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