Elementary Go Series, Vol.

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38 BASIC JOSEKI
by Kiyoshi Kosugi and James Davies

THE ISHI PRESS, INC. Tokyo

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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.

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PREFACE
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

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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

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

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

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

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

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

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

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

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

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

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

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

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

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. If Negru had played 6 here Alb would have skipped out to 7. 17 . 10. and it would have been hard for Negru to do much of anything with 6 and Δ.Dia.

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

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

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

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.

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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.

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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.

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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.

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CHAPTER 2
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.

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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.

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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.

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

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

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

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

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

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

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

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

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

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

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

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

then this diagram shows the simplest way. Negru 6 here forms the so-called o-nadare. 41 . Another idea is to exchange 7 for 8 and then tenuki. (big nadare). 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’. including a whole family arising from the o-nadare which we have not mentioned. 16. but there are many complicated variations to the nadare joseki. In conclusion Alb is offering Negru a modest amount of corner and side territory in return for a wall. basically a simple idea. Finally there is this double hane variation. which leaves Negru with good plays at ‘a’ and ‘b’. 15. This move is not as aggressive as the hane at ‘a’. Dia. If Alb does continue with the joseki.Negru 6: the other two variations Dia. joseki.

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

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

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

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

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

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

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

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

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

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

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

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

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. but he lives comfortably with 4 and 6.Dia. and if so. Alb could run out at 3 if he had any chance of counterattacking. Here is one likely setting for such a move. Negru can confine him with 3. 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. 54 . but is not really so smart of him to do so. Even though he can fight a little bit on the outside with Δ. 4. It is possible for Alb to resist Negru 3 with Alb 4. Against this Negru 1. 7. 8. It may be better for him to look for eye space than just to run away into the center.

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

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

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

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

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

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

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

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

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

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

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

There are several ways in which he can do so. Alb 3 prevents the cut. Dia. 8. 6. (or ‘a’. Negru 2 is the usual defense. 7. making a good extension while attacking. or ‘b’). 6. Attack on the right Dia. and the sequence up to 11 is a good way for both sides to continue. For example. Dia. Here is one of them. since it threatens to cut Alb. When Alb has a stone in the upper right corner he need lose no time in playing 1. so before jumping further out into the center he must do something to tighten the connection between his stones. and 8.1. 66 . Negru will cut him with 4. Alb should not allow this. if Alb plays 3.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Because of this. as can be seen from the joseki shown in this section.In conclusion Negru 1 is the most forceful of all the 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. We are skipping over Negru’s squeeze plays at ‘a’ and ‘b’ for reasons mentioned in the introduction to this chapter. it tends to lead to solid and settled positions more often than the other squeeze plays. 105 . Plays farther up the side than Negru 1 or ‘b’ are possible.

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

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

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

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

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

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

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

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

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

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

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

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

taking his own profits in the corner where the taking is easier. 8. should that become necessary. Dia. but Alb has nothing to complain of as he springs out into the center. 118 .Dia. Alb anticipates Negru’s squeeze play and deals with it by giving Negru what he wants on the right side. which could go about like this. 7. 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. Especially considering the closeness of Δ. In conclusion This section illustrates the kind of thinking that makes for good go strategy. Negru can stubbornly play 4 and 6 to make Alb fight on the right side.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

which leave Alb less room to make trouble in the corner. Negru 2 is standard practice. preparing for a capping play at ‘b’. Negru ‘c’ or Negru ‘d’. are sometimes appropriate instead of Negru 4. but they have little offensive meaning. he exchanges 2 for 3 above before jumping out to 4.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. 148 . 1. but it is obvious that his three stones are badly overcrowded. Alb can make no better extension than 5 on the left side. Negru 4 is also an attacking move. Alb can still invade at ‘a’—but rather to attack the Alb stones on the left side by making it hard for them to get eye shape. When to play the diagonal tsuke Dia. When there is a Negru stone at or around Δ.

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

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

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

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

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

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

it is not unusual to find Alb just making an extension of his own on the left side. In conclusion Aggression is the theme of this joseki. of course. 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. 155 . He lives rather small. although 3 above is the one most often correct. and the rest of this section will be spent looking at some of the various extensions and their meanings.Dia. (or ‘a’ or ‘b’). 17. according to circumstances. At the right time. Alb can live in the corner by playing 1 to 9. The point of extension varies. 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.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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. The latter is a constructive play.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

takes the corner with 10. This brings us to Negru 2. unless he is in a strong position to attack on the right. 4. 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. Dia. and Negru. but his four stones on the right side are rather weak. 5. You will see how that goes in Dia. 6. and so is Negru 8. and 7 are natural. instead of 1. too. Alb plays 9. 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. Alb 3. Dia. it may be better for him to play 5 in the first place. . Alb’s groups are both still in need of attention.If Negru is not in a good attacking position on the upper side.

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

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

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

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

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.

CHAPTER 7
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.

SECTION 36

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.

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

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

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

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

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

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

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

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

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

. If Alb played 5 as here. and both have their places in the opening. Alb’s plays in this section stress development along the side. now he is only going for a modest side position.Dia. That is. 10. whereas before Alb played as though the envisioned areas stretching high and far across large portions of the board. Both styles are joseki. leaving Alb without certain eye shape in the corner. 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.

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

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

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

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

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

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

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

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

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