move of this joseki. 1.
177 . More simply.Alb’s failure Dia. Alb has maybe ten points in the corner. Dia. 1. That leads to this position. if he is strong enough in the area. play ‘a’ and let Alb try to get away with ‘b’. in which Negru has built a strong wall and can look forward to a large territory on the upper side. he can. 2. After Alb 13. Negru pushes through and cuts on both sides with 10 and 12. he can play ‘b’ himself. with little chance for growth.
Notice that if Alb plays ‘b’ on the left side. 3. or postpone.Joseki Dia. Alb should play 7 in this diagram. but this time his territory on the upper side is not complete until he plays ‘a’. although that leaves the threat of Alb ‘d’. The last two diagrams are not joseki. 178 . Alb does not have the way into Negru’s upper side that he had before. he is threatening to connect at ‘c’. and Negru does not have the chance to play tenuki that he had in Dia. In this joseki Negru can sometimes omit. Instead. 10. Again Negru makes a good wall with 8 and 10. 3. but his prospects for breaking through on the left side are slightly better. Dia. 4 is also joseki.
5. The danger in playing 3 is that if Negru 2 gets away. 1 and 2 is followed. 6. intending to follow with an attack on the left side. Dia. 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. In this joseki. 179 . Alb does not have enough room on the left side to make two eyes. 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. and a sequence something like the one in Dias. The one-point jump is more appropriate when Negru has made his squeeze play on the fourth line. When Negru plays 2 there is also a variation in which Alb plays 3 at the three-three point.
Negru is aiming at a larger territory than in Dia. Negru may lose some of his territory. another way of lengthening his wall. If Alb starts to attack the Negru stones with 1. you may recall. Double kakari joseki are the subject of the next two sections. the three-three point invasion featured in most of the diagrams above is rarely a bad move. The main difference is that when Alb invades the corner at 3. he does things a little differently. He also has the squeeze-tsuke at ‘a’ to use if he gets into trouble. Negru 12 here is another way. Dia. Dia. but he can counterattack with the sequence shown. 180 . Negru cuts him off from his stone at 1. however. Negru can play tenuki. if possible.Negru goes for the left side Dia. 7. 9. 7. When Negru makes his squeeze play in order to take territory on the left side. another way— one that is often used in handicap games because it can lead to complications—and that is to make a second kakari. There is. For that matter. 8. In conclusion In answer to any squeeze play. so as to leave more territory between it and the wall he makes. This kind of play was studied in section 4. Negru 12 is one way of ending the sequence. In addition. Negru makes his original squeeze play a bit farther from the corner than before. Negru can also just push Alb along by playing 12 at ‘a’.
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. 181 . In this section we will see what ways Negru has to deal with Alb 1 and 3.SECTION 28 There are many times when. A second kakari at 3 is a good way for Alb to continue his attack on the corner. Negru makes no direct answer to Alb’s kakari at 1. for one reason or another.
Dia. he has a chance to play ‘a’. and Negru 6. A second kakari is one way of answering a squeeze play. 2. Before doing anything else. ‘b’. the key point for enlarging his left side while reducing Alb’s upper side. That is the idea behind Negru 4. especially in handicap games. Since this formation is so common. 182 . and the joseki gets a little complicated. ‘a’. and ‘d’. (nobi). (tsuke). The usual counter-measure against this double kakari is to push against the stronger of Alb’s stones. for his next play. it is natural for Negru to block at 8. ‘c’. Negru has made his wall and is in a position to swallow up the left side. At this point Alb has at least four choices. including the Alb stone Δ.Tsuke-nobi Dia. 1. When Alb plays 7 at the three-three point. building up power to use against the weaker one. however. Up to Alb 13. we shall take the time to go through the variations from ‘a’ to ‘d’.
he may be able to put 14 to use again. If he played 16 without playing 14. Alb might answer by exchanging ‘a’ for ‘b’. Dia.Dia. and Negru would have gote. after which a cut at 14 could be answered by Alb ‘c’. and then he takes the key point at 16. later. Negru has already gotten something out of his kikashi at 14 in that he has played 16 in sente. First Negru plays kikashi at 14. Alb answers at 17 or suffers the fate shown in the next diagram. Negru can surround him with these plays. 3. If Alb omits 17 in the last diagram. 4. 183 .
Later. letting Alb live in the corner and on the left with 9. Dia. Alb can cut at ‘a’ and take the corner. This brings up the tsuke at the three-four point. 184 . Negru can also answer Alb 7 with 8 here. There are some variations in which Alb plays 9 at 10 and Negru plays 10 at 9. but let’s leave those. The end result of this joseki is about like Dia. 5. By playing 10 Negru gets a high. strong position with power on the upper side and in the center. 6.Dia. 3. and this is joseki. Although it may seem inconsistent with the original idea of going after the left side. which are a bit tricky.
7 and 8 are joseki. He need not fear the cut at 9. getting into one of the tricky sequences alluded to earlier. Negru blocks his thrust at 8. so he connects there and Negru plays 12. Both Dias. Alb does not want to let Negru cut at 11.Dia. but his stones on the upper side are in rather bad shape. Dia. then fight on the outside with 14. since Alb has already usurped the point 7 which Negru took for himself. 2. (he would hardly exchange 7 for 8 if Negru had already cut at 11). for he can live in the corner with 10 and 12. following the course of Dia. in Dia. (at 16). 7. At the end of this diagram Alb has the corner. 185 . What if Alb invades the corner with 9? For Negru to answer by playing 10 at 12. 8. Better to play 10 as shown. When Alb plays 7 here. After exchanging 7 for 8. 3. would involve a loss.
which Negru must block at 8. 9. In one well-established joseki. 186 . Negru 10 defends. Finally.Dia. 10. Negru 18. Alb plays 9. Negru lives in the corner and gets out into the center. and the sequence continues as in the next diagram. Dia. there is this Alb 7. but hopefully manageable groups on both sides. threatening to push through at ‘a’. See if you can work that out for yourself. while Alb makes weak. by the way. is necessary to keep Alb from invading the corner at ‘a’.
11. which is sente since it forces Alb to extend down the left side. Alb can wall Negru in by playing ‘a’. letting Negru move out into the center by playing tsuke-nobi at 10 and 12.Tsuke-osae Dia. More often Alb connects at 9. Dia. and Alb’s wall will be a bit flimsy. If Alb captures at ‘a’. The diagonal play at Alb 13 happens to be good in this position. Negru can still live in the corner. he can play tsuke-osae instead of tsuke-nobi to make sure of the corner. they are not the only ways. Diagonal plays Although tsuke-nobi and tsuke-osae are the most generally useful ways of answering Alb’s double kakari. but then Negru will cut at ‘b’. After Negru 8. Negru can make a living shape in the corner by connecting at ‘a’. After Alb 17. When Negru is not interested in attacking either of Alb’s stones. or he can wait to play on the left side himself. 12. 187 .
) 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. When Negru already has stones on both sides. Dia. 188 . Alb can answer it by playing 2 at the three-three point. In conclusion There is little to fear from a double kakari. Negru will push and cut with 3 and 5. 13. this diagonal play toward the center. at least he can get a living shape in the corner with the tsuke-osae joseki. with Negru going for the left side. the diagonal move at the three-three point is good. is not fatal to the corner stone. for that matter. 13 is rather like some of the previous ones in this section. If Alb tries to blockade Negru with 2. 14.Dia. where he already had the stone Δ. (Even a triple kakari. The result in Dia. for example. from which he can connect to either of his two kakari stones. and Alb has two weak groups to try to save. and if he does not. (or 3 and ‘a’). There is also. He is alive in the corner.
He has diagonal plays at ‘c’ and ‘d’. which are exactly similar to the diagonal plays in Dias. The double kakari formation on the right above is the hardest one for Negru to handle. if Negru wants to attack on one side. Often a play at ‘d’. The only new idea is the tsuke at ‘e’. 189 . 13 and 14 of the last section. We shall see him doing that in the next few diagrams. ‘e’. Negru can make tsuke plays at ‘a’ or ‘b’. or T in the corner is preferable. is much like the one studied in the last section. Getting back to the formation on the left. he should begin by playing tsuke against the Alb stone on the other side.SECTION 29 The double kakari formation on the left above. since his only way of coming out into the center is ‘c’. which are similar in purpose to the tsuke plays before. where Alb has one stone on the fourth line. which is not always very good.
One way for Alb to respond is with the . Now Negru wants to attack on the left side. but after Alb 6 Negru has made a wall which works well with his stone in the middle of the upper side. Next he might play ‘c’. Here Negru plays 1 in order to attack Alb Δ. but just wants to make a safe position. lengthening his wall and further isolating Alb Δ. Then. after Alb 6. Dia. Dia. but one which makes it easy for him to get two eyes. 2. so he uses the tsuke on the right. 1. 3.Negru plays tsuke Dia. not a large-scale move. He cannot play 5 at ‘a’. This sequence can also be used when Negru is not interested in attacking. (Alb would push through at ‘b’). he plays 7.
with Alb eyeing the cutting point at ‘a’. 4. Negru 5 takes the corner. Before connecting at 10. Alb can play 4 at the three-three point. Dia. . Instead of connecting with 4 in Dia. There is also the possibility of Negru’s trading the corner for a high. the sequence comes out about like the one just before. 5. strong position on the upper side by playing this way. it would mean less chance for success with Alb ‘c’. and if Alb tries to escape with Δ. 3. Dia. It is also joseki for Alb to play at the three-three point immediately after Negru’s tsuke at 1. he will be in for a hard running fight. Alb can exchange ‘a’ for ‘b’.hane at 2 and the kake-tsugi at 4. letting Negru take the corner. 6. Dia. but since that would solidify Negru’s shape. or anything else Alb might use to try to break up Negru’s territory. When Negru blocks at 3.
which starts from the tsuke at 1 and the diagonal play at 3. 7. . (or tenuki). he will have no trouble managing his stones on the left side. he may want to avoid the result of the previous diagram. Double high kakari When both of Alb’s stones are on the fourth line.Diagonal tsuke Dia. ends with a ko shape. Negru naturally plays 3. Whether it is good or bad for Negru depends on whether Alb has enough ko threats to cut at ‘a’ or not. in which case he plays Alb 2 in this diagram. and of course Negru has taken the corner and severely weakened Alb’s stone on the upper side. Dia. If Alb lacks the ko threats. If not. 8. If he does. and Alb might continue with an extension on the upper side. the number of possible joseki is much smaller than before. they may be rather cumbersome. This joseki.
and the joseki ends with Negru capturing one of Alb’s original kakari stones. Alb naturally enters the corner at 2. Dia. The four-four point was much in vogue during the ‘shinfuseki’ period of the nineteen thirties.Dia. spoiling Alb’s territory on the upper side. 9. In conclusion This concludes our study of the four-four point joseki. They figure not only in all handicap games. . an attempt to make a largerscale capture. With Alb Δ on the upper side. might be better if Negru Δ were closer. but frequently in even games as well. because ft supports large-scale extensions without the making of a shimari. but Negru 3. When Negru comes out toward the center at 1. is compensation enough. the four-four point is second in popularity after the three-four point for the opening play in the corner. 10. Negru would do best to take the corner at 1. Among professional players. when high-speed opening development was the style. That lets Alb build on the outside with 2. Negru 5 at ‘a’.
He can make the opposite exchange if he wishes. The invasion at 1 in Dia. Negru expects Alb to answer at ‘a’. he is going for quick outside development rather than corner profit. by attacking at ‘a’ instead of at 1. (section 30). Two things can be said about a stone so placed. (and obviously). There are three common ways to attack a stone on the three-five point. 2. (section 35). is the easiest. 1.CHAPTER 6 Three-five point joseki INTRODUCTION This chapter is devoted to the joseki which start with a stone on the three-five point. and in order to make best use of the stone in Dia. like the Alb one in Dia. 1. Alb is aiming at the upper side rather than the right side. and will be satisfied to make a simple trade of corner profit for an outside wall. his whole opening strategy should proceed along those lines. Firstly. . Secondly.
6. Negru can also answer Alb 2 by invading. 4 goes unanswered. In the rest of this book. often arises when Alb 1 in Dia. or ‘b’.). If Alb’s sole purpose is to develop on the upper side. (sections 31 to 34). he attacks at 1 in Dia. if he wants to make matters complicated. (or ‘a’. Alb has several squeeze and pressure plays to use against Negru 1. as at 3 in Dia. we have nothing special to say about the joseki which follow from Alb 2. etc. This pattern. . Negru 3 is the key point. 3. if Alb played there he would greatly expand his area. and the resulting joseki have a way of becoming complicated. of course.When Negru wants to get his share of both the corner and the outside. 5. however. he may answer Negru 1 by just extending to 2. in Dia.
described in section 19. All three of these plays are strong toward the center but weak in the corner. he can play 1 in Dia.If Negru does not get around to making any attack. 7. This move may be compared with the three-three point invasion under a handicap stone. 8. although that shimari has a weakness at ‘a’. but now the invading group cannot be confined as closely as it was there. SECTION 30 Negru 1. we shall drop the subject of Dias. Or. is the simplest way to attack a stone on the three-five point. Alb 2 is the usual . an invasion at the three-three point. 8. This makes Negru 1 rather attractive. various players have experimented with Alb ‘b’ or ‘c’ with mixed success. Alb can form a shimari with 1 in Dia. if he wants his shimari to face across the upper side. 7 and 8 here. 7. Since we are not going into shimari joseki in this book. Instead of Alb 1 in Dia. the opposite of Alb 1 in Dia.
for the ensuing fight will turn out well for him.response. ‘c’. expanding his corner territory. Dia. 1. In many cases he will make his next play somewhere on the upper side to counter the wall Alb has gotten. Shows the basic joseki pattern. 2. ‘b’. if Alb plays 8 at 9. In this sequence. then Alb may be the one to play next in the corner. 1. Negru should not hesitate to cross-cut by playing 9 at 8. What can he do? . but leaves the position as it is in Dia. it is also joseki for Negru to continue with these moves. 2. he has sente. Negru pushes along the third line with 3 and 5. and after Alb 6. If Negru does not play Dia. Alb 4: nobi Dia. or tenuki. but keep in mind such other possibilities as ‘a’. However.
Alb 1. Dia. you can appreciate the value of the moves in Dia. Dia. . but after them ‘a’ becomes Alb’s sente. 5 shows a third way for Alb to assail Negru’s corner. then Alb. Looking at the last three diagrams. you can investigate that possibility on your own. If Negru answers at 2. however. after 3. If he plays tenuki after this diagram. 2. putting Alb in a position to profit on the right side as well as in the center and on the upper side. in many situations. do better to answer Alb 1 at 3 instead of at 2. 3. Alb 1 and 3 are gote. and Negru is at a loss to find a good answer. Negru’s corner is still perfectly safe. To begin with. Alb can capture either the Negru stone on the three-three point or the two Negru stones below Alb 1. 4. is gote. Alb 1 is a fairly large move.Dia. Negru may. is threatening the twin cutting points ‘a’ and ‘b’. Alb 1 here is another possibility.
which is a great help to him in managing his stones there. On the upper side Alb can play ‘a’ or ‘b’ in sente. This sequence is not joseki: if the shicho works it is bad for Negru. while if the shicho is broken then Alb 8 and 10 are incorrect. Alb would like to answer with 6 and 8. Unfortunately. he has by far the better position.Alb 4: hane Dia. but if Alb can capture Negru 5 in shicho by playing 10. Negru is alive in the corner. Negru 9 is necessary. since Negru may be able to cross-cut at ‘a’. Dia. It would be unfair to leave this joseki without showing what happens when Alb plays hane at 4. (either of them threatens to kill the comer). and a fight in the center involving Negru 5 and 13 and the two separated Alb groups is about to take place. 8. Alb 12 at ‘b’ is also possible in this joseki. Dia. this is the standard joseki. 7. this gets a bit complicated. With the shicho not working. instead of nobi at ‘a’. and the cross-cut at 5 is wrong. If Negru does cross-cut at 5. 6. .
As a sequel to the last diagram. instead of playing hane with 4 at 5? Dia. . Alb can capture the cutting stone in geta with ‘b’. if Negru tries to cut at ‘a’. 4. Why does Alb let himself be pushed around like this. If Alb did play hane at 4. this is joseki. What makes it disagreeable is that with the strong Negru stone at Δ. and then Negru plays 7. but since Alb still has the cutting point at ‘a’.Dia. Before leaving this section’s joseki. 9. let’s look at it in operation during an actual game. Alb can push his opponent in with the tsuke at 1. When the shicho works for Alb. The shicho is against Alb. Observe that after Alb has played 5. Negru invades at 1. Alb plays 2. or some such move. and Negru will have to reply with 5 to 9. Alb cannot do much on the right side. and 6. 12. Negru would cross-cut at 5. His weak stones at 10 and 14 will be nothing but a worry for him. so he has to connect at 8 and follow the sequence shown. on the upper side. Dia. Negru’s position is very low. he will definitely play the hane at 4. 11. 10. Dia.
In conclusion There is considerable difference between the three-three point invasion which occurs in four-four point joseki and the three-three point invasion of this section. The former is largely a tool for destroying the opponent’s territory. leading to a more active position. and can be made without hesitation in the earliest stage of the opening. and is made in the late opening or middle game. The latter is a constructive play. .
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.SECTION 31 When Negru plays the kogeima kakari at 1. . but Alb can still press him down with 2 and 4. so as to build territory on the upper side or in the center. and consider alternatives which exist to Alb 4 and Negru 5.
2 is that Alb Δ keeps Negru from making any corner territory. The purpose of 13 and 15 is to give Alb profit in the corner. . Since Negru cannot allow himself to be pushed forever along the third line. Negru has to defend at ‘a’.Continuation Dia. Negru would capture at 17 and be very happy with his exchange of some points in the corner for a pon-nuki in the center. Dia. If Alb played 17 at 18. but at this point he has some kikashi to make on the right side. Alb’s plan is to cordon off the entire upper side. The sequence continues through Negru 22 and onward. Alb intends to keep on with his wall by playing ‘a’ or. but first he has a chance to play a kikashi of his own at ‘b’. 1. The effect of Alb’s plays in Dia. 3. ‘b’. 2. and we leave you to devise subsequent moves for yourself. so after Negru 4 he continues pressing with 5 and 7. Dia. and Alb can later play ‘a’ to take the corner for himself. he plays 8 and 10 to turn Alb’s advance and reach a higher altitude. better yet. This position might appear at the beginning of the game. Next.
8). 6. for he has the possibility of pushing at ‘a’ and cutting at ‘b’ to work with on the right side. Negru can then bend Alb around with 2. At times this maneuver is necessary. but Alb need not necessarily complain. and 6. 2. 4. and then Negru can play on the upper side himself. 5. Negru 4: variation Dia. . Alb 5 is forced. instead of continuing to push down the right side. but starting from the basic joseki position. If Negru wants to keep Alb from making an extension on the upper side. Alb may just extend to 1 on the upper side. using the same ideas as in Dia. 4 shows another way of playing.Dia. but it has a big drawback. he should play 4 this way. After the basic joseki. Dia. (see Dia.
Dia. With the exchange of Alb 3 for Negru 4 it may seem that nothing special is going on. 6 is necessary. Dia. not Negru. but think what will happen if Negru cuts at ‘a’ or pushes at ‘b’. 7. his corner can be killed. . 8. It is easy to see that the exchange of Δ for Δ is solidifying Negru’s position. If Negru fails to answer. The drawback is that Alb can play 7 in sente. while helping Alb very little at all. Negru will take the key point at 2. An experienced player feels instinctively that Alb 5 in Dia. If Alb extends to 1 after the moves marked Δ and Δ. Now it is Alb. but you may want more of an explanation. who is in a position to make territory on the right side.
Alb 3: one-point jump Dia. 10. This variation of the joseki continues up to Negru 10. Dia. Dia. If Negru tries to push out with 4 and 6. . Alb can vary this joseki by making a one-point jump with 3. but it is quite safe. Alb ‘a’ would be sente. and Alb should now make a very wide extension on the upper side. 9. 11. 12 to 14. This way of playing looks a little bit loose. Dias. If Negru played 10 on the upper side to stop Alb’s extension. he will get into the same kind of pattern as in section 9.
and there is space in this book for only about one percent of them. Therefore. (great slanting). the most notable feature of which is complexity. joseki. (i) Alb presses Negru into a low position on the right side. but one of the squeeze plays in the next three sections. The taisha is known as the joseki of a thousand variations. but that is not usually such a good idea. for Alb can then get a very strong formation by playing ‘a’. this joseki can be used to reduce a developing Negru territory to a moderate size. If he wanted to develop there. but two other points about this joseki should be borne in mind. (ii) Alb more or less gives up any hope of making territory on the right side for himself. SECTION 32 Alb 1 above begins the taisha. Fear of the taisha prompts some Negru players to tenuki after Alb 1. he would not choose the pressure play at 2.In conclusion The main purpose of Alb’s pressure play at 2 is to build on a large scale toward the center. .
. 1. This one can lead to Alb 3 and 5. tsuke plays are more in keeping with the spirit of the taisha. Second tsuke Dia. he can play 2 this way. For Negru 2. Negru may continue his progress down the right side at 6. Here is another way for Negru to play tsuke at 2. which duplicate one of the variations in the last section. Then there is only one variation. with 4 to 10. which bears a close resemblance to the basic joseki of the last section. If Negru is looking for a simple answer to the taisha. Negru can again come marching down the side.Avoiding trouble Dia. First tsuke Dia. If Alb answers at 3. 3. 2.
but if it does. Third tsuke Dia. Before Negru connects on the outside at 6. he has an easy exchange of corner territory for outside strength and sente. however. The real fun begins. 4. when Negru separates Alb’s two stones with this tsuke. Alb 3 is standard. 6. 5. creating three cutting points in Alb’s position. After Alb 5. while Negru cuts and gets a large corner.Dia. . he must make sure that the shicho works. 7. Dia. Dia. Negru has to connect on one side of Negru 4. and Alb will cut on the other. Alb connects at 7 and makes an outer wall in sente. In the most typical variation of this variation. Or Negru can play 4 this way.
Dia. . Negru’s eye shape is not very good. letting Negru capture and connect the ko. Here there is the gruesome possibility that Alb will play 11 at ‘a’. the simplest continuation sees Negru sacrificing a stone and playing 8 and 10. but obviously getting a perfectly satisfactory result. so an extension like 16 is called for. starting a ko fight. but he needs some truly large ko threats to carry this off.Dia. When Negru connects on the inside and Alb cuts at 7. Usually Alb continues with this 11. 9. 8.
Dia. and ‘c’ for the eleventh move. Those who play it often have nothing more in mind than to lure their opponents into complicated fighting. Generally speaking. It is sometimes considered as the standard taisha joseki. the taisha has no particular strategic meaning. 11. 10. More complicated variations follow when Negru answers Alb 7 by drawing out of atari at 8. ‘b’. for it can lead to almost any kind of pattern. The next two moves are fixed. and thereafter the variations become too numerous and involved for any but the most devoted to learn thoroughly.Dia. but at the end of this diagram Alb can choose from among ‘a’. This is one of the shorter variations. . In conclusion Thus ends our cursory glance at the taisha joseki. from which they hope to emerge victorious.
There are then two things for Negru to consider in choosing his next move. Negru just connects at 7. Alb 6 used to be the only recognized continuation from the basic joseki diagram. In the first one. the diagonal play at 3 will serve the purpose on most occasions. The time-honored play Dia. and we shall stick to it in this book. much as was done in some of the joseki of sections 28 and 29. The other is . 1. Although Negru has various ways of answering it. which he may be able to attack. like the taisha of the preceding section. Alb 4 and Negru 5 are standard after Negru 3. We shall take them in that order. a difficult joseki. One is the line of Alb stones on the right side. so its variations have been well worked out.SECTION 33 The one-point squeeze play at Alb 2 is. but for Alb 6 there are two choices. ‘a’ and ‘b’. Another possibility is to play tsuke with Negru 3 against the stronger of Alb’s stones. and Alb defends on the upper side at 8.
he can connect to either the upper side or the right side. to be used at 9. Therefore Negru sometimes plays 1 before going into action on the outside. If Alb plays 2 and so on this way.‘a’. 3. From Alb’s point of view. but makes a wall on the upper side and gets sente. 2. and Negru will be left with neither territory nor a place to make two eyes. If Alb plays ‘a’. Negru gives up the corner. If Alb answers at 2. Dia. Dia. perhaps. the main advantage of this exchange is that he can connect at ‘a’ if his three stones on the right are attacked. the weak point in the corner. . Negru secures the corner with 3 and Alb’s upper side needs defending at 4.
in which case Alb should defend the corner by exchanging 18 for 19. Negru has to make some answer to Alb 6 to keep Alb from pushing through at 11. The new-fangled play Dia. is correct in this joseki. Negru can connect at 17. preparing for an extension to the left. and 12. Alb answers with 8. since if Negru later plays ‘b’.) Dia. 5. however. Negru 13. Usually. in which case Alb may get a chance to cut on the upper side. Alb 6 in this diagram has been in use for less than a decade. but it need not be the solid connection. 4. Negru 7 here also does the trick. Alb continues with 14 and 16. but there is no doubt about its being a sound play. (The latter reach one line less toward the left.Dia. or Negru can use 17 to attack on the right side. 10. it is better for him to have 13 and ‘b’ than ‘a’ and ‘b’. . 6. rather than Negru ‘a’.
It would be better for Negru to do nothing at all than to play 9 or ‘b’. Dia. The best continuation from Dia. Alb will immediately exchange 10 for 11. but of course if Negru had originally played 9 at ‘a’. for exactly the same reason. After the last diagram there is no good way for Negru to get out into the center from his corner position. . At least he has the cutting point at ‘a’ to aim at. 8. Negru 9 at ‘b’ would be no good either. making Negru 9 into a bad move.Although a bit passive. If he plays 9 this way. the diagonal tsuke at 7 is one possible answer to it. Clearly Negru ‘a’ would now be better than Negru 9. Alb would have answered at ‘b’. 6 for Negru is to play 9 and 11 and allow himself to be surrounded. 7. Dia. for instance. 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.Dia. Rather than get barricaded into the corner. . and what comes next depends on the position in the lower right corner. leaving the diagonal tsuke at ‘a’ for possible use later. 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. Alb 8 starts a running fight. Negru often answers Alb 6 with an attack on the right side at or around 7. 9.
just as in the previous section. Against the squeeze play on the third line.SECTION 34 The pair of Alb 1’s above can both be classified as two-point squeeze plays. Alb uses the squeeze play on the third line when he wants to develop on the right side. there is also the tsuke at ‘b’ to be considered. . and the squeeze play on the fourth line when he wants to develop on the upper side. however. In answer to either of them. the most natural thing for Negru to do is to advance toward the center with a diagonal play at ‘a’. but they lead to rather different joseki.
Negru is left in a good position to gain territory on the upper side. 2. 1. 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. Negru should try to attack with some move like 1 in the next diagram. lest Alb enclose him by playing at the same point. and then Alb lives with 4 and 6. he will reply to Negru 2 by extending to 3. lest Negru enclose him there. Dia. Negru can be expected to close Alb in at 3. Alb will look for a chance to play ‘a’ and rob Negru of his eye space. Negru must play 3. Negru should take the valuable eye space in the corner with 5. Now that both sides are out into the center.The squeeze play on the third line Dia. Before Alb has time to do so. Dia. and Alb must play 4. . The aggressive way for Alb to answer Negru 1 is to come out toward the center with 2. 3. The safe way for Alb to answer Negru 1 is to dive into the corner at 2. which makes up for his losing the corner.
takes the corner with 10. . and 7 are natural. You will see how that goes in Dia. 4. it may be better for him to play 5 in the first place. 5. Alb’s groups are both still in need of attention. and Negru. too. Assuming the danger on the upper side to be the more serious. the second way of answering Alb’s squeeze play on the third line. Alb 3. Dia.If Negru is not in a good attacking position on the upper side. unless he is in a strong position to attack on the right. but his four stones on the right side are rather weak. 5. Dia. Unless there are some other Alb forces in the surrounding area not only is Alb’s single stone on the upper side in danger. 6. and so is Negru 8. Alb plays 9. This brings us to Negru 2. instead of 1.
The squeeze play on the fourth line Dia. Negru could easily invade. but now there is not so much open space. having this resource. are important. 6. 3. however. Alb 1 would not be so good if Alb Δ had been played on the third line. taking the corner. ‘a’ is another point for Alb to aim at in this joseki. Dia. The reason for playing Alb 1 on the fourth line can be seen in the next diagram. When Alb puts 1 on the fourth line. 7. and so he answers Negru 2 by playing 3. and 5 is to make it hard for Negru to get into Alb’s extension. Now. Alb 1. imagine the situation if they were omitted and Alb got in to the two-three point. loosely confining Negru to the corner and linking up Alb’s positions. or whatever point he has his eye on the upper side. By the way. at ‘a’. If Alb had just played 7. . without going through the preliminaries. is an excellent point. for instance. Negru 4 and 6. he really has the upper side in mind. The purpose served by Alb 1. Alb has sente and can extend to 7. Alb need not be afraid of being attacked on the upper side.
the usual pattern has been for Negru to take the corner while Alb develops on the outside. We shall look at both ways of extending. or extend down the right side. SECTION 35 In the three-five point joseki seen so far. he can play 1. . Negru can play tenuki. or extend up into the center.In conclusion Being one line further from the corner than the one-point squeeze play and taisha of the preceding two sections. the two squeeze plays of this section are less aggressive. and then take up a possible variation in Alb 4. inviting Alb to defend the corner with 2. however. If Negru has some reason for preferring the opposite exchange. Alb wants to handle the corner with just a few moves. Following the exchange of 3 for 4. leaving lots of possibilities open for the future.
but if Alb fails to answer it. 3. When Negru wants to give himself some room for his stones on the side. and thereby gain profit at the edge of the board. Negru 2 in the last diagram is not absolutely sente. Dia. for example—Negru can play 2 in sente. 1. Negru can play 1 and so on in this diagram. 4. which threatens an invasion at ‘a’. At the proper time—in answer to Alb 1. See if you can work out the effect of Negru ‘a’ for yourself. Dia. Dia. . In this situation. this extension is good. as he does here. The three-line interval between Negru 5 and the two-stone wall is correct.Negru 5: extension down the side Dia. Alb can play 1 himself to forestall a Negru play there. elbowing his way around Alb’s corner and leaving Alb with the threat of Negru ‘a’ to worry about. Negru 2 is sufficient defense against the threat of Alb ‘a’. 2.
he should go into the center. so if he wants to make an extension. This time. Negru 5: extension into the center Dia. Dia. The two-point jump to 5 is also joseki. .however. 5. by provoking Negru 2 he is reducing the value of his possible extension to ‘a’. If Alb omits 8. Here Negru already has a stone on the side. lest Negru’s side territory grow too large. that will be a good point for Negru to take. Negru 5 to 7 are standard joseki plays. 6. Alb should definitely exchange 8 for 9.
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.
but he would find himself tightly shut into the corner. Instead of 1 in Dia. Something else to keep in mind after the last diagram is this combination. 10. . Dia. which threatens the hane at ‘a’. and then Negru extends to 4. 8. with which Negru can break out of the corner. Alb can play 1 at the threethree point. Even if it dies. Negru should refrain from playing unnecessarily at ‘a’ or ‘b’ in Dia. 9. How then should Alb proceed? go Dia. Alb 3 defends. because it enables Negru to play ‘a’ or ‘b’ effectively. Now Negru’s countermove is the diagonal play at 2. Dia. Alb 1 in this diagram is one possibility. after which he could play ‘a’ instead of 2 and make a base on the right side. planning to exchange the corner for a base on the right side. Negru could still make his stone Δ live. Negru Δ is not going to waste.Negru plays tenuki It often happens that Negru lets Alb’s keima without an answer. and it is better for him to jump down to 2. As long as he thinks he might want to use this sequence. Another idea would be for Negru to try to get a stone on the point ‘b’. 8. 8.
As the last three diagrams make clear. but it is Negru’s plan to have Alb cut at one of them or the other. making eye shape. . he will not have made an unfair trade. and Alb’s best reply is to draw back at 3 Negru 4 may seem strange. and there will be many times when Negru will want to counter it from the outside. The hane at 2 is correct. since it leaves the double cutting points ‘a’ and ‘b’. and even if he plays tenuki again. leaving his corner stone to be attacked again. he still has lots of ways to fight. then capture the cutting stone. letting Alb kill the corner with a fourth stone.In conclusion The tenuki variations of this joseki are important. Alb’s keima is a move with a large-scale meaning. SECTION 37 Alb’s second way of answering Negru’s kakari is the outer tsuke at 1 in the diagram above.
then Negru has built up his position in sente. The most common variation of this joseki has Alb cutting on the outside at 5. Dia. 2.Alb cuts on the outside Dia. and with his good eye shape he can leave this part of the board and play elsewhere. . blocking Alb from the center. Negru can also continue with 10. and Alb taking the corner. 1. then Negru can play the point 12. If Alb does not answer Negru 10. However. the exchange is fair. Dia. Negru capturing the cutting stone. 3. Negru has sente. Considering that Alb has played one more stone than Negru. If Alb answers as shown.
This play does not threaten the life of the Negru stones. If Alb cannot kill the Negru stones. he may have to prevent the invasion by capturing at 4 immediately when Negru plays 1. Alb has a kikashi at 1. 6 shows another variation of the joseki. but Negru Wants to defend at 2 anyway. allowing Negru to connect at 2. 4. and is profitable to Alb. Negru should not play 8 at 9. because then Alb would cut at ‘a’. The 1-2 exchange hurts Negru’s eye shape and pushes him down along the side. and Negru should be able to live on the right side with 7. Alb has to answer Negru 3 at 4 instead of at 5. 5. in which Alb follows the cut at 5 with 7 and 9. his position would be markedly better than in Dia. to forestall a stronger attack. taking the corner. 1. trying for an outer wall instead of the corner. Dia. Another reason for playing Negru 10 in the last two diagrams is that it makes possible Negru 1 in this diagram.Dia. and having played 7. . This variation can be something of a puzzler because of the ko. If Negru does not play 10 as above. Because of Negru Δ. Dia.
(or just as happily cut on . 9. avoiding Alb’s cut. After the 5-6 exchange Alb has various possible moves—’b’. and Alb has countered with the tsuke at 1. etc.—but he has poor eye shape and Negru’s stones are working effectively. Alb would happily cut and take the corner. Variation Dia.Alb cuts on the inside Dia. Dia. If Negru mistakenly played 4 in the usual way. 8. ‘c’. squeezing Alb from both sides. Naturally he must make sure that the shicho works. 7 shows the variation in which Alb cuts on the inside with 5. but this time Negru should play 4 on the second line instead of at ‘a’. Negru has made a squeeze play at Δ. Negru 2 is still good.
and another which says that ‘pon-nuki is worth thirty points’. including tenuki. Negru 4 makes a strong shape. An extension to or around 5. and is a good move even though it is played on the second line. Negru Δ would then lose its attacking force. SECTION 38 Alb’s third way of answering Negru’s kakari is the inner tsuke in the diagram above. Negru 2 and Alb 3 are fixed. is fairly important. which are shown below. . No matter how big and strong Alb’s positions in Dias. In conclusion There is a go saying which tells us to ‘capture the cutting stone’. and would be left too close to the strong Alb position for comfort. Negru has good eye shape and sente and a perfectly equal result. For Negru 6 there are several possibilities.the other side if the shicho in Dia. and make a stable position. 7 worked). giving Alb some room on the side. 1 to 7 may look. This joseki provides good illustrations of both of them.
it gives the same position as in Dia. Here Alb would play 1. Alb will look for a chance to attack as in one of the next few diagrams. . Dia. With his first three stones on the second and third lines. 4. 1 of section 6. Dia. and now Negru has to figure out what to do about the Alb stone left on the lower side. He has reached a firm shape. reaching a little farther to the left. 3. and Alb is very pleased to have swelled his area on the right While aiming a spearhead into Negru’s territories on the lower and left sides. Dia. Negru often plays 6 here.Negru plays 6 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. 1. This is one possibility for Negru 6. This is a more aggressive choice for Negru 6. After 7 and 8. 2. Negru must extend "high with 6. Alb plays 9 so as to provoke Negru 10 and give Himself a good excuse to connect at 11.
Alb will play ‘b’. So Negru will play 6 this way. If Negru now plays ‘a’. Negru may prefer to fight back with 2 and 4 in this diagram. Negru must reply at ‘b’ or be killed by a Alb play at that point. (in section 9). Alb 7 and 9 are necessary for making shape on the lower side. ‘a’ is Alb’s sente. 6. Dia. . which are also joseki. We have been through that pattern before. and seen that it does not work for Negru. and start a fight in the center. Alb 5 is a good connection. and then Negru 10 and 12 are necessary to live in the corner. Later.Dia. 5.
7. and although Negru’s position on the lower side is none too strong. . 4. 9. Negru 2: tenuki Dia. Dia. we see him playing 2 on the center point on the right side. and still Negru’s group is not safe. When Negru plays 2 closer. he builds a vast area across the lower side. With the situation in the lower left corner reversed. 8. there is no great problem about it. Here. Continuing with 3 and 5. This gives him good eye shape. he has sente to play 8. and prepares for a possible counterattack against 2. Alb should change his tactics slightly by playing 5 as shown.Dia. and 7 are natural. hitting right at Negru’s sore spot. Alb 3. Now he will attack with 1. Alb’s aims are different from in Dia. If Negru prefers to ignore Alb’s original tsuke at 1. for instance. 5. so as to make full use of his shimari.
10.Dia. Alb’s plays in this section stress development along the side. . In conclusion While the joseki of the preceding two sections stressed development toward the center. Both styles are joseki. whereas before Alb played as though the envisioned areas stretching high and far across large portions of the board. now he is only going for a modest side position. Negru could strengthen himself in sente with 6 and 8. That is. leaving Alb without certain eye shape in the corner. If Alb played 5 as here. and both have their places in the opening.
Atari (check): an immediate threat to capture. A player has gote if his opponent has the initiative. or English alternatives for Japanese terms. Gote (go-teh): A move is gote if it does not evoke an answer from the opponent. . Diagonal tsuke (kosumi-tsuke): a diagonal play which is also a tsuke. Gote is the opposite for sente. Diagonal play (kosumi): an extension like the one in the diagram. Double hane (nidan bane): Two successive hane plays. or pronunciation of Japanese terms.GLOSSARY OF TECHNICAL TERMS Note: The parentheses give Japanese alternatives for English terms.
Kakari (approach): a move that approaches a single enemy corner stone from the outside. a kikashi play is typically ignored for a while. . The virtue of a kaketsugi is that it makes some eye shape. outside the main flow of play. but the expectation is that it will turn out to be valuable later on. (usually). After it has been answered. Keima (knight’s move): see the diagram Kikashi: a forcing move made.Hane (ha-neh): A move which bends around an opponent’s stone. The drawback is that Negru can play ‘a’. Kaketsugi (hanging connection): a connection like the one in the diagram.
. cross-cut. A player has sente if he has the initiative. as in the diagram. Shicho (ladder): a zig-zag pursuit. that is.Nobi (no-bee): an extension away from an opponent’s tsuke. Nobi Ogeima (large knight’s move): as in the diagram. threatening to make it fail. if it is his turn and there are no threats he need answer. Sente (sen-teh): A move is sente if it calls for an answer. Shicho-breaking move: a stone played in the path of a potential shicho. etc.
The diagram shows a typical example. but not in contact with any friendly stones. Tesuji (teh-soo-djee): the best play in a local position. a tactically sound move. Tsuke (tsoo-keh): a play made in contact with one of the opponent’s stones. Squeeze play (hasami): a play that attacks by preventing the opponent’s extension down the side. Squeeze-tsuke (hasami-tsuke): as shown in the diagram Tenuki (teh-noo-key): A player plays tenuki if he ignores his opponent’s last move. and turns elsewhere. . A shimari does not exactly secure the corner. but it does make a base around which it is hard for the opponent to gain a foothold.Shimari (closure): a two-stone corner formation.
. 1 In the Beginning by Ishigure Ikuro 9-dan Required reading for all beginning players. Mountain View. A free catalog of go books and go equipment is available on request. *G2 Basic Techniques of Go by Haruyama Isamu 9-dan and Nagahara Yoshiaki 6-dan A general introduction to tactics.Bibliography Elementary books are marked with a single asterisk. California 94043. All the josekis that you need to know until you reach expert level. **G6 Strategic Concepts of Go by Nagahara Yoshiaki 6-dan Some of the basic concepts of go and the middle game are analyzed. Tel. *G11 Vol. Inc. 415-964-7294. 2 38 Basic Joseki by Kosugi Kiyoshi 7-dan & James Davies The ideal introduction to josekis. 1400 North Shoreline Blvd. Tokyo. Japan or in North America from Ishi Press International. with a large number of problems that utilize these concepts. . All the books listed below are available from the Ishi Press. intermediate books with a double asterisk and advanced books with a triple asterisk. CPO Box 2126. fuseki. Building A7.. Covers the fundamental ideas of the fuseki (opening). ELEMENTARY GO SERIES *G10 Vol. endgame and handicap go.
Covers the fundamentals of positional judgment as well as other topics. *G16 Vol. 3 Tesuji by James Davies The basics of tesujis (tactical brilliancies) with over 300 examples and problems. . *G17 Kage’s Secret Chronicles of Handicap Go by Kageyama Toshiro 7-dan The correct way to play handicap go. Lots of examples and problems. 6 The Endgame by Ogawa Tomoko 4-dan & James Davies The standard book in English on the endgame.*G12 Vol. *G13 Vol. **G15 Vol. Examples are from handicap games. 5 Attack and Defense by Ishida Akira 9-dan & James Davies The basic book on the middle game. 4 Life and Death by James Davies The basics of life and death with over 200 examples and problems. **G14 Vol. 7 Handicap Go by Nagahara & Bozulich The fundamental principles of handicap go are presented with a problem section. **G19 The Breakthorough to Shodan by Miyamoto Naoki 9-dan Basic principles you need to know if you are going to reach expert level.
**G29 Reducing Territorial Frameworks by Fujisawa Shuko 9-dan An excellent book on the middle game. 1: 3-4 Point Josekis ***G22 Vol. All about building and and reducing large frameworks of territory. G30 An Introduction to Go. ***G24 Enclosure Josekis.DICTIONARY OF BASIC JOSEKI. 3: 5-4. How to attack and kill your opponent’s stones. **G26 The Direction of Play. 4-4 & 3-3 Point Josekis The standard reference work in English on josekis from the point of view of even games. *G28 Lessons in the Fundamentals of Go. by Kato Masao 9-dan Attacking techniques in the middle game. by James Davies & Richard Bozulich . by Takemiya Masaki 9-dan Josekis that occur in the middle game with emphasis on the ones that involve attacking and defending comer enclosures. 2: 3-4 & 5-3 Point Josekis ***G23 Vol. the great modern fuseki theoretician. by Ishida Yoshio 9-dan ***G21 Vol. by Kajiwara Takeo 9-dan Fuseki theory as expounded by Kajiwara. by Kageyama Toshiro 7-dan A chatty and easy to read book about the fundamental principles of go strategy and tactics. **G27 Kato’s Attack & Kill.
The second part is a collection of unique and fascinating full-board problems that is sure to entertain both beginner and advanced players. **G33 The Chinese-Style Opening. Cho Chikun The rules arid strategy of the game are thoroughly covered in a logical step-by-step approach. edited by John Power. Essay are interspersed with the technical chapter that will broaden your understanding. by Kato Masao A thorough analysis of the Chinese-style opening pattern. by Richard Bozulich Written for players who have just learned the rules of go. It covers every phase of the game and aims to set the novice on the right track with respect to the strategic principles of go.*G31 The Second Book of Go. Invincible: The Games of Shusaku. The finest go book ever written. Volumes 1 to 4. by Takagawa Shukaku A thorough analysis of the sanren-sei opening pattern. computer go and how go relates to intelligence and learning. Go World. From history to modern tournament play. A entertaining collection of essays about go and its players. A collection of nearly 1500 hundred problems for the beginner. by Nakayama Noriyuki 5-dan. Graded Go Problems for Beginners. the golden age of go. G41 The Magic of Go. The authoritative go magazine in English. you’ll find it all in this book. **G32 The Power of the Star-Point. a quarterly magazine on go. published since 1977. go news from around the world. All major Japanese tournament games are presented with detailed commentaries as well as general interest articles. A must for every serious go player. A panorama of 19th century go in Japan. drilling them in the basic tactics of go. The Treasure Chest Enigma. . 160 games with detailed commentaries by modern professionals of the greatest go genius who ever lived. essays and instructional articles. by Kano Yoshinori 9-dan.
This action might not be possible to undo. Are you sure you want to continue?
We've moved you to where you read on your other device.
Get the full title to continue reading from where you left off, or restart the preview.