Elementary Go Series, Vol.


by Kiyoshi Kosugi and James Davies



Published by the Ishi Press, Inc. CPO Box 2126, Tokyo Copyright 1973 in Japan by the Ishi Press All rights reserved according to international law. This book or any parts thereof may not be reproduced in any form without written permission from the publishers. This and any other Ishi Press publication may be ordered from: THE ISHI PRESS, CPO Box 2126, Tokyo, Japan

First printing April 1973 Second printing April 1975 Third printing December 1980 Fourth printing September 1984 Fifth printing February 1989 Printed in Japan by the Sokosha Printing Co., Ltd.


To the beginner, the game of go appears as a jungle of confusion, full of pitfalls past which only Providence could possibly guide him. As he gains experience, he may learn to sort out the events of the middle and end games, recognize patterns, and play rationally, but the opening is apt to remain a mystery to him. Indeed, it remains something of a mystery even to professional go players, and there are no tabulations of go openings comparable to the books on chess openings, which tell how to play from move one onwards. There are, however, patterns which arise in parts of the board again and again during the opening. They occur in especially large numbers in the corners, where the initial fighting of the game generally takes place. These corner formulas, which have been discovered by trial and error, and worked out through centuries of go playing, and are still being added to and discarded, are called joseki. This is intended as a first book on joseki, so it contains only the more common of them. In choosing our material, we have taken pains to avoid the kind of long, complicated sequences that one can spend hours learning, and then go for months without using. We have also decided not to spend time on doubtful or ‘trap’ moves, although occasionally a mistaken play is shown to explain the meaning of a good one. These


commissions will limit this book’s usefulness as a reference work for advanced players, but they should be welcomed by readers at the sub-shodan level, for whom we are writing. There are no major gaps in our coverage of joseki, and we hope that our explanations are clear enough for even beginners to understand. With the exception of chapter four, we have limited ourselves to those joseki in which one player plays a stone in the corner, and before he has a chance to reinforce it with a second stone, his opponent moves in after him. The first stone ordinarily goes on one of these five points: the 3-3 point (san-san) the 3-4 point (komoku) the 4-4 point (hoshi) the 3-5 point (mokuhazushi) the 4-5 point (takamoku) We shall take them in that order, starting with the three-three point and moving out toward the center. We shall stop at the four-five point because, although it is not necessarily bad to start farther out from the corner, it is rather unusual, so there are no joseki built specifically around such moves. The reader of this, or any other joseki book, may be dismayed at the large number of variations it contains. Let him be reassured that he need not worry about forgetting them; in fact, it is a good idea to forget them. Too much dependence on rote learning of joseki stifles a player’s imagination, and blinds his overall vision of the board. It is best to remember pieces of


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

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

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

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

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

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

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

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

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

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

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

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

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

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

13. Alb 13 looks like the best point. 19 . 11 is a joseki move for Alb. 14. since Alb does not want to be pushed toward Negru’s strong wall in the lower right.Dia. but however he invades. he cannot get the worry-free position he had in Dia. 13. but in these circumstances it would have been an unnecessary addition to his stones on the lower side and an invitation to trouble on the right. Alb could have secured the lower side territory by playing 11 here—the connection between it and Δ could not be broken—but then Negru would have played 12 and Alb would have been faced with the need to make an invasion on the right side. Dia. So the actual game continued this way. Next Negru was able to live on the lower side by playing ‘a’ and ‘b’.

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

Ogeima kakari Dia. 1. In this common position Negru 1 is often played. It and Negru 3 give Negru a position on the left side, weakening Alb Δ. 4 is a good point for Alb, but Δ still does not have room to make two eyes on the side, and Negru can attack it with 5. Dia. 2. If Negru played this joseki, then he would be putting much less pressure on Alb Δ; this time, after Alb 6, Negru ‘a’ would pose very little threat to Alb.


Dia. 3. When Alb has made an extension like Δ from his corner stone, Negru 1 may be used to reduce the size of his prospective territory. Compare its size now with what it would be if Alb made a shimari at 1. Here Alb should definitely play 2 on the fourth line, for this builds toward a larger territory than Alb ‘a’ would. Next, ‘b’ is a good point for either player. Dia. 4. The reason Alb does not always play 2 on the fourth line is that Negru can then attack from the other side with 3. This aims at ‘a’, from which point Negru can connect to either 1 or 3.

Dia. 5. In this case Alb might answer 1 at 2 instead of ‘a’. The argument for doing so is that even if Alb extended to ‘a’, Negru would still be able to invade the lower side, at ‘b’ for instance. Since Alb needs two stones to defend the side anyway, 2 and, later, Alb ‘b’ make a well-balanced formation, and 2 makes the corner stronger than Alb ‘a’ would. Other kakari 22

Dia. 6. When Negru approaches Alb Δ from the side, he need not always use the ogeima kakari. The kogeima kakari is possible too, although it must be used with discretion, since it provokes this sequence, in which Alb makes a lot of secure territory on the lower side.

Dia. 7. In this situation Negru 2 would be the correct kakari. Alb could play ‘a’ or ‘b’ instead of 3. Dia. 8. If we move Alb 1 and Negru Δ a line higher, then Negru 2 should be moved accordingly.


Tenuki Dia. 9. When Alb fails to respond to 1, the keima at Negru 3 is the standard play. Alb can slide out to ‘a’ or ‘b’, but he is being pressed into a very low position.

Later on Dia. 10. After the basic joseki, Negru can play kikashi at 1 and 3, useful points because they interfere with Alb’s extending to ‘a’. However, these moves make Alb solid and strong, and Negru should not play them too early, since there are other things he may want to try against the corner.


Dia 11. This shows one of those other possibilities. Negru 1 and 3 aim at exchanging the corner territory for the outside, and might be used if Negru Δ became hard to defend. If Alb played 4 at 7, Negru could play 5 at 4 or ‘a’, and in one way or another it should be possible for him to make eye shape.

In conclusion Generally speaking, Negru’s plays in this section are much more loose and open than his ones in the previous section. For that reason they allow Alb to build toward larger territories than before, but at the same time they leave more possibilities for Negru in the corner itself. Dia. 11 is just one example of the kind of thing that can happen there later on.


Three-four point joseki: part 1
INTRODUCTION The Negru stone in Dia. 1 rests on the 3-4 point, which has long been the most popular starting point in the corner. A stone placed here, like one on the 3-3 point, protects the corner territory, but it is not as likely to be shut in from the outside. If Alb attacks with 1 in Dia. 2, copying the idea of the joseki in section 1 of chapter 1, Negru will be more than happy to reply with 2, 4, and 6, getting a favorable result. Rather than have Negru solidify such a large corner, Alb usually attacks with one of the plays shown in Dias. 3 to 6.

If we think of the Negru stone as a stone on the third line, then Alb 1 in Dia. 3 is a natural way to attack. Alb’s general aim is to establish a position on the right side or in the center, while Negru takes the corner territory. All of the joseki in this chapter illustrate that idea, and most of them start with Alb 1 in Dia. 3.


If we think of the Negru stone as a stone on the fourth line, then Alb 1 in Dia. 4, aiming to slide in to the point ‘a’, is natural. Most of the joseki starting this way have Negru answering with a squeeze play on the right side, and are to be found in chapter 3. In this chapter, (section 7), will be found Negru’s reply at ‘b’. The ogeima kakari in Dia. 5 is used when Alb puts special emphasis on the right side, as opposed to the corner. Section 8 of this chapter and section 18 of the next are devoted to this play. The kakari in Dia. 6 stresses side and center at the expense of the corner. It is sometimes used by those who like a quick opening development, their idea being to ignore whatever reply Negru makes, (‘a’ and ‘b’ are typical replies), and rush on to some other part of the board. We shall forego any further discussion of this kakari.


One of the advantages of playing on the 3-4 point is that a stone there is in an excellent position for making a shimari. Dias. 7 to 10 show the four shimari plays that Negru has available. The one in Dia. 7 defends the corner best. Negru 1 in Dia. 8 is stronger toward the center, and makes a better wall from which to extend along the lower side, but suffers from the disadvantage that Alb can play at ‘a’, threatening to run into the corner at ‘b’. The shimari plays in Dias. 9 and 10 stake out larger territories, but they are a bit open as compared with the previous two. After any of these four shimari, an extension on the lower side becomes a large move for either player. There are special joseki starting from these four shimari, but they are not part of this book. In this chapter we shall see what happens when Alb attacks the single stone on the three-four point and Negru answers by defending his corner. There is another large group of three-four point joseki in which Negru answers Alb’s kakari by counterattacking with a squeeze play, but that is the subject of the next chapter.


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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

not 3. and the space between Alb 3 and 5 and Alb Δ is too narrow. 4. 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. 58 . Alb would answer with ‘a’.Dia. 5. This time Alb uses 1 and 3 to attack on the right side. If Alb played 3 correctly at 5 and Negru played 4. If 3 is played on the third line. Dia. After 6 his stones have better shape than they could possibly get in Dia. 4.

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

(Alb 1 in Dia. around 1700. and the most thoroughly studied. The squeeze plays on the fourth line are the creations of the present century. Which of these is best in any given situation is a hard question—the choice may be more a matter of taste than of anything else. 1 is one squeeze play. Negru ‘c’ was introduced by Dosaku. Negru 2 in Dia. was not much played until a year or two ago. Squeeze plays are particularly often used against the kogeima kakari. Negru ‘a’ and ‘b’ are the oldest. they did not become really popular until the post-World-War II era. the newest. Negru ‘e’. 60 .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. in fact. a famous Japanese professional go player. ‘d’. and ‘a’. 1). ‘c’. In this chapter we come to the joseki in which Negru stops that extension with a squeeze play. and ‘e’ are others. letting Alb extend unhindered along the side. ‘b’.

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

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

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

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

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

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

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

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

Negru usually takes the opportunity to cut off Alb’s center stone. 69 . 16. Alb can connect by playing ‘a’ and ‘b’. The exchange up to Negru 10 is a fair one. for if Negru plays 6 at 7.3. If Negru answers with 2 and 4. But instead of playing 4 on the 2-2 point. Alb can make eye shape with 5 and 7. Defense Dia. as in this diagram.) Dia. then a Negru stone on that point spoils his shape. considering that Alb has sente. (If he omits 7. 15. There are times when Alb must think of defense rather than attack. and then 1 and 3 become appropriate. Alb 5 then takes the corner.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

on the lower side. 2. and Negru will than fourth-line 97 . When Negru plays 3 on the is also joseki. then there need be about playing 4. rather territory. be making third-line territory. third line. If a chase into the Alb has a kikashi at ‘a’ he can use. but Negru fights back with 5. Alb’s one-point jump to 2 is the most generally useful answer to Negru 1. (Alb ‘a’. on the lower side. and now it seems natural for Alb to attack the other side with 4. Negru defends the lower side with 3.Alb 2: one-point jump Dia. Dia. for in the running fight to come. 1. Alb should not try 4 unless he is backed up in the upper right corner and can expect a good profit on the right side. he is likely to find himself pushing Negru along the fourth line. Negru ‘b’). which no reservations center develops.

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

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

and he has not made much territory with it. which is alive. Although it is always hard to say which squeeze play would be best. 9. Dia. especially considering the possibility of Alb ‘a’. and Alb cuts at 6. but in the present circumstances Negru’s strength in the upper right goes to waste. so he plays 1 as far down as he can.Alb 2: tsuke Dia. 100 . He cannot use it to attack Alb’s group. After Alb 4 there are essentially two variations. This is joseki. Alb resists by pushing Negru back toward his strong position in the upper right with 2. here is one situation in which Negru 1 looks appropriate. Negru plays 5 to defend the lower side. In one of them. Negru wants his territory on the right side to be as large as possible. 8.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

In this section we will see what ways Negru has to deal with Alb 1 and 3.SECTION 28 There are many times when. for one reason or another. 181 . 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. A second kakari at 3 is a good way for Alb to continue his attack on the corner.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The latter is a constructive play. and is made in the late opening or middle game.In conclusion There is considerable difference between the three-three point invasion which occurs in four-four point joseki and the three-three point invasion of this section. . The former is largely a tool for destroying the opponent’s territory. leading to a more active position. and can be made without hesitation in the earliest stage of the opening.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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