STRATEGIC CONCEPTS OF GO

by Yoshiaki Nagahara, 5-dan in collaboration with Richard Bozulich THE ISHI PRESS, INC. Tokyo, Japan
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Published by The Ishi Press Inc. Central Post Office Box 2126 Tokyo, Japan Copyright 1972 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 of the publisher. This book and any other Ishi Press publication can be ordered from: THE ISHI PRESS, C. P. O. Box 2126, Tokyo, Japan First Printing February 1972 Second Printing March 1984 Third Printing November 1976 Fourth Printing September 1984 Fifth printing January 1989 ISBN 4-87187-006-5 Printed in Japan by SOKOSHA PRINTING CO., LTD.

CONTENTS
Preface ....................................................... 3 Part I The Strategic Concepts................................ 4 Chapter 1. Miai ............................................. 4 Chapter 2. Aji ................................................ 5 Chapter 3. Kikashi ............................................ 20 Chapter 4. Thickness ........................................ 32 Chapter 5. Korigatachi ......................................... 36 Chapter 6. Sabaki .............................................40 Chapter 7. Furikawari ......................................46 Chapter 8. Yosu-miru ........................................47 Part II Problems and Answers ................................ 59 Problems.....................................................59 Answers .................................................... 90 Glossary ......................................................... 154
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PREFACE
The essence of Go strategy and in fact the essence of Go itself lies in the eight concepts presented in Part I of this book. An understanding of these concepts and their interrelationship is prerequisite to appreciating the beauty of Go. However, most "kyu" players are not aware of these concepts and many "dan" players have only a vague idea of their meaning. Furthermore, no one can advance to the higher "dan" levels without a clear and working understanding of these concepts. It is the purpose of this book to give the reader that understanding. In Part I, the concepts are introduced and their relationship discussed. Part II contains problems which can be solved by utilizing the concepts

presented in Part I. A serious study of these problems will in most cases result in great improvement in the skill of the reader. This book is essentially an outgrowth of my study with Mr. Nagahara. It was written and its structure conceived by me. However, Mr. Nagahara suggested most of the examples and the others were carefully scrutinized by him. Finally, I would like to take this opportunity to thank Mr. William Pinckard for reading and criticising the original manuscript, Mr. Stuart Horowitz for typing and proofreading the manuscript and The Nihon Kiin whose help and encouragement have made this book as well as all the other Ishi Press books possible. Tokyo, September, 1971 Richard Bozulich
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PART I - THE STRATEGIC CONCEPTS

CHAPTER 1: Miai
Dia. 1 Dia. 2 Miai means "seeing together". It refers to two points which are related in such a way that if one of them is occupied by a player, his opponent can handle the situation by taking the other. Dia. 1 With 1, White plays at the central point between the two Black stones at hoshi. This creates a miai situation. That is, if Black plays tsume at a, White will extend to b, but if Black plays tsume at b. White will extend to a. The two points, a and b, are called "miai" because if Black occupies one of them, White must occupy the other. Dia. 2 The sequence in this diagram is a well-known joseki. After Black 9, White can leave the situation as it is because there is no need to worry about the life of his group of four stones. Should Black attack the White group with the tsume at a, White can make life in the corner by playing at b. On the other hand, if Black attacks from the other side by playing the osae of b. White can make life on the side by extending to a. An important point to notice about miai is that the two moves involved are often not urgent. That is, they are in a state of equilibrium. In Dia. 2 for example, it is not necessary for White to rush to play either a or b since either point will give him life. As for Black, it would be hard to decide which point to play early in the game, a or b. Hence, Black should defer playing either of these two points until the surrounding situation becomes more defined, allowing a rational choice to be made. Miai is an important concept in Go strategy and functions very intimately with the other concepts, especially aji which will be introduced next. In the course of this book, many examples of miai will be encountered and its strategic significance will be more fully discussed in those places.
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CHAPTER 2: Aji
Aji literally means taste; taste in the sense of food which may taste good or bad. Hence, in Go there are such expressions as "aji ga warui" (taste is bad) and "aji ga ii" (taste is good). One of the characteristics of taste is that it lingers. It is this lingering quality which is really referred to when the word "aji" is used as a term in Go. In Go, aji refers to a condition, whether good or bad, inherently lingering in a group of stones which offers potentialities for future play. This latent potential need not and usually should not be used immediately because this results in "aji keshi" (elimination of aji). Rather, it should be observed and

studied as the game develops in surrounding areas, so that at the right time the aji can be utilized with the best effect. In other words, aji is not a precisely defined way of playing with a fixed result, but is a future potentiality which may or may not materialize. In a sense, it is like thickness. Thickness is not territory, but it has the potential to produce territory. But, even if thickness is not realized as territory, it will have an effect on the game and, because of its presence, can cause territory to be formed elsewhere. By comparison, although the aji of a certain situation may never be realized, its existence will always have an effect on the direction of the game. To make an analogy with war, aji is like a reserve army in the rear. Throughout the battle, even though it may never participate on the front lines, the enemy must keep considering its possible entry into the battle. It is because of this lingering and (to ones opponent) annoying aspect that professional Go players avoid like the plague moves which result in aji keshi. The paradigm, "Dont burn your bridges behind you," can be applied to Go in the sense of leaving all possibilities (aji) open just in case they may be needed at some future time. Dia. 1 When Black has a stone at hoshi (the star point), it is natural that he adopt a strategy which emphasizes central development. However, the placement of a stone on hoshi leaves behind the aji of an invasion at a which will allow White to wrest the corner area away from Black. Dia. 2 The sequence from White 1 to Black 12 shows one kind of joseki in which White secures life in the corner. However, Black has, as a result of this sequence, been able to form a thick wall on the outside and even though White can retain sente, the result is considered good for Black.
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Dia. 3 Dia. 4 Consider this extreme example in a six-stone handicap game. White would never want to play the sequence from 1 since the resulting Black thickness in conjunction with his stone at , forms a much larger area than the 8 or 9 points White gains in the corner. This diagram illustrates the folly of trying to utilize aji too early in the game. In games with large handicaps, White must play more indirectly. The only times such an invasion is justified is when the resulting Black thickness will be nullified by previously played White stones or when this is the only way to reduce a large area which has already been built up. In this professional game, Black invades the corner at the 3-3 point. Here, this is a good strategy to adopt because no matter on which side, a or b. White chooses to build his wall, it will be nullified by either Black 15 or 21.
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Dia. 5

Diagram 5 can give us another example of aji. The point a is the weak point of Blacks configuration. As the situation stands now, it is impossible for White to cut at a. However, if White can somehow manage to get a stone placed at b or some adjacent point, the aji of a cut at a will become a critical problem. Dia. 6 This diagram illustrates why it is impossible for White to cut at 1 immediately. Even if shicho is unfavorable for Black, he can capture White with the geta of 4 and further resistance by White is useless. In evaluating this sequence, it is clear that White has allowed Black to secure at least 10 points of real profit as well as to extend his thickness farther out into the center of the board. Besides, White has lost once and for all the aji of the cut at 1. The point V in Dia. 5 must be played before White can think of utilizing the aji of the point a. Dia. 5 at ^ Dia. 6 One of the virtues the concept of aji teaches us is patience. A person with a panicky temperament will not become a good Go player. Of course, there is always the possibility that ones opponent will play so as to eliminate his own bad aji. This causes the amateurish tendency to try to utilize bad aji too early in the game. However, one must remember that the elimination of bad aji requires an extra move and is thus not so profitable. Hence, if because of aji one can gain a tempo, this is almost always enough compensation.
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Dia. 7 Illustrative Game No. 1 (1-17) This game gives us an example of aji which existed throughout most of the middle game but could not be immediately utilized. It is the first game of the 1970 Honinbo Sen. Black was played by Sakata Eio, 9-Dan, and White by Rin Kai Ho, Honinbo Meijin. We are not going to carry out a detailed analysis but, instead, focus on only one aspect of this game, the aji which will develop on the right side. The sequence up to Black 17 completes the fuseki stage of this game and now White must consider an invasion on the upper right side of the board. Dia. 8 (18-30) The sequence from White 18 to White 26 is joseki. After White 28, Black attacks the White stones with 29 so as to render them eyeless, thereby making them a vulnerable target. However, White cuts with 30 and this move provides the theme for our analysis. Dia. 7 (1-17) Dia. 8 (18-30)
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Dia. 9 Instead of 27 and 29 in Dia. 8, the connection of Black 1 is often recommended for handicap games. However, White will jump out into the center with 2 making a good shape. Black 1 is rather dull move and allows White to secure his stones without any problems. On the other hand, this move does secure the area on the right side without leaving any bad aji. Dia. 9 Dia. 10 (31-37) Dia. 10 (31-37) Continuing from Dia. 8, Black settles the situation on the right side with the sequence from 31 to 35 forcing White to play 32 and 36 on the outside. After 37, even though White has managed to get his stones out into the center, they are without any eyes and will become a good target for attack in the future. However, the two White stones . and 34 leave Black with bad aji on the right side and this is Whites compensation for being left eyeless in the center.
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Dia. 11 (38-57) The invasion of White 38 is the correct procedure since the resulting Black thickness is nullified by the White stones on the right side. White makes life

with the sequence to 56 after which Black continues his attack against the eight White stones with 57. Dia. 11 (38-57) Dia. 12 (57-69) Dia. 12 In response to Black 57, White plays 58 which, because of the aji of the two White stones marked ., forces Black to extend to 59. Next, White plays 62 forcing Black to respond with 63. Note that this move gives Whites stones an extra liberty. White continues his escape with the sequence up to 68 after which Black seals off the corner with 69.
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Dia. 13 - When Black secures his corner with 69 in Dia. 12 it may seem that any further chance to utilize the aji of the three White stones on the right side has become remote. It is at such times that one is apt to succumb to ones panicky temperament and feel it is high time to invade the corner. If after White 62 in Dia. 12, White invades with 1 as in this diagram, Black will exchange 2 for 3 and then play 4. Although it is hard to tell what will happen, Whites stones on the upper right side seem to be in great trouble. Consequently, White 64, 66 and 68 in Dia. 12 are calm and collected moves because even though Black has played 69, the aji is still bad along the right side. Dia. 14 - In order to understand the aji which exists on the right side the sequence in this diagram is shown. After Black 22, Black has only one eye for his group along the side. However, at this time, White is unable to fight a semeai because even after 23 and 25, White is too thin and Black has no trouble gaining an eye and additional liberties with moves like the attachment at a. However, if at some later stage in the game White becomes strong in this sector of the board, this aji may actually materialize. Dia. 15 - Please note that against White 5, Black must respond with 6 as in Dia. 14. If he should play osae instead with 6 as in this diagram, it will become ko with the sequence to White 11. Dia.16 - Furthermore, Black cannot neglect playing 22 in Dia. 14. If he does, White can make two eyes with the sequence to 7. Dia. 13 p at $ Dia. 14 Dia. 15 Dia. 16
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Dia. 17 (70-100) After Black ,, the cut of White 70 is only to be expected and the game continues along the upper side of the board. Black 99 aims at both the lower left corner and the White stones on the right side. When White defends with the kosumi of 100 it is certain that Black will begin an attack to try to kill the White stones on the right side. Dia. 18 (101-115) Black begins his attack with the kata-tsuki of 1. In this sequence, both Black and White made very bad mistakes (especially 108 and 109). However, we wont go into that here and we will only note that Whites stones have become safe and thick in this sector of the board. As a consequence, the aji discussed in Dia. 13 now becomes a possibility. Dia. 17 (70-100) Dia. 18 (101-115)
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Dia. 19 (116-146) With 16, White begins maneuvers to make life in the lower right corner. However, at the same time, a ko is being fought on the upper side. In any event, after 46, White is alive in the lower right corner. Dia. 19 W28 ko B31 ko W34 ko Dia.20

0 at .
Dia. 20 In Dia. 19, Black played 33 thereby allowing White to make two eyes with the sequence from 40 to 46. What would happen if instead of 33, Black plays 2 as here? This reverts back to Dia. 14, but now because of Whites strength on the outside, 15 and 17 become effective moves and Black will lose the resulting semeai by one move. Hence, Black has no choice but to let White live in the corner. When he plays 33 in Dia. 19 he at least is able to save his own stones and capture six of Whites. The aji on the right side has now been settled and because of it, White has managed to live in the lower right corner. Other interesting points of this game will be touched on in other sections of this book. In the meantime, lets consider some more examples of aji.
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Dia. 21 When White . is played against the Black stone marked ,, it is called niken-takagakari. Since White . is not such a severe attack, Black often chooses to ignore it and play elsewhere. Consequently, the attachment of White 1 is frequently played. Dia. 22 In response to the attachment of White 1, Black 2 is natural. White must crosscut with 3 and Black descends with 4. Commencing with 5, White embarks on a sequence in order to make a shape which will create aji in the corner allowing him to perfect his outside thickness. The tsuke of Black 6 is tesuji and White makes Dia. 21 Dia. 22 Dia. 23 his desired shape with the sequence up to 11. Black 12 is now necessary, after which White makes shape in the center with 13. Next, Black must go back and capture the White stones in the corner while White plays shibori with 15 and takes two Black stones with 17. Dia. 23 Finally, Black plays 18 and this joseki comes to a close. At first glance, it may seem that Blacks profit is much better than Whites outside thickness, but on closer inspection it will be seen that the aji of the six White stones in the corner has considerable effect. First of all there is the shibori of White a and b. In addition, it is also possible for White to make a wall along the upper side with the tsuke of c. However, this tsuke depends on the presence of the six White stones in the corner. Therefore, White must not play at a and V too soon as it would erase the aji o f the tsuke at c. Lets examine this aji in more detail.
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Dia. 24 Dia. 25 Dia. 24 - If White finds it advantageous to seal off the upper side (either to make territory or, perhaps, to kill a group of Black stones), he can attach with 1. Of course, if Black is really intent on preventing this blockade, he can play 2, 4 and 6. But now the aji of the six "dead" White stones makes itself felt and White is able to save these stones as well as to take the upper right corner territory. Dia. 25 - For Black to give up the corner as in Dia. 24 is a very big loss. Hence, Black will most likely play 2. Next, White plays 3, sealing off the upper side. However, Black is now able to play at a and invade the right side. In the early stages of the game when this joseki would probably be played, it is impossible to tell on which side White will want to make thickness. If he seals off one side, he loses the option of sealing off the other side. Consequently, for White to either play a and b, or to play c in Dia. 23 too soon would be aji keshi. Dia. 26 Dia. 27 Dia. 28 Dia. 29

Dia. 26 - In order to emphasize the value of the aji of the sacrificed stones in the joseki of Dia. 21, consider the situation if this sacrifice is not made. In response to the sagari of Black 4, White simply plays 5 and connects with 7. Of course, Black must play 8 allowing White to retain sente, but now there is no aji in the corner. If White plays either a or b, these moves will have no effect on the life or death of the corner and so Black can play elsewhere. Dia. 27 - Let us consider another situation. When White plays ikken-basami with 2, it sometimes happens that Black will not respond but play elsewhere on the board. In such a case, White 4 is a natural continuation. Dia. 28 - In response to White 1, the hanekomi of Black 2 is joseki and the sequence continues to Black 8, White obtaining outside thickness and Black taking the corner. Dia. 29 Shicho - However when Black plays the hanekomi of 2, there is a shicho relation which must be considered. Suppose White plays ate with 3 from below. The sequence to Black 6 results in shicho and if it is unfavorable for Black, the result will be a disaster for him.
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Dia. 30 Sente - It will be noticed that Dia. 28 ends in gote for Black. The reader might ask, "Doesnt Black 8 in this diagram allow Black to come away from the encounter with sente?" The answer is "yes," but this 8 is aji keshi and now Black is no longer able to cut at a. Dia. 31 Black lives - If White plays 1 and 3, Black can live with 2 and 4, but, now a is a big yose point against which Black must respond and his profit in the corner has become negligible. Dia. 30 Dia. 31 Dia. 32 Dia. 32 Geta - In addition, if Black cuts at 1, because of the presence of White ., caused by Black 8 in Dia. 30, White can capture this stone with the geta of 2. Consequently, Black 8 in Dia. 30 cannot be recommended. It is more reasonable to play 8 as in Dia. 28 even though this ends in gote. Not only does it leave the aji at a in Dia. 28, but the profit in the corner is larger. The value of this aji must not be underestimated. Furthermore, to play 8 in gote is not so unbearable as it must be remembered that Black has already played tenuki once in this corner when he originally neglected to answer the hasami of White 2 in Dia. 27. Therefore, it is more valuable to live in the corner, patiently waiting for a chance to utilize the aji at a in Dia. 28. Dia. 33 Dia. 34 Dia. 35 Dia. 33 - The sequence in this diagram is another joseki which is seen quite frequently. The result leaves Black with a solid and secure position while White is left with a wall exerting influence along the right side. However, since Black was in the corner first and White comes away from this sequence with sente it is natural to expect Whites position to be less than perfect. That is to say, because of the presence of Black ,, there is the aji of a Black cut at a. Dia. 34 - Black 1 is a big yose (end game) move and it is almost mandatory for White to respond by capturing the one Black stone with 2. However, it is aji keshi for Black to play this move too early in the game as now the aji of the cut at a no longer exists. Consequently, yose type moves like Black 1 should be avoided early in the game. Dia. 35 - Another reason why Black need not rush to play 1 in Dia. 34 is that the magari of White 1 in this diagram is gote and Black doesnt have to respond to it unless it is late in the yose stage. The yose situation here is sente-gote for Black. That is, if Black plays 1 in Dia. 34, White must take with 2; on the other hand, if White plays 1 in this diagram, Black will not respond, but will play in another part of the board. Therefore, Black will most likely have the option to play the point 1 at any time he chooses and hence this point can be regarded as being not urgent.

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Dia. 36 If Black cuts at 1, White must respond with 2 and Black begins to build a wall along the upper side with the sequence to 5. However, early in the game it is impossible to predict whether this wall will have any effect and it must also be noted that White is making solid territory along the right side while Black is building his wall on the outside. Hence this cut, which tries to utilize the aji of Black ,, again must not be played too early in the game. Dia. 37 Illustrative Game No. 2 (1-55) This is the first game of the fifth Meijm Sen played August 5 and 6, 1966, between Sakata Eio (Black) and Rin Kai Ho (White). The joseki we have been studying was played in the upper right hand corner from 4 to 19. With the sequence to the magari of 33, Black builds a sizable area on the upper side of the board while White makes territory along the left side. Following this, maneuvers take place on the lower part of the board. Finally, after White 54, Black invades the right side with 55. This move has as its aim both the point a, which utilizes the aji of Black 1, and the point b. which puts the White group on the right side in jeopardy. That is to say, these points have become miai. Lets consider the meaning of Black 55 in more detail showing how it relates to the aji which exists in the upper right corner. Dia. 36 Dia. 37 (1 -55)
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Dia. 38 Dia. 39 (56-86) Dia. 38 In response to Black 1, if White chooses to defend his group on the lower right side by playing 2, Black will cut at 3 utilizing the aji of Black , in the upper right corner. The sequence up to Black 7 is a natural consequence and Black has succeeded in forming a wall which works very well in conjunction with his two stones marked , in the center of the board. In addition, Black can aim at the point a at some future time thereby reducing any profit White can make on the right side to an absolute minimum. This should be compared with Dia. 36. Next, White can play at 8 or b and Black will either run away or live by starting a ko at c. On the whole, White is not very satisfied with this result. Dia. 39 (56-86) As White disliked the prospects of Dia. 38, he played the kaketsugi of 56, thereby correcting the bad aji in the upper right corner. Consequently, Black took the point of 57 and a fierce fight developed on the right side of the board. The sequence continues up to 83 and Black seems to have captured half of the right side while the upper right side becomes Whites territory. At this point, Black no longer has a possibility to utilize any other aji in the upper right corner and so after White 84, Black plays 85 and White must capture with 86. The above is a good example showing how aji can be utilized by employing the concept of miai. Such situations often occur in actual games.
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Dia. 40 In this example, we will show a case where White has to make a choice between two different kinds of aji. One involves a ko and the other involves a shicho. In response to White 3, Black will play 4 if he feels that emphasis should be

placed on the upper side. After Black 8, White has to choose between a and b. Dia. 40 Dia. 41 Dia. 42 Dia. 43 Dia. 44 Dia. 41 If White can utilize shicho aji, he should play 9 as here. After the exchange of 10 and 11, Black captures one stone with 12 by shicho. In this case, if the situation is suitable, White may be able to utilize this shicho aji to make two successive moves in the lower right corner. On the other hand, if the shicho is unfavorable for Black, he will be forced to play 12 at a and the capture of White 9 is less than perfect. Dia. 42 Another way is for White simply to respond by connecting with 9. Black will draw back with 10 and the joseki comes to a close. In the future there remains the possibility that a White stone will appear on the points a or b. If this should happen, White will be able to connect it to his stones in the corner. Dia. 43 To illustrate this connection, suppose White 1 forces Black to respond somewhere else on the board with 2. In that case, the sequence from White 3 to White 9 allows White to connect with ko. However, this ko is almost impossible for Black to win as it is of no use for him to fill this ko at 3. If there is a White stone at a instead of 1, a similar sequence will result. Dia. 44 After Black 8 in Dia. 40, it is very bad for White to play tsuki-atari with 9. This move is aji keshi since after the sequence to Black 16, there is no bad aji as in Dias. 41 and 42.
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CHAPTER 3: Kikashi
A kikashi is a forcing move played to produce an effect. That is, a kikashi is a play which must be answered, usually in just one way; the exchange of the kikashi and the answer being useful in some way to the player of the kikashi. The terms kikashi and sente may seem to have the same meaning, but kikashi is applied to moves which are more or less incidental to the main flow of play. Once played, kikashi stones can typically be abandoned without/any great loss. Timing is important in playing kikashi. Usually there is only one correct time play a kikashi for maximum effect, and if this chance is missed it may be lost forever. As the paradigm suggests, "Strike while the iron is hot!" The following examples will clarify the concept of kikashi as well as demonstrate the effectiveness of such moves. Dia. 1 The sequence to Black 12 is the beginning of a common joseki. The de of White 9 is an example of a kikashi move and Black must block with 10. If this move were neglected White would push through at the point 10 and Blacks loss would be enormous. After Black 12, a becomes the crucial point and White must occupy this point without fail. However, before playing at a, White should make some preliminary moves which will give him some profit. Furthermore, the only time he will be able to make such moves is now. If White procrastinates, his chance will be lost forever. Dia. 1
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Dia. 2 - First, White cuts with 13 forcing Black to respond by connecting at 14. Next, White utilizes the aji of his stone at 13 and plays another kikashi by

attaching at 15. Black has no choice but to reply submissively with 16. Lastly, White again plays kikashi with the ate of 17 and the connection of Black 18 is the only possible reply. Now White finally extends with 19 and because of the aji left behind by Whites stone at 17 Black cannot play the forceful oshi at b but must instead submissively draw back with 20. Later in the game White may be able to take the territory in the corner by playing at a but even if this doesnt materialize the presence of Whites stone at 15 will effectively keep Black from making any significant profit in the corner. In addition, White 17 still leaves some bad aji behind. Lets now consider what the outcome would be if White neglected to play kikashi with 13, 15 and 17. Dia. 3 - In response to Black 12, White does not play kikashi as in Dia. 2, but instead immediately extends to 13. In this case Black plays kosumi-tsuke with 14and White must respond by descending to 15 after which Black connects with 16. With regard to the corner, it is now Black who has the chance to secure territory there by playing at b. Also, there is no bad aji along the right side as there was in Dia. 2 because Black has been able to make a solid connection with 16. Please note that after Black 14, the cut at a no longer has any meaning. Dia. 4 - In response to the cut of White 13, Black must not capture with 14 or he will be completely confined to the side of the board with almost no profit by the sequence to White 21. So, the connection of Black 14 in Dia. 2 is absolutely necessary. Dia. 5 - After connecting at 14, Black need not fear White 15 because he can win the resulting semeai (race to capture) by one move as shown in the sequence to Black 30. W25 at W19 B26 at W21 B28 at W19 Dia. 2 Dia. 3 Dia. 4 Dia. 5 Dia. 6 Dia. 6 - When playing the kikashi of Dia. 2, White must not reverse the order of moves. If White plays 13 in this diagram first, Black can respond to the cut of 15 by capturing with 16 without any fear of the confinement sequence in Dia. 4. Now a White play at a is no longer kikashi. When playing kikashi, the order of moves must always be carefully considered. In this diagram, White 13 may be kikashi, but it is also aji keshi.
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Dia. 7 In this game between two amateur players a joseki similar to the one we have been studying occurred in the lower left corner. However, in response to White 26, Black pushed with 27 followed by the jump of 29. These two moves were not very good as the White stone at 24 creates bad aji for Black along the left side. Of course, in response to White 26, Black should have played 20 in Dia. 2, but even after the hane of White 28, 29 at a would have eliminated the bad aji. In this game, White followed 29 by some very skillful plays and successfully utilized this aji. Dia. 8 Continuing from Dia. 7, White began by attaching and cutting with 30 and 32, and the sequence to Black 39 seems entirely natural. At this point however, White has a tesuji enabling him to utilize the aji of his stone at . in conjunction with his two stones at 32 and 34. Dia. 7 Dia. 8
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Dia. 9 The tsuke of White 40 is tesuji in that the points 42 and a become miai. If Black plays at 41 to capture two stones, White also takes two stones with 42 and the result is very bad for Black. Dia. 10 If Black connects at 2 in response to White 1 (White 40 in Dia. 9), White will capture one stone with 3 and Black doesnt have a good response because he must consider both the loss of his three stones marked . in the corner as well as a White hiki at a which will leave four Black stones drifting in the center. This example again illustrates how the concept of miai comes into play in the utilization of aji. Dia. 11 The sequence from White 1 to White 5 is tesuji and these moves are also kikashi. However, a line of play like this should be regarded as only a local suji lacking real Go feeling because it does not take into consideration the whole board. Dia. 9 Dia. 10 Dia. 11
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During a game of Go, there often occur moves which seem to be kikashi but are really not. However, if one answers such a move as if it really were kikashi then, in fact, that move becomes kikashi. We will give an example. . Dia. 12 Dia. 13 Dia. 14 Dia. 12 The sequence from White 1 to White 17 is one variation of the small nadare joseki. Because of 17, Whites shape in the center is very good.. However, Black may try to prevent this with a move that appears to be kikashi Dia. 13 Instead of playing 16 as in Dia. 12, Black may try to play 16 as in this diagram. If White, without thinking, submissively plays 17, then 16 will have become kikashi and Black will return to repair the corner with 18. The effect of Black 16 is obvious; it leaves White with a shapeless string of stones on the outside while Black maintains his large profit in the corner when he plays the tsuke of 18. Dia. 14 In responding to Black 16, White should not let himself be bullied into answering submissively as in Dia. 13 but should counter aggressively with the hane of 17. It is foolish for Black to continue in this manner because after 24, White plays a real kikashi with 23 and then takes the corner with the osae of 25. It should be noted that White 23 has some value in yose and also that the two White stones 17 and 19 can only be captured by shicho. Therefore, should these two stones ever escape, the presence of White 23 causes the Black group on the right side to be eyeless. This may seem, to the average reader, a bit far in the future to consider as a real possibility but this kind of aji must always be borne in mind.
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Dia. 15 This sequence occurred in another game between two amateurs. After the kaketsugi of Black 13, White played nozoki with 14. The question arises as to whether or not this move is kikashi. If Black connects at a, it would appear that 14 has accomplished some purpose and has become kikashi. On the other hand, Black may launch a counter-attack by playing b, etc. What is Blacks correct line of play? Please think about this problem from the point of view of both sente

and aji. Dia. 15

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Dia. 16 In this case the correct answer is for Black simply to connect with 1. After this, White must make life in the corner with the sequence from 2 to 6. Now Black retains sente and plays a kakari with 7. Dia. 17 In response to Black 5, White 6 in Dia. 16 cannot be omitted. If White should play 6 as in this diagram, Black will kill the White stones with the sequence from 7 to 11. Dia. 18 Well, what about the de-giri of Black 1 and 3 ? After White 4, Black can play shibori with 5 and 7 and as a result, White . seems to have lost its meaning as kikashi. Dia. 19 On the other hand, White can live with ease along the lower side, and after the nobi of Black 13, it is White who has sente, allowing him to play 14. Dia. 16 Dia. 17 Dia. 18 Dia. 19
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Dia. 20 The question may arise whether after Blacks connection at 1, White couldnt live with the sequence to 6 and then play ogeima at 8. Dia. 21 If White follows the sequence in Dia. 20 his stones may be alive but not unconditionally. Whites aji in the corner is very bad and Black can make ko with the sequence to 5. Dia. 20 Dia. 21 Dia. 22 Let us look at this ko under the assumption that White did not play nozoki with 14 in Dia. 15. In this case, after Black 5, White will start the ko with 6 and now the threat of an additional capture at a will make it very difficult for Black to win this ko. That is to say, the pressure will be very great for Black to connect at a. From this point of view, White 14 can be regarded not as kikashi, but as aji keshi, so Black need not regret the fact that he connects at 1 in Dia. 16. Furthermore, the sequence in Dia. 18 is also aji keshi in that Black loses the possible aji of the ko in Dia. 21. So in conclusion, Black 1 in Dia. 16 is the correct answer because White must live in the corner and Black can take sente with 7. On the other hand, if White plays as in Dia. 20 so as to deprive Black of sente, the bad aji left behind will be almost unbearable for White. There is a very thin line between kikashi and aji keshi. Perhaps the main purpose of kikashi is to create aji and in this sense it is different than sente. Hence, moves which have as their consequence the elimination of the opponents bad aji cannot really be considered kikashi unless they have other, more important, merits. Beginners usually cannot fathom this interrelationship and just as one often sees a weak player submissively following a stronger player around the board dutifully answering every move in the most obvious way, one also sees players who at every opportunity play atari, nozoki, etc., under the mistaken impression that these are kikashi moves, when, in fact, they only strengthen the opponents stones and achieve no compensating advantage whatsoever. The following examples illustrate the thinking which goes into deciding whether or not to play kikashi. Dia. 23

Dia. 22 Dia. 23
28

Consider this niken basami joseki. After White plays 6, Black has to decide between three main plays: ate at a, ate at b, or tsugi at c. But what is the reasoning behind this? Why shouldnt Black play at a or b before connecting at c? Isnt this kikashi? Certainly, one thing is immediately clear; Black must eventually defend the cutting point of c after the osae of White 6. That is, if Black plays ate at a, White connects at b and Black connects at c. On the other hand, if Black b, White a and again Black c. However, at this stage of the game it is impossible to tell which of these two ways is best. Furthermore, suppose Black first connects at c. There are now two possible moves for White; nobi at a or tsugi at b. If White plays at a, the kikashi will disappear, but Black has sente and there is still the cutting point at b left behind as aji. On the other hand, if White connects at b, Black can take sente and play some other point or he can play at a which reverts back to the case of Black a, White b, Black c. Consequently, Black has no need to play kikashi in this case and so connects at c in response to White 6. The important point we are making is that when deciding whether to play kikashi or not, one must decide if it will add to his advantage sufficiently to compensate for the resultant loss of options which were available. Hence, as this example illustrates, Black, by connecting at c and refraining from playing ate at a or b, can retain the effect of at least one of these two kikashi. This example will be further developed in the problem section. Dia. 24 This situation is a rather common double kakari joseki against a Black stone at hoshi. In this sequence, Black must end in gote by playing the hane of 16. This is because there is still some bad aji in the corner; that is, a White play at b will place Blacks stone at 8 in atari. Also, please note that a White play at a seems to be kikashi in that Black must respond by playing at c. However, this move if played prior to Black 16 is aji keshi in that it will make Black 16 unnecessary. Dia. 25 Suppose Black neglects to play 16 in Dia. 24. In that case, White will play hasami-tsuke with 1. After Black 2, the nozoki of White 3 forces Black to connect at 4 allowing White to connect underneath with 5. Next, Black plays 6 in order to capture the three White stones marked .. This is the perfect time for White to play 7 which is now really kikashi. This is Whites last chance to play this move because when the three White stones . are gone, it can not be played with sente. In addition, this move is necessary since a Black play at a becomes a threat after Black 6. White 7 corrects this defect. Finally, White plays shibori with 9 and 11 forcing Black to capture with 10 and 12, after which White makes good shape with 13. White has also invaded Blacks corner while Black still needs one more move to make two eyes to ensure the life of his group. Consequently, it is concluded that Black 16 in Dia. 24 must not be omitted. Dia. 24 Dia. 25
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Dia. 26 What would the situation be if, in the course of the joseki of Dia. 25, White exchanged . for ,. This would not be kikashi, but aji keshi. In this case, Black can descend to 2 in response to the attachment of White 1 and now White 3 does not threaten atari at a. Therefore, Black has a free move and he can play the tesuji at 4. Whites resistance to 7 is futile since Black captures the

corner with 8. Dia. 27 This diagram shows that Whites method in Dia. 26 does not work if . and , in that diagram havent been exchanged. Up to this point we have given examples of kikashi involving close in-fighting of stones. However, the concept of kikashi is more general and often occurs in strategic planning as the following example shows. Dia. 26 Dia. 27 Dia. 28 The sequence to White 5 is often seen in four-stone handicap games. Blacks best procedure is to invade on the right side now. But which is better, a or b ? Dia. 29 If Black plunges in too deeply with 1, White will play boshi with 2 and after the kosumi of Black 3, White jumps to 4 threatening to play a or b which have now become miai. Although Black 1 may not be necessarily bad, it can lead to very complicated fighting. It should also be mentioned that other moves in addition to 3 are available to Black. However, by showing this sequence we are only trying to give a sense of the feeling of Black 1. Dia. 30 After White 5 in Dia. 28, the invasion of Black 6 on the fourth line is recommended. Black 6 does not completely separate the two White stones on the right side since White can connect underneath by sliding to 7. However, this move is a bit submissive and makes Black 6 a kind of kikashi. Dia. 28 Dia. 29 Dia. 30
30

Dia. 31 Consider the following hypothetical sequence after White 7. Black extends to 8 whereupon White jumps to 9. Black 10 is a natural response and after 11 Black plays kosumi-tsuke with 12 (also kikashi) forcing White to play sagari with 13. Now Black could run away at 15, but let us suppose he abandons his kikashi stone and plays ikken tobi at 14, which is natural. If White plays 15, then Black , seems to have lost most of its usefulness, but then so has White 7, so Black does not mind. Furthermore, there remains the aji of Black a, White b and Black c. Dia. 32 Instead of playing 7 in Dia. 30, White immediately plays the sequence from 1 to 7. This is the same as Dia. 31 with the exception that Black doesnt have a stone at a and White doesnt have a stone at b. From this hypothetical analysis it is easy to see why Black 6 in Dia. 30 effectively separates the two White stones. Dia. 31 Dia. 32 Dia. 33 (1 -38) Dia. 33 Illustrative Game No. 3 (1-38) This is the fourth game of the 1968 Honinbo Sen. Black was Rin Kai Ho and White was Sakata Eio. who was Honinbo at that time. With 37, Black threatens to make a huge territory along the lower side. White plays 38 so as to reduce this area. Now, how should Black respond?
31

Dia. 34 Black 1 is a very big move which secures the territory along the lower side. However, when Black plays in this way, White . becomes kikashi. Since there is no longer any chance to invade the lower side after Black 1, White plays the hane-tsugi of 2 and 4, against which Black must connect at 5 to avoid any further

incursion into his area. For Black to play 1 is not bad but it lacks spirit. Lets see how Rin Kai Ho responded to White 38 of Dia. 33. Dia. 35 (38-40) In the actual game, Black responded to White 38 with the keima of 39. This move is not submissive, but rather very aggressive and thinks of capturing the whole side including 38. A terrific fight ensued with White 40 but we will postpone an analysis of this fight until another time. However, please try to understand the spirit of Black 39 in contrast to Black 1 in Dia. 34 which has the same feeling as White 7 in Dia. 30. Dia. 34 Dia. 35
32

CHAPTER 4: Thickness
The word thickness, as used in Go, is approximately synonymous with strength A group of stones is thick if it contains few or no weak points and is not vulnerable to attack. It should be obvious that thickness is a good thing to have. Your opponent must be extremely cautious in the vicinity of your thickness, for he will not find any useful kikashi to play against it should his stones get into trouble. Backed up by thickness, you can attack with carefree abandon. Also, in a ko fight the player whose groups are thick will have the advantage. Hence, in the first half of the game, building thickness is just as important as making territory. The key idea in handling thickness is to treat it with respect and not to play too close to it, whether it be your opponents thickness or your own. Let us look at some examples which illustrates this principle. Dia. 1 This example is taken from a game between Sakata (White) and Hoshino, 8-dan. The White group in the lower right is extremely thick. How should White play ? White 1 in this diagram is much too close to the White thickness. Clearly Black 2 is a larger move than White 1. Dia. 2 Sakata chose to invade at 1, and the sequence up to 19 is what was played in the actual game. Black had some difficulty finding severe moves. Due to the presence of Whites thickness he had to make defensive plays at 2 and 18, and the invasion was a success for White. Note that a still remains i as a large yose point for him. Dia. 1 Dia. 2
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Dia. 3 If Black had used 18 in the last diagram to capture three stones, as with 1 in this diagram, he would have suffered a big loss. White 2 captures a large territory. It is pointless for Black to extend into the teeth of Whites thickness with 3. White 4, in conjunction with Whites thickness, deprives Black of eyes. The reader should work out the details for himself. Dia. 3 Dia. 4 Dia. 5 When your opponent has made thickness, you should try to deal with it by establishing some stones a safe distance away from it. After making such a base, you can approach more closely. Dia. 4 In this diagram, taken from a game between a professional player and a strong amateur, Black has played a joseki in the lower right which gives him thickness in exchange for corner territory. White plays 1, 3 and 5 in line with the strategy just described. Now where should White play 7? Dia. 5 In the absence of the stones in the lower right, White 7 is joseki, but in the present circumstances Black can invade at 8, threatening to capture White 7. After White 9 and Black 10, White is in trouble.

34

Dia. 6 White may be able to connect underneath by playing 11, 13 and 15, but then Black 16 creates more Black thickness, promising much territory on the upper side and in the center. Furthermore, Whites group on the upper right side is not sure of two eyes yet. Dia. 7 If White plays 11 from the outside, he will lose some stones in the ensuing fight. Dia. 8 Considering this, the professional player (Ishida Yoshio, the present Honinbo) extended only as far as 7 in this diagram. This gave him safety, and later he had a chance to approach closer to Blacks thickness by playing a. Dia. 6 Dia. 7 Dia. 8 Dia. 9 Dia. 9 In response to White 1, the niken takabasami of Black 2 in conjunction with Black , is a good strategy. The 3-3 invasion of the corner with White 3 is the usual continuation and with the sequence to 8, Black has made thickness on the outside while White has taken profit in the corner. Black , has now become an ideally placed stone as it is a good extension from both the shimari in the upper right corner and the wall on the lower right side.
35

Dia. 10 - However, if Black has no stone at a or the point 9, Black 2 is not a good move. Now after the sequence to Black 8, White makes a wedge between the two Black positions with 9, nullifying the effect of Blacks wall on the lower right side. When Black plays 2, he is aiming to make thickness, placing no emphasis on the area in the corner, so before making this move he must make certain that, strategically, this thickness will have some value. Dia. 11 - Because of circumstances which often occur in actual games, it is not always possible to obtain an ideal placement of stones as in Dia. 9. Consider, for example, the situation in this diagram. Black has made a very impressive thickness on the lower right side of the board. However, White has been able apparently to nullify this thickness by making a wedge at 1. What method should Black adopt to make the best use of this thickness? Dia. 12 - It is nonsense for Black to play the tsume of 2 in answer to White 1. This move provokes the extension of White 3 which not only lets White make good shape on the right side but also weakens Blacks "secure" corner. In addition, Black 2 is too close to his thick wall of stones and does not utilize them in an efficient manner. That is, for the number of stones invested. Black 2 does not form enough territory. Black 2 violates one of the principles of thickness, i.e. "Dont use thickness to form territory." Dia. 13 - One of the strategic principles of Go is "Drive your opponent in the direction of your strong stones and not in the direction of your weak ones." Since the Black thickness on the lower right side is stronger than the shimari in the upper right corner, it is clear that the tsume of Black 2 follows this principle. White 3 illustrates the counter-principle in regard to thickness; that is, "Dont

approach thickness too directly." In other words, "Dont bash your head against a stone wall." Also, 3 allows White to run away easily into the center with 5. However, a simple extension to a would not have left this good move available. Next, the boshi of 6 seems to be the most logical way for Black to continue the attack. As a result of the tsume of 2 and the tobi of 4, Black has been able to make an ideal shape in conjunction with his shimari in the upper right corner. Furthermore, the White stones are still weak because of the powerful influence of the Black thickness which may permit him to gain more profit by continuing the attack with 6. In Part II of this book many problems concerning thickness will be presented and the reader will be able to gain practice in using the above-mentioned principles. Dia. 10 Dia. 11 Dia. 12 Dia. 13
36

CHAPTER 5: Korigatachi
Literally, korigatachi means "frozen shape". This term refers to a configuration of stones which is overconcentrated, the stones of this configuration not being used to their maximum efficiency. Dia. 1 shows a simple example of korigatachi. Dia. 1 Inefficient White has formed a two point extension on the third line. In this situation, it is almost a formula for Black to play kikashi with the kosumi-tsuke of 1 forcing White to play 2. Now White . is too close to his two stone wall and his shape becomes korigatachi. This stone would be more efficiently placed at a or b. Dia. 2 Ideal shape If Black neglects to play the exchange of 1 for 2 in Dia. 1, White will exchange 1 for 2 as in this diagram and now his shape on the lower side is ideal. Dia. 1 Dia. 2 Dia. 3 Dia. 3 White has just played kakari with 1. How should Black respond so as to force White into korigatachi ?
37

Dia. 4 In response to White ., Black should play tsuke-osae with 1 and 3. The sequence to Black 7, which is joseki, will follow, leaving Black with a large profit in the corner and White with thickness along the lower side. But what is this thickness worth? Dia. 5 If White were to make an extension from his formation on the lower left side, the ideal point would be at a. On the other hand, the ideal point for an extension from the formation on the lower right side would be at b. The sphere of influence of these two formations overlap on the points marked x. Eventually, White may have to play on one of these points to prevent Black from invading.

But, for White to play on one of the points x will result in korigatachi. Dia. 6 White has just played tsume with 1 against which Black replies by cutting at 2. What is the meaning of this cut? Dia. 4 Dia. 6 Dia. 5
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Dia. 7 When Black cuts with 2, he is expecting White to play ate with 3. After the exchange of 4 for 5, Black plays kikashi with 6, 8 and 10 forcing White to take the two stones 2 and 4. These kikashi moves are very useful in that Black is able to make a solid wall without any bad aji. On the other hand, White . is now too close to the White wall of 7, 5 and 3. This stone would be more efficiently placed at a. White ., placed as in this diagram, puts too many stones in one area and causes an over-concentration of stones. Dia. 8 In response to the cut of Black 2, in order to avoid the korigatachi which results in Dia. 7, White should play 3 and 5. Now White . is efficiently placed, blocking the advance of Blacks stones at 2 and 4. Furthermore, Black still has bad aji in his wall at a leaving the point b for White to aim at. Dia. 7 Dia. 8 In the example of Dia. 7, the aji of the Black stones at 2 and 4 in conjunction with the kikashi moves of 6, 8 10 were important for causing the resulting korigatachi. In fact, kikashi is often the key for causing ones opponent to make korigatachi. In Dia. 8, by not allowing Black to play kikashi, White was able efficiently to utilize all his stones and still preserve Blacks bad aji. Another example will now be given to emphasize the relationship between these two concepts.
39 40

Dia. 9 Dia. 10 Dia. 9 In this fuseki, Blacks moves from 11 to 15 are a bit dubious. It would have been better for Black to have played 11 at a immediately followed by b. This would have resulted in a well-balanced shape on the left side for Black. However, after Black 17, White can force Black into korigatachi on the left side by some well-timed kikashi moves. Dia. 10 White plays kikashi with 18, 20, 22, etc. followed by 28 and 30. This results in Blacks being pressed into a low position on the left side. This low position leaves the feeling that Black is not getting enough territory for the stones invested; that is to say, these stones are over concentrated. White, on the other hand, is beginning to form a wall along the entire left side and this potential wall will have a strategic influence throughout the middle stage of this game. It might be noted that White 24 is not really kikashi and this move should be played at a later time. It was given here only to emphasize the feeling of the left side. The point 24, however, can be considered Whites option as it is hard to imagine Black making a meaningful move in this area of the board.
41

CHAPTER 6: Sabaki

The meaning behind sabaki in Japanese is "development". This same meaning carries over when this word is used as a Go term. In Go, it refers to the development of stones in a dangerous situation in a kind of quick, light and flexible way, either to escape or to make eyes if necessary. Consider the following example. Dia. 1 Black has just played at , threatening to capture four White stones by playing at a. In addition, the two White stones in the corner do not yet have a living shape. Dia. 2 The geta of White 1 seems to be the most obvious way for White to proceed. If Black attacks the corner with the hane-tsugi of 2 and 4, White intends to live by playing 3 and 5. However, 5 forces Black to play nobi with 6 and now the same four White stones, ., are in trouble again since Black can capture them by playing at a. On the other hand, if White defends against this threat by playing a, Black will play osae at b and the White stones in the corner die. However, White has a way to save the four stones marked . as well as the two stones in the corner. Dia. 3 The correct procedure for White to follow is to dispose of the corner with the kikashi of 1, 3 and 5. In this way, White is able to give his stones in the corner a living shape without causing damage to the outside stones. In addition, White retains sente with which he can defend his endangered stones by playing geta with 7. Dia. 1 Dia. 2 Dia. 3 : at ) The White moves from 1 to 7 are an example of sabaki. Please note that sabaki does not refer to shape; rather, it is a way of playing. However, the idea of shape is often related to the method of sabaki. Sabaki is often used to avoid omoi katachi (heavy shape). A group of stones having a heavy shape is unwieldy and susceptible to attack. The method of sabaki can be used in such cases to prevent stones from becoming heavy, allowing the formation of eyes to be easily attained.
42 43

Dia. 4 Consider the situation in the upper right corner. It is Blacks turn to play. How should he prevent White from making sabaki? Dia. 5 The kosumi-tsuke of Black 1 forces White to play tachi with 2. From this formation, White, in order to make an ideal shape, would like to play at either a or b. However, it is Blacks turn to play and he attacks with a severe hasami at 3. With this move, the two White stones take on a heavy shape and cannot easily make eyes. Dia. 6 However, if Black reverses the order of moves and plays at 1 first, White can expand his corner by playing sabaki with 2, 4, 6 and 8. Playing in this way, White can get at least one eye after which he can run away lightly into the center with 10. Dia. 4 Dia. 5 Dia. 6 The method of sabaki, although it often occurs in joseki, is essentially a middle game technique. Its most frequent application is to be found in the invasion and reduction of large territorial frameworks. When disposing of such structures, the method of sabaki is a very useful technique.
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Dia. 7 - In the upper right quarter of the board, Black has formed a double-wing formation based on a kogeima shimari. In such a case, the vital point of both defense and attack is at White 1. In response to 1, Black usually plays at either a or b. For the sake of discussion, suppose Black answers at a. Dia. 8 - After the keima of Black 2, the attachment of White 3 and the cut of White 5 are standard procedure. After Black plays 6, White will play kikashi with 7 and 9 forcing Black to capture one stone with 10. Finally, White runs away lightly with 11, having established a foothold, albeit a thin one, on the upper side. In addition, the Black stone, ,, has been isolated. Dia. 7 Dia. 8 Dia. 9 Dia. 10 Dia. 9 - Some readers may wonder about White 11 in Dia. 8. Since there are many cutting points in the White formation one might think it better for White to defend more directly with a move like the kaketsugi of 1 in this diagram. However, if White plays in this way, Black will play nozoki with 2, a kikashi move which forces White to connect at 3. This kikashi prevents White from making an eye at 2, thereby leaving him with a heavy shape. Dia. 10 - To connect with a katatsugi at 1 is even worse for White. Black strikes at Whites vital point for making eyes, again leaving the White group eyeless and heavy.
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Dia. 11 White 11 in Dia. 8 is the essence of what is called karui sabaki (light sabaki). White 3, 5, 7 and 9 are all, in a sense, kikashi and White intends to utilize these stones in conjunction with 11 to make good shape on the outside. For this reason, White does not fear the cut of Black 1 in this diagram. In fact, he welcomes it. In response, White plays ate at 2 and after Black captures one stone with 3, White plays magari with 4. If Black continues in this way by capturing another stone with 5, White will play nobi with 6. The point to understand here is that while Black is focusing his attention on capturing stones (note that each move is worth only from one to two points), White is becoming thicker and thicker on the outside and Black , is becoming weaker and weaker, gradually falling under the shadow of the growing White thickness. It should also be noted that White at a will probably be answered by Blacks capturing one stone at c. However, White must not rush to play this point since b also forces Black to capture at c. This aji must be left till later because White doesnt know which move will become more important as the game develops. However, if Black foolishly plays at b. White will extend to d and now a White move at a is no longer aji keshi. This example illustrates an important point about kikashi: One should not place any importance on stones which have been used as kikashi. Instead, they should be utilized for the aji they have created and sacrificed without regret. Please notice that White . also effectively prevents Black from breaking out into the center. Dia. 11 Diagrams 7, 8, 9, 10 and 11 shows how sabaki is used to reduce potentially large territorial structures which often occur in the middle game. However, the method of sabaki also occurs in the fuseki stage and is used when a player must develop his stones quickly.
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Dia. 12 This example was taken from a game between two amateur players. After the kakari of White 18, Black attaches with 19. Considering the presence of a

Black stone at 17 and the Black thickness on the lower left, how should White play next? Dia. 13 The hane of White 1 and the kaketsugi of White 3 are the most common ways for White to respond to the tsuke of Black 19 in Dia. 12. However because of the presence of Black , on the right side, Black can immediately begin an attack with 4. The sequence to White 13 is a well-known joseki, but in this case it turns out very badly for White. Black has made territory on the right side as well as the beginnings of a large prospective territory on the lower side, while Whites stones have only just managed to escape. So we must conclude that White 3 was a mistake. What should he have played? Dia. 14 After White plays kikashi with 1 the correct continuation is to jump lightly to 3. This way is sabaki. What happens now? Dia. 12 Dia. 13 Dia. 14
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Dia. 15 Black 4 and 6 are very sluggish moves. In response, White again jumps lightly to 5 and plays kikashi at 7 forcing Black to capture at 8. After this, White has sente and can make another move elsewhere on the board. So, while Black is nibbling away at the lower right corner, White is developing very quickly. Dia. 16 The result in Dia. 15 is very bad for Black, so in response to White 3 in Dia. 13, he should play tsume with 4 against which White descends to 5. When compared with Dia. 13, it is clearly seen that this result is good for White. Whites stones are alive in the corner with good future endgame possibilities along the lower right side. In addition, the Black area on the lower side is still very thin. Considering Blacks initial advantage in this portion of the board, White can consider his intrusion a success. Dia. 15 Dia. 16 From the above examples it is seen that sabaki consists of two steps: first, kikashi moves and then the moves which occupy vital points. The kikashi moves usually turn out to be blocking moves in that the opponent must, in a sense, go around them in order to attack the main body of stones. In the meantime, the player of sabaki will be developing his stones at a very quick pace. It can be easily understood from this why sabaki is so useful in attacking formations that have already been built up to an extent.
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CHAPTER 7: Furikawari
Furikawari means "exchange." It can happen anytime in the course of a game when one player takes territory (real or potential) that belongs to the other player and, in exchange, gives up some of his own. Sometimes, both players simply enter virgin territory and divide it up as in the following example. Dia. 1 This sequence is an example of furikawari in a joseki. In response to the niken takabasanii of Black 2, White plays a counter hasami with 3. The attachment of Black 4 is the usual continuation, but now White initiates a furikawari by extending to 5. Because of the aji of Whites stone at 1, Black has little choice but to play osae with 6. The result of this sequence is furikawari in that White has given up the territory in the corner in order to establish a

position along the right side. Although Blacks profit in the corner is fairly large, such a procedure may be justified if the right side is important to White. Dia. 2 This is another niken takabasami joseki. After the kake of White 3, Black plays degiri with 4 and 6. At this point, White shifts the scene of the struggle to the upper side by playing tsuke with 7. However, Black focuses his attention on the right side and plays nobi with 8. When White plays nobi with 9, Black plays 10, eliminating the bad aji of the White stone at 3, and with 11 the joseki comes to a close with Black taking the right side while White establishes himself on the upper side. Dia. 3 In response to the tsuke of White 7, the nobi of Black 8 in Dia. 2 is almost forced. If instead Black plays tachi with 8 as in this diagram, White will play the ate-de tesuji of 9 and 11. The sequence ends with Black 16, but this is gote for Black. However, when Black simply follows the sequence in Dia. 2, he retains sente. Hence, Black 8 in this diagram must be rejected. Furikawari sequences always have a stone (or stones) around which the moves focus. This stone has aji which one must eliminate while the other player threatens, from a distance, to make this aji come to life. White 1 in Dia. 1 and White 3 in Dia. 2 are examples of stones having such aji. In both instances Black must spend two moves eliminating their aji but, in the meantime, White is building up his position elsewhere. This is similar to the situation which was seen in the section on sabaki. In that case there was the aji of the kikashi stones which had to be overcome before the main stones could be attacked. However, while one player was nibbling away at these kikashi stones, the other player was developing elsewhere on the board. To be precise, sabaki is a method of playing while furikawari refers to a result. Actually, in a general sense, the examples of Dias.1 and 2 in this section are sabaki sequences which result in furikawari. Dia. 1 Dia. 2 Dia. 3
50

CHAPTER 8: Yosu-miru
Yosu-miru is a probing technique which forces ones opponent to fix the shape of his stones. During the course of a game, a player naturally tries to keep his options as flexible as possible for as long as possible in order to take advantage of the constantly fluctuating situation over the whole board. When making a yosu-miru move, one maintains his own flexibility and options but forces his opponent to settle on a particular shape before he is ready to, thereby reducing his options. There may be a number of ways to respond to a yosu-miru move, but once the shape is fixed, the other player can plan his strategy on the basis of this fixed shape. The technique of yosu-miru is perhaps the most difficult one to master as it makes use of all the concepts we have studied in the preceding chapters, especially aji, kikashi and sabaki. It is also requires a great deal of judgment and intuition. Dia. 1 Illustrative Game No. 4 (1-18) This game is taken from the sixth game of the 1968 Honinbo Sen between Sakata Eio (White) and Rin Kai Ho (Black). With the kosumi of White 18, the fuse-ki comes to an end. Black would now like to play ikken tobi at a. However, this move is a bit slow and White would respond by playing kikashi at

b. Black c, followed by White d which forms a very large prospective area for White on the upper side. Consequently, Black must somehow dispose of the upper side. Dia. 1 (1-18) Dia. 2 (19)
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Dia. 3 Dia. 2 Black begins his invasion by attaching at 19. This move is yosu-miru. Its purpose is to see how White intends to defend this sector of the board. Depending on how White responds, Black will plan his strategy. White has four ways to answer; the connection of a, the kosumi of b. the descent of c, and the osae of d. Dia. 3 In response to Black 1, White connects at 2. This move indicates that White intends to place emphasis on the outside. Hence, Black counters this intention by playing kikashi at 3, forcing White to defend with 4. Next, Black invades with 5 and this is the natural continuation. Dia. 4 Dia. 4 The invasion of Black 5 in Dia. 3 is a very important point. However, the kikashi of Black 3 must precede that move. If, after playing at ,, Black rushes to play 1 immediately, as in this diagram, White will play 2 and 4 building up an impressive territory along the upper left side. Black 3 in Dia. 3 prevents this White expansion. Dia. 5 Dia. 5 For Black to invade at 1 is an overplay. This invasion is too deep and Black will be severely attacked with the keima of White 2.
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Dia. 6 After White plays 2 in Dia. 3, it may seem that Black has abandoned his stone at 1 when he plays 3 and 5 in that diagram. However, this is not the case since the aji in the corner is bad for White. Black can live in the corner by ko with the sequence from 1 to 7. This is a very difficult ko for White since, if Black wins this ko by capturing at a, Whites area on the upper side will be in danger of complete annihilation. So, the presence of this potential ko will be a thorn in Whites side as long as it exists and he will eventually have to lose a move by going back to correct this bad aji. Dia. 7 Black 1 in Dia. 3 is a probing move to see how White will play. Suppose Black reversed the order of 1 and 3; what would happen? If Black first plays kikashi with 1, White will again obediently answer with 2. But now, when Black plays tsuke with 3, White changes his tactics and plays osae at 4. Black continues to play kikashi with 5 and 7 but now, because of the presence of White 2, the possibility of these two Black stones making life or escaping becomes more difficult. In this sense, Black 1 has become aji keshi. Dia. 6 Dia. 7
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Dia. 8 If White responds to Black , with the kosumi of 1, Black will invade with 2. If White defends the corner with the osae of 3, Black will play hane-tsugi with 4 and 6 followed by the oshi of 8. Instead of 8, Black could make watari at a, but 8 seems to be more in the spirit of this game.

Dia. 9 In response to Black 2, it is not advisable for White to try to confine Black with the oshi of 3. In this case, Black will live in the corner with the sequence to 12. The size of this corner is at least 10 points and this is too big for White to allow. Although the Black stones on the lower left side have become weaker, Black can ensure their life rather easily. However, please note that this sequence is not possible if White has a stone at a. Dia. 8 Dia. 9
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Dia. 10 - Against the sagari of White 1, Black will again play uchikomi with 2 and the sequence is the same as in Dia. 8. Dia. 11 (19-25) - In the actual game, White played the osae of 20 in response to Black 19. By playing this move, White indicates his determination to keep the corner. Hence, Black shifts his attention to the outside but utilizes the aji of Black 19 to make a tentative position with 21 and 23. These two moves are kikashi and together with the extension of 25 comprise a sabaki sequence. At this point, Blacks maneuvers on the upper left side come to an end and he should be satisfied with this result. After White 18 in Dia. 1, Black is faced with the problem of how to invade the upper side. The tsuke of 19 is a probing move which seeks out Whites future intentions. If White connects at 2 as in Dia. 3, it means White places emphasis on the outside. On the other hand, the osae of 20 in Dia. 11 shows Whites intention to secure the corner. In both these cases, Black adopted appropriate counter-measures. In addition, there are the kosumi of White 1 in Dia. 8 and the sagari of White 1 in Dia. 10. Both these moves give Black an opportunity to invade at 2 (please study the comment about White a in Dia. 9 to understand this) thereby building up a sizeable area on the left side. Dia. 10 Dia. 11 (19-25) To continue, after Black 25 in Dia. 11, White is now faced with the problem of how to attack the Black formation on the right side of the board. Where should he begin ? Should he invade the upper right side, the lower right side, or should he attack the shimari in the lower right corner? This problem was also solved by a yosu-miru move.
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Dia. 12 (26-28) White attached from below with 26. This move is also yosu-miru against which Black played the nobi of 27. As a result, White shifted his attack and invaded with 28. Why? Because Black 27 placed emphasis on outside influence, but White . is situated so as to have a nullifying effect on this influence. Furthermore, the aji in the corner is bad for Black since White can easily live there. Consequently, since the lower right side is pretty much settled, all that is left is the invasion of White 28. Dia. 13 As mentioned in Dia. 12, White can live in the corner anytime he wishes by playing 1, 3 and 5. If Black continues to attack with 6, 8 and 10, White will defend with the moves up to 11. However, White ends in gote so the time to play this sequence must be carefully considered. Dia. 14 Besides Black 27 in Dia. 12, there are four other ways for him to respond; at a, b. c and d. Lets consider each of these moves. Dia. 12 Dia. 13 Dia. 14
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Dia. 15

First of all, there is the osae of Black 2 in response to White 1. In this case, White cuts with 3 and when Black plays ate with 4, White plays sabaki with the kikashi of 5 and 7 followed by a light play at 9. After this, White will aim at an invasion around the point a or attack Blacks stones on the upper side with the kosumi of b. In any case, White accomplishes his purpose by establishing a foothold on the right side. Dia. 16 Needless to say, White has no fear of a Black cut at 1. In reply, White would play one ate with 2 followed by another with 4 making good shape. If Black plays 3 at 4, White will answer at a. Dia. 17 The second alternative is for Black to play osae from the inside with 2. Again White plays sabaki with the kikashi of 3 followed by the tobi of 5 and 6. This result is quite satisfactory for White. Dia. 15 Dia. 16 Dia. 17
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Dia. 18 Dia. 19 Dia. 20 Dia. 21 Dia. 18 This is a tewari diagram. It is obtained by removing the kikashi stones of Dia. 17 and their replies. In this way the real value of the moves made becomes clear. By this we see that in reply to White ., Black played ,, which is not really a very good move. This should give the reader a deeper insight into the value of kikashi. Dia. 19 The next variation is the hiki of Black 2. White responds with the hane of 3. Black 4 is a severe move, but White plays 5 and then jumps to 7. In this case, since Blacks corner is vulnerable, White a is sente. In addition, White can also aim at the points b and c. Dia. 20 Finally, there is the hiki-age of Black 2. When White plays 3, Black can play osae with 4. Next White jumps to 5 and after Black 6, White also jumps to 7. In this case, Blacks aji in the corner is bad and the White tsume of a is almost sente. Dia. 21 In answer to White 3, Black could also play kake with 4, confining White to the side and corner. However, White makes a large life in the corner with the sequence to 9 and White is not dissatisfied.
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From the above examples, it can be understood that yosu-miru is a method by which one player tries to determine how to utilize his opponents bad aji before launching an attack. If the attack is initiated without playing yose-miru, the opponents bad aji may begin to disappear as we saw in Dia. 7. Here is another example. Dia. 22 Dia. 22 If White plays boshi with 1, Black will respond with 2. Now if White plays tsuke with 3, Black will draw back with 4 forcing White to move toward the outside with the hane of 5. But now the presence of Black 2 will make it very hard for White to play sabaki with 3 and 5 and the chances are that these stones will become very heavy. So, yosu-miru will either preserve aji, as it does in Dia. 12, or show the way to utilize this aji immediately. Black 19 in Dia. 2 and White 26 in Dia. 12 are not the only ways of playing yosu-miru against these shimari. The following diagrams give some alternatives.
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Dia. 23

Against the ikken shimari, Black can also play nozoki with 1. If White connects with 2, Black gets ko with the sequence to 9. However, please bear in mind that Black should not play this sequence immediately but, instead, keep it in reserve as aji. The procedure in Dia. 3 is now called for. Dia. 24 If White responds to the nozoki of Black 1 with the osae of 2, Black will play 3. Because of the aji left by the Black stone at 1, White must play 4. Next, Black extends to 5 and the result is similar to Dia. 11. Dia. 23 Dia. 24 As seen from the above examples, there are many ways to play yosu-miru. There are also many ways to respond to such a move. The choice of a yosumiru move or a response may depend on the circumstances but it often depends on the temperament or style of an individual player. It is really impossible to judge whether moves such as these are good or bad. However, there are tactical situations where a yosu-miru type move is the only recourse by which to obtain a satisfactory result. Here is an example.
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Dia. 25 - White has played tsume with 1 which threatens to invade the Black formation at a. How should Black defend against this move? Dia. 26 - Black should play the sashikomi (insertion) of 2 in response to the tsume of White 1. White must now connect at either a or b. Dia. 27 - In answer to Black 2, if White connects at 3, Black will cut at 4 and after White 5, descend to 6. White must play osae with 7 and now Black can utilize the aji of his stones 4 and 6 by playing 8 with sente forcing White to defend with the kaketsugi of 9. Because of his stone at 8, Black need no longer worry about an invasion at a and can proceed to play another big point. Dia. 26 Dia. 25 Dia. 27
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Dia. 28 The other possibility is for White to play 3 in response to Black 2. In this case, Black will simply defend his formation by jumping to 4 leaving behind the aji of a cut at a. This aji will be annoying to White when Black invades the upper side. Depending on the circumstances Black may choose to begin this invasion by playing b or c. Dia. 29 The presence of Black , makes the invasion of White 1 meaningless. Black plays tsuki-atari with 2 and easily connects underneath with 4. Dia. 28 Dia. 29 Dia. 30 Dia. 30 If Black plays 1 in response to White ., White will invade with 2 immediately and after Black 3 and 5, it is White who connects underneath with 6, leaving the Black stones drifting without eyes in the center. If Black now plays sashikomi with a, White will connect at b and Black has no aji to exploit.
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PART II Problems and Answers

In order to improve ones skill in Go, the first step is to understand the tactical and strategic principles of the game. The next step, and perhaps the most difficult, is to put those principles into practice. This is the experience phase. Playing games is, of course, one way to gain experience in utilizing Go principles. However,

without the guidance of a professional teacher, the student often reaches a plateau beyond which it is almost impossible to progress. Fortunately, there is another way to obtain experience; to study problems in which the student can utilize Go principles. The problems in this section all utilize the concepts introduced in Part I and by trying to solve them, the reader can accustom himself to the kind of thinking involved and hopefully apply these concepts to his own games. However, the reader should not be discouraged by failure to solve the problems. The real benefit comes from thinking seriously about each and then compare ones answer with the solution provided. This is the best way to discover and correct your own blind spots.

PROBLEMS
Problem 1 White to play After the sequence to White 6, the kaketsugi of Black 7 makes good shape for securing the corner with no bad aji. In any case, it is now Whites turn to play. What is the correct continuation?
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Problem 2 Black to play In response to the osae of Black 4, White cuts with 5, followed by the ate of Black 6 and the sagari of White 7. After this, how should Black continue in order to take complete advantage of this situation? Problem 3 Black to play The sequence in this problem was taken from a four-stone handicap game In response to the boshi of White 7, Black attaches with 8 followed by the natural exchange of 10 and 11. What should Black do now? Problem 4 Black to play In response to the boshi of White 1, Black plays the keima of 2. The sequence continues with 3, 4 and 5 resulting in a cross cut. There is a proverb which says, "When caught in a cross cut, extend." However, in this case, Black must not follow this rule, but, instead adopt a more aggressive attitude. What is Blacks best move?
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Problem 5 Black to play White has just played nozoki with 1 aiming to cut at a. Should Black prevent this cut? If not, what is the correct way for Black to play? Problem 6 White to play As was seen in Problem 5, moves which seem to be kikashi may not necessarily be so. However, such a move may actually become kikashi if it is obediently answered. In this

problem, Black plays nozoki with 1 aiming to push through at a. In addition, White must also consider the effect of a Black cut at b. How should White respond to Black 1 ? Problem 7 White to play Considering the presence of the thick Black wall on the upper side, how should White respond to the nozoki of Black 1 ?
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Problem 8 White to play This is similar to Problem 7. White must find a good tesuji to make sabaki against the nozoki of Black 1. Problem 9 White to play In order to extricate White ., White initiates the sequence from 1 to 4. After this, how can White make sabaki ? Problem 10 White to play Black has just played the kosumi of 1, attacking White .. How can White make sabaki ?
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Problem 11 Black to play In response to Black 1, White plays boshi with 2 with the aim of utilizing the thickness he has on the upper side. Next, Black plays 3 seeking life on the lower side, against which White plays kosumi-tsuke with 4. How should Black respond to this move ? Problem 12 Black to play The joseki in the upper left has proceeded to the sagari of White 7. How should Black answer in order to both utilize his shimari in the upper right corner and the aji of his stone at ,? Problem 13 Black to play White has just played nozoki with 1. Is this move kikashi? How should Black respond ?
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Reference Diagram 1 The sequence m this diagram is one of the most basic even-game joseki. It is usually referred to as the tsuke-hiki joseki because of the tsuke of Black 3 and the hiki of Black 5. Reference Diagram 2 In this case, Black has a stone at , and so, after the tsuke-hiki of Black 1 and 3, Whites normal development to White 8 in Reference Dia. 1 is blocked. In this case White 4 is a heavy move and does not make sabaki since there is the possibility of Black playing kikashi with the nozoki at a, forcing White to connect at b Reference Diagram 3 The correct way for White to handle this situation is to make sabaki with 2 and 4. In

order to give the reader a sense of the power of this sabaki, the next few problems will deal with various Black attempts to attack this sabaki shape and other ones similar to it. Problem 14 White to play Black attacks Whites stones by jumping in between with 1. How should White complete his sabaki maneuvers started in Reference Dia. 3? Problem 15 White to play This time Black cuts with 1. How should White respond? Problem 16 White to play In this case, Black , is one line higher than in Problem 15. How does White make sabaki this time ?
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Reference Dia. 4 The joseki in this diagram was briefly touched on in Chapter 3. After the kosumi of Black 8, it is possible for White to leave the situation as is, waiting to see how Black will attack, with the intention of making sabaki. The next two problems will deal the Black cut at a and the Black hane at b. Problem 17 Black to play This problem is related to the preceding three problems. In this fuseki, after the tsuke-hiki of Black 9 and 11, White plays elsewhere. Later, Black comes back and cuts with 15, to which White responds with the nobi of 16. Taking the overall situation into account, how should Black continue? Problem 18 White to play After the cut of Black 1, how can White make sabaki?
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Problem 19 White to play This time Black plays hane with 1. Again White must make sabaki. Problem 21 White to play After White ., Black plays kosumi-tsuke with 1. How does White make sabaki in this case? Problem 20 White to play Black has just played niken-basami with 1. How should White continue? Problem 22 Black to play There is a rule in Go which advises that when a stone is captured by shicho, it should be removed from the board as soon as possible. In this problem, White has played two joseki on the left side. However, in both of them, White ends by capturing a stone by shicho, at 22 and 30. Because of the bad aji left by this double shicho, Black is able to obtain an advantage in this situation. How can Black do this?
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Problem 23 Black to play This problem is taken from a game between two amateur players.

The joseki from White 18 to White 50 is a long and complicated one but well-known to most players. After Black 51, White plays kakari at 52 which is a very big point. However, there is still the bad aji of Black 47 left behind. How should Black take advantage of this aji ? Problem 24 Black to play Against the kakari of White 1, how should Black answer?
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Problem 25 Black to play In this three-stone handicap game, the sequence to 9 is joseki. In answer to White 9, Black plays ogeima with 10. In this game, White attached with 11 in order to confine Black to the corner. What is Blacks correct response from the point of view of yose ? Problem 26 Black to play White has just played hasami with . attacking the isolated Black stone on the upper side. When considering this problem, attention must be paid to the weakness of Blacks three stones ,. How should Black respond to White .?
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Problem 27 Black to play In response to White 3, Black plays a counter hasami with 4. Once again, White plays tsuke at 5 and the sequence continues as in the joseki studied in Dia. 28 of Chapter 2. However, because of the presence of Black 4, White 9 is not a good move. How should Black take advantage of this mistake? Problem 28 Black to play The same joseki takes place in the upper left corner except that this is a two-stone handicap game instead of a three-stone one as before. Please consider the effect of White 3 on the joseki being played in the left corner. Should Black again play the cut at a ?
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Problem 29 Black to play In this three-stone handicap fuseki, White attempts to make Black heavy by playing 5 and 7. How can Black make sabaki? Problem 30 Black to play This fuseki is similar to the one in Problem 29. However, in this case, it is a two-stone game and White has played tsuke at 7. How should Black answer? Be sure to consider the effect of White 3 in relation to the shicho which can develop in the upper left corner. Problem 31 Black to play The Black stones on the upper side are almost dead. However, because of the aji of his three stones at ,, Black has a way of saving them. What is the correct tesuji for Black ?
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Problem 32 White to play Black plays ogeima at 1, attacking both groups of White stones on the upper side. How should White answer? Problem 33 Black to play White has just connected at .. How should Black play now?
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Problem 34 Black to play When Black cuts at ,, White 1 and 3 are a standard procedure after which Black must play at a. However, there is a way for Black to play so as to leave bad aji behind for White. What should Black do before playing at a? Problem 35 Black to play In Chapter 3, the joseki commencing with White 6 was studied. However, instead of the cut at 16, the osae of a was said to be joseki. Well, what about 16 in this problem? It is really not a good move but White wants to make things very complicated hoping that Black makes a mistake. What is Blacks most profitable course of action ?
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Problem 36 Black to play Problem 37 White to play This is almost the same as Problem 35 except that White has played 6 and 8. Because of these moves, the shicho which was seen in Answer 35b becomes unfavorable for Black. Hence Black cannot play as before and he must find another way. How should Black continue? In this fuseki, after Black plays nobi with 11, White plays 12 and 14. After Black jumps to 15, how should White continue?
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Problem 38 Black to play Whites two stones . are heavy. How should Black attack them? Problem 39 Black to play In this four-stone handicap game, Black plays ikken basami with 2 against Whites kakari at 1. The sequence continues up to White 7 and it has become very complicated indeed. However, Black can play to turn the situation to his favor. How should he play? Problem 40 Black to play Black invades with 1. However, after White 6, Black seems to have been separated from his stones on the upper side of the board. How can Black play so as to gain the upper hand in this situation?
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Problem 41 Black to play White plays 10 and 12 in the upper right corner. In order to avoid suffering a loss, how should Black play ? Problem 42 White to play Black has played four moves against White .. In spite of this, there is still some aji left. How can White utilize this aji? Problem 43 White to play In response to the oshi of 6, Black plays nobi with 7 but this is not a good move. Against 6, what is Blacks best

response, and how should White continue after Black 7?

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Problem 44 Black to play In this three stone game, the sequence to the cut of White 17 has taken place. What is Blacks next move ? Problem 45 Black to play In response to the wariuchi of Black 1, White plays tsume with 2. How should Black answer this move ?
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Problem 46 Black to play Against the wariuchi of White 1, how should Black respond? Problem 47 Black to play This problem is taken from a seven-stone handicap game. Through 16, Black has formed a thick wall while White has made profit in the corner. However, White plays boshi with 17, threatening to nullify the influence of Blacks wall. How should Black answer this move?
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Problem 48 Black to play In this four-stone handicap game, Black makes a wall with 10, 12 and 14. Again White strikes at the vital point with the boshi of 15. How should Black respond to this move? Problem 49 Black to play How should Black respond to the keima keshi of White 1 ?
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Problem 50 Black to play In response to White 1, Black plays keima with 2. Next, White tries to make sabaki by attaching at 3. How can Black utilize his thick wall to prevent White from carrying out his plans ? Problem 51 Black to play In this fuseki, up to 34, White has mapped out a large prospective territory on the right side. However, the kosumi of White 36 is a lukewarm move and not really to the point. How should Black play to make sabaki on the right?
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Problem 52 Black to play White has just played 16. How should Black deal with the upper side? Problem 53 Black to play White plays ni-dan bane with 1 and 3. Taking the situation on the right side into account, how should Black respond? Problem 54 Black to play As in Problem 53, White again plays ni-dan bane with 1 and 3. Should Black respond in the same way as in Problem 53?
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Problem 55 Black to play This problem is taken from a game between Honinbo Shusai, the 21st Honinbo, and Kitani Minoru (now 9-Dan) when he was a young boy. White (played by Shusai) has just made a nozoki with 1. Is this move kikashi, forcing Black to connect at a? If not, how should Black

answer this move? Problem 56 White to play How should White defend the cutting point at a after the exchange of White . for Black , ?
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Problem 57 Black to play How should Black answer the hasami of White 1 ? Problem 58 Black to play Considering the presence of White ., how should Black respond to the hasami of White 1 ?
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Problem 59 Black to play What is the best way for Black to answer the hane of White 1 ? Problem 60 Black to play Black 1 and White 2 are standard yose moves. At this point, the usual move for Black is the drawback to a. However, because of the presence of Black ,, Whites aji is bad. What is Blacks next move?
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Problem 61 White to play When Black plays 2 in answer to White 1, it leaves bad aji in the corner. How should White utilize this aji in conjunction with the aji of his stone . in order to invade the large valley of territory that Black is building up on the right side? Problem 62 White to play White responds to the boshi of 1 with the keima of 2, after which Black plays 3 and 5. How can White prevent Black from making sabaki?
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Problem 63 Black to play Black plays yosu-miru with 1. White draws back with 2, Black plays kikashi with 3 followed by the tsuke of 5 and the cross-cut of 7. In answer to 7, White extends to 8. What is the best way for Black to utilize the stones he has just played? Problem 64 Black to play White has just played 1, threatening to isolate , and to form a large potential area in the center of the board. How can Black prevent this?
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Problem 65 Black to play How can Black utilize the aji of his stone , in conjunction with the aji of his stones in the upper left corner? Problem 66 Black to play White has just cut with 1. How should Black answer this move?
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Problem 67 Black to play In this five-stone handicap game, White has played at 17, threatening to invade Blacks territory on the upper right side. What is the correct way for Black to answer this move ? Problem 68 White to play This problem is taken from the same game as Problem 67. Before saving his stones on the upper side with 5 and 7, White plays kikashi with 1 and 3. Black now plays nozoki with 8. What is Whites

answer?
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Problem 69 White to play In this problem, White is asked to escape with his three stones on the upper side. Problem 70 White to play White cannot capture Black , by playing at a because the presence of a Black stone at the 4-4 point renders the shicho unfavorable. However, White can obtain an advantage in this situation. How should he proceed? Problem 71 White to play How can White make two eyes for his group of stones ?
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Problem 72 Black to play This problem is taken from the first illustrated game presented in Chapter 2. White has just played kosumi with .. In the actual game Sakata, Black, launched an attack at a. However before playing here, there is a preliminary move he should make. How should Black play?
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ANSWERS
Answer 1a Correct The ate of White 1 is kikashi forcing Black to connect with 2. After this, White defends his defect at a with the kaketsugi of 3 making a good shape. Answer 1b Eventually, Black may want to play at 1, but now, because of the presence of White ., White 2 is sente forcing Black to capture with 3. Answer 1c If White neglects to play 1 as in Answer la, but instead simply connects at ., Black will be able to play 1 and White 2 is no longer sente. Furthermore, Black a may also be possible for some additional points in yose. Answer 1d After the connection of Black 2, White must not connect at 3. In response, Black will quietly extend to 4 leaving behind the cutting point at a as bad aji. Answer 1e Later on, the nozoki of Black 1 followed by the tobi of 3 is one possible way to attack. This leaves the White stones with a heavy shape. Hence, it is seen that the kaketsugi of White 3 in Answer la is essential for making good shape.
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Answer 2a Correct

The correct answer is for Black to play kikashi with the ate of 1. When White connects with 2, Black captures two White stones with 3. Let us now consider the effect of Blacks kikashi. Answer 2b Suppose that Black neglects to play kikashi as in Answer 2a, and instead simply plays osae with 1. In this case, White will play ate with 2 (this is also kikashi) and then play sagari with 4. Whites shape is now very good and he can easily make life by playing shibori beginning with the attachment of a. Whites shape in Answer 2a, on the other hand, is very heavy and these stones will have problems making two eyes. Answer 2c Black 1 and 3 comprise a vulgar tesuji. After White 4, Black must play 5. Next, White plays 6 and his stones will have no difficulty escaping because Blacks stones 1, 3 and , are damezumari. Furthermore, eyes in the corner can easily be made with a tsuke at a. In short, the aji of the two White stones . ensures the safety of Whites group on the right side. The kikashi of Black 1 in Answer la prevents the utilization of this aji, thereby leaving White with a heavy, insecure group on the right side.
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Answer 3a Correct Again the correct answer is for Black to play kikashi with the

ate of 1 which forces White to respond with 2. Next, Black plays sagari with 3. Now the points a and b have become miai; that is, if White plays at a, Black will play b leaving the White stones effectively separated. Answer 3b If Black neglects to play the kikashi of 1 in Answer 3a and, instead, simply descends with 1 as here, White will respond by drawing back with 2. Black has no choice but to jump to 3, after which White plays 4 and 6 to capture two Black stones. The kikashi of Black 1 in Answer 3a can be thought of as a suppression move to prevent this White counterattack.
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Answer 4a Correct The ate of Black 1, which is kikashi, is the correct answer. After White descends with 2, Black draws back with 3. White must now cut with 4 followed by the ate of 6, but Black utilizes the aji of his stone at 1 to make thickness on the outside with 7 and 9. Furthermore, after Black 9, White needs to play another move to ensure his stones on the right side of life. Now the three White stones on the upper side will come under attack because of the Black thickness. Answer 4b If Black neglects to play the kikashi of 1 in Answer 4a, but instead follows the proverb about the cross cut and draws back with 1, because of the presence of White ., White can capture Black , in shicho with 2 and 4 .The kikashi of Black 1 in Answer 4a prevents this shicho from materializing. Answer 4c The extension of Black 1 in this answer also follows the proverb cited in the problem diagram. In addition, it also prevents the shicho. However, Black is forced to play 3 and 5 in reply to 2 and 4 and, after White 6, Black must defend against Whites threatened invasion at a by descending with 7. Next, White will play kakari at 8. Although this way is not exactly bad for Black, the method of Answer 4a is both better and simpler.
98 99

j at c
Answer 5a Correct The sagari of Black 1 is the correct answer to White .. If White replies with 2, Black will play kaketsugi at 3 giving his stones good shape while restricting the movement of White .. Answer 5b

White 1 in Problem 5 aims to cut, so it is natural to consider what would happen if White cuts at 2 in response to the sagari of Black 1. In this case, Black plays 3 and 5. Now, when White plays ate with 6, Black plays shibori with 7 and 9. If White connects with 10, Black plays nobi at 11. Whites resulting shape is called "dango" (an eyeless clump of stones) and Black can feel confident in any fighting that may develop around these stones. Answer 5c It is out of the question for Black to play the kaketsugi of 1 in response to White .. After White 2 there is no way to prevent White 2 and . from connecting. Answer 5d The connection of Black 1 is also bad since Blacks stones become heavy. Black 1 is too submissive, causing White . to become kikashi.
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Answer 6a Correct The jump of White 1 is the correct answer to the nozoki of Black ,. Because of this move, Black cannot push through at a. Answer 6b Against White 1, if Black pushes through with 2, White will block with 3. If Black persists by cutting with 4, White can take advantage of the bad aji of the stones marked , by playing 5 and 7, forcing Black to respond with 6 and 8. Finally, White captures one stone with 9, leaving the points a and b as miai. That is, if Black cuts at a, White plays b which is sente against the Black clump of stones on the left side, followed by White c capturing two stones by geta. Answer 6c If White meekly responds to Black , with the connection of 1, , becomes kikashi. Next, Black cuts with 2 and the sequence to Black 12 follows naturally. However, White is now separated into two eyeless groups and Black has the advantage in the fight that will follow.
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Answer 7a Correct The tsuke of White 1 is the correct tesuji. After Black 2, White proceeds to play sabaki ending the sequence with a keima connection at 7. White is left

with a good shape radiating throughout the central part of the board, while Blacks stones are overconcentrated (korigatachi) and his wall is no longer so influential. Answer 7b If White connects with 1, , becomes kikashi and Black will jump lightly to 2. Whites three stones are now heavy and, since they fall under the shadow of Blacks thick wall, they will be subject to severe attack. Answer 8a It is bad for White to connect with 1 in reply to the nozoki of Black ,. This results in Black , becoming kikashi. Next Black jumps to 2, forcing White to run away with 3. Now Black 4 makes territory along the lower side. In addition to this Black has also formed a potentially large area on the left side of the board. More importantly, Whites stones have now become heavy and will make a good target for attack. Hence White 1 must be rejected.
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Answer 8b Correct The attachment of White 1 is the correct answer. The sequence continues to the magari of 7 and Black will be able to form a thick wall with 8. However, with 9, White establishes a position on the left side, at the same time nullifying Blacks wall on the upper left. Furthermore, because of the White shimari in the lower right corner and the bad aji in Blacks formation at a, the resulting Black wall is not so effective. Answer 8c Instead of 8 in Answer 8b, what happens if Black plays nobi with 8 as here? White will first play kikashi with 9 forcing Black 10, and now when White connects at 11, Black must play 12. White 13 also forces Black 14 after which White attacks the Black group in the lower left corner with 15. Notice the effect here of the kikashi of White 9. This move gives White one more liberty allowing him to play 11 and 13 with sente which results in furikawari. Moreover Whites stones 9 and . still have some aji left, so Black cannot regard the area on the left side as completely secure. On the other hand, White need not worry about his group since he can easily make life by playing the kosumi-tsuke at a.
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Answer 9a Correct The correct answer is for White to attach with 1 which makes sabaki. If Black responds to this with the tachi of 2, a furikawari sequence results up to White 5. White is satisfied with this result because he has successfully utilized the aji of the three White

stones marked . to obtain a large profit on the lower left side. Answer 9b If Black responds directly to the tsuke of 1 with the tachi of 2 as here, White will play kikashi with 3, 5, 7 and 9. After Black captures one stone with 10, White connects with 11 and Blacks resulting shape is very bad. For example, if Black tries to escape by playing at a, White can attack with b. building territory on the lower side at the same time. Also, since White can connect at V at almost any time, his stones on the left side are in no danger. Notice that by connecting at c White leaves no bad aji behind in the lower left corner. Answer 9c Another way for Black to respond to the tsuke of White 1 is with the hane of 2. White, however, plays 3, 5 and 7 and this is also bad for Black since his three stones cannot escape. Answer 9d It will turn out badly for White if he plays the ate-tsugi of 1 and 3 since Black 4 is very severe. Answer 9e It is also bad for White to connect at 1. White 5 and 7 may be kikashi but the resulting White stones are heavy. Furthermore, now that the Black group on the left side is secure, the White shimari in the lower left corner has become quite thin.
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Answer 10a Correct The correct response to Black , is for White to play tsuke with 1 and, in reply to Black 2, draw back with 3. These moves are kikashi since they evoke a Black response in this part of the board. After Black 4, White can run away with good feeling by jumping to 5 and 7.

Answer 10b Besides 2 in Answer 10a, Black could also respond to the tsuke of White 1 with the tachi of 2 as here. In this case, White would again play kikashi with 3 and after Black 4, run away with 5 and 7 as before. Answer 10c If White neglects to play kikashi as in the preceding two answers and simply plays keima with 1 as here, he cannot make sabaki. In response, Black will play the vital point of 2 forcing White to defend with 3. Next, Black plays nobi with 4 and Whites shape is heavy.
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Answer 11a If Black simply plays tachi with 1, White will attack with 2. Now Black must try to make life on the lower side or escape out into the center. However, this will be hard to accomplish since Blacks shape is heavy. In any event, it can only be done in gote after which White can play at a, securing a large area in the center of the board. By playing 1, Black has failed to make sabaki. Answer 11b Correct When White answered Black , with ., , became kikashi. Now, Black should jump lightly with 1 to make sabaki. If White persists in attacking with 2 and 4, Black will make an eye shape with 3 and 5 followed by the tobi of 7, running out into the center of the board. In response to Black 1, White could play 2 at 7. However, even though this has the same sense as 2 in Answer 11a, Black doesnt have any difficulties making life on the lower part of the board.
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Answer 12a Correct The correct answer is for Black to jump to 1. This move, in conjunction with Black 6 in the problem diagram, makes sabaki for Black. If White continues to resist with 2 and 4, Black can keep White confined because of the aji of ,, with 3, 5 and 7. Answer 12b After Black 7, White connects with 8. Now the kake-tsugi of Black 9 is an important move since if White cuts at a, then after Black b. Black can capture with geta at the point c, even though the shicho is not good due to .. In any case, the sequence continues to White 12 and Black will probably connect at b to eliminate the bad aji which remains. As a result. Black has been able to build up a large potential area on the upper side. Answer 12c Although the kake-tsugi of Black 1 makes good shape and forces White to respond with 2, it is not recommended here because the distance between this resulting shape and the shimari in the upper right corner is too great. White can aim at the point a and then b when he decides to invade this area.
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Answer 13a Correct The nozoki of White 1 is kikashi and Black must answer by connecting at 2. What would happen if Black

chose another response? Answer 13b Suppose that in reply to White ., Black plays 1. In this case, White would capture one stone with 2 and, after Black 3, would play nobi with 4 thereby breaking out of Blacks confining structure. Well, how about 3 at 4? Answer 13c For Black to play ate at 3 as here is even worse. The sequence continues to the nobi of 10 and Black has been divided into two weak groups. This is a disaster for Black. Answer 13d For reference, this problem comes out of a well-known taka-moku joseki as shown here. In the end, White is able to establish himself securely in the corner while Blacks resulting structure radiates power throughout the whole board.
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B14 at W5 Answer 14a Correct The correct way for White to play is with the de-gin of 1 and 3. When Black tries to escape with 4, White plays geta with 5 and 7 followed by shibori with 9, 11 and 13. After White jumps to 15, a difficult fight will ensue, but it is White who has the advantage in this struggle. Against 15 and 17, Black must defend the upper side with 16 and 18. Next, White plays kikashi with 19 and 21 after which the nobi of 23 leaves Blacks clump of stones in the center without a viable way of playing. Answer 14b Since the preceding answer doesnt turn out so well for Black, he ought to choose the simpler move of 2 as here. White continues by playing de-giri with 3 and 5 after which he captures one stone with 7 by shicho. This furikawari is quite satisfactory for White who has successfully made sabaki. Answer 14e In any event, it is clearly bad for White to connect with 1 in response to Black ,. After Black 2, White . has become isolated and the

three White stones are heavy. By responding with 1, White has allowed Black , to become kikashi. Answer 14c Even if the shicho is bad for White, the sequence up to 6 would still be satisfactory Answer 14d But, if because of circumstances, Answer 14c is unsatisfactory for White, White 1 here is another way to make sabaki.
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Answer 15a Correct One way is for White to play tsuke with 1. After Black plays 2, White descends to 3. As a result, the effect of Black , is nullified while there is still some eye-making aji left with the White stones at .. The point a seems to be the vital point for White but if Black plays here to prevent White from occupying this point, White will play at b and the aji of his stones at . comes to life. Answer 15b Correct It is also possible for White to play ate with 1. The sequence will continue to the connection of White 7 and now the points a and b have become miai. That is, if Black plays a, White will play b. Choosing between this sequence and the one in Answer 15a will depend on the situation on the board. Answer 16a Correct Again, the ate-de of White 1 and 3 are tesuji which allow White to make sabaki. After White 7, Black , is rendered useless under the shadow of Whites four stone wall. Also, White a is sente whenever he wants to play it. However, depending on the circumstances, White may want to play 7 at a instead of as in this diagram. Answer 16b It is interesting to compare this case with Answer 15b. If Black were to play as in Answer 15b, White could play 7 here with great advantage. This shows a difference between 3rd or 4th line placement of stones. Answer 17a

Black 1 may seen like a good point but, in reality, it is too slow and allows White to make a good position on the upper side with 2. Besides, Black need not worry about White playing at 1 since the shicho is in Blacks favor. Answer 17b Correct The correct way for Black to play is with the invasion of 1. White counterattacks with 2 and when Black plays oshi at 3, White jumps to 4, threatening to capture Black ,, so Black plays tachi with 5. But this move also threatens a play at c, hence White defends with the kaketsugi of 6. Finally, Black jumps to 7 leaving the points a and b as miai. Black can make sabaki playing either of these two points. The point to notice here in comparison to Answer 17a is that Black has
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been able to play both 5 and 7 to make sabaki on the upper side. Answer 18a Correct White 1 is the correct answer. Next, Black will play ate with 2 and White must descend with 3. After this, the sequence continues naturally up to Whites connection at 9 making Blacks corner quite vulnerable. If Black makes shape by extending to a along the right side, White will play at b with sente. Furthermore, White can make eyes in the corner by invading at c. Answer 18b For White to attach with 1 is not very good. In response, Black plays kikashi with 2 and 4 followed by an extension to 6 forming a good shape on the right. In this case, White can no longer invade the corner at c as in Answer 18a. Answer 19a Correct Although it may seem strange, White 1 is the correct tesuji to make sabaki. Now, if Black plays 2, White will ignore it and play elsewhere since he doesnt fear the ate of Black a. In response to a, White at b makes sabaki. Answer 19b Since Black 2 in Answer 19a is too slow, Black will most likely avoid playing there. Hence, it is quite probable that White will eventually be able to play 1 as here making a perfect eye formation. Answer 19c To respond obediently by connecting at 1 is very bad. Black attacks with the nozoki at 2 and Whites stones cannot help but become

heavy.
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Answer 20a Correct White begins by playing 1 and 3, followed by the tsuke of 5 and the osae of 7. After Black connects at 8, White jumps to 9. Now Blacks position along the lower side is a bit over concentrated. That is to say, Blacks stones 6 and 8 are not working to maximum efficiency. Answer 20b Suppose White reverses the order in which he plays the moves in Answer 10a. Now that Black has played his stones at ,, he can respond to the kake of 1 with the oshi-giri of 2 and 4. The sequence continues to 8 but now Whites stones at 1 and 5 are under a severe attack because of the presence of Blacks stones at ,. B8 at . Answer 21a Correct The jump of White 1 is the correct answer. If Black slides to 2, White will make thickness with 3 and 5. Answer 21b However, the real value of White 1 lies in the sequence given here. If Black plays hane at 2, White will give up his stone at . by playing 3, 5 and 7. After Black connects with 8, White will play the kaketsugi of 9 making a good eye shape in the center. Next Black will probably find it necessary to defend his three stones on the upper side, giving White a chance to play kikashi at a. Answer 21c The nobi of White 1 is not good. Black , now takes on the feeling of kikashi. Whites resulting shape is now heavy and in some sense without sufficient eyes. White 1 in Answer 21 a leaves behind many possibilities and, in that sense, is a very flexible move.
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Answer 22a Correct Black 1 is a very skilful move as it threatens to break both shicho. The capture of 2 is probably Whites best response but now Black escapes with 3. White 4, 6 and 8 are tesuji but after Black plays 9, White must go back and repair his defective wall at 10. Now, Black takes this opportunity to extend from his shimari with 11. As a result, Black has made profit on the left side while Blacks stones at 1 and 11 nullify Whites wall. Answer 22b If White doesnt like the result in Answer 22a, the other move he can play after Black 3 is the kaketsugi of 4. However, after Black 5, Whites three stones . are in great difficulty.
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Answer 23a Correct Black should play kikashi at 1 followed by 3. This last move forces White to capture Black , with 4. Next, Black plays 5 and White is in serious trouble on the upper right side.

Answer 23b Instead of 52 in Problem 25, it is of the utmost importance that White capture with 1. Of course, Black will make a shimari with 2, but this is unavoidable. The point 2 may be very large, but it is a rule of Go strategy that urgent points like 1 take precedence over big points like 2. A move like the capture of 1 must, as said before, be played as soon as possible.
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Answer 24a Clearly, the natural way for Black to play is to make a hasami on the upper side. However, the ikken basami of 1 in this answer, although severe, is not good. The reason is that after the exchange of White 2 for Black 3, there is bad aji in the upper right corner and White can invade with 4, making life with the sequence to 12. Answer 24b Instead of 7 in Answer 24a, Black 7 here is also ineffective in preventing White from making life which is accomplished with 8 and 10. Answer 24c Correct The correct answer is for Black to play niken basami with 1. Now, after 3, White can no longer make a successful invasion at a. Answer 24d If White should invade with 4, Black will play 5 and 7, but now after the hane of White 8, the osae of Black 9 is possible because of the presence of Black ,. This is the move which makes it impossible for White to live.
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Answer 25a The tsuki-atari of Black 1 looks like the most logical move, but it is not really so good because after White 4, there is bad aji left in the corner. Answer 25b After the sequence in Answer 25a, White will play kikashi with 1 and Black must connect with 2. Next, White plays tsuke with 3. This move is yosu-miru and Whites subsequent moves will depend on Blacks response. Answer 25c If Black responds to 3 with the hane of 4, White will play the sequence from 5 to 11 and Black lives but with gote when he plays at 12.

Answer 25d On the other hand, if Black plays at 4 in answer to 3, White will play elsewhere leaving the situation as is. When the time is right he can capture two stones with 3 and 5, but this is gote and hence must be postponed until yose. Answer 25e It should be noted that the presence of White . prevents Black from making the hane of 1 since now White need only capture two stones with 2. If White . were not present, Black 1 would be a good yose, ending with Blacks sente Answer 25f Correct Hence, the correct answer to the tsuke of White . is for Black simply to draw back to 1 and if White plays 2, he will end in gote. Consequently, White should not rush to play a move like . and should wait until a bit later in the game.
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Answer 26a Correct The kosumi-tsuke of Black 1 is the correct answer. White is forced to respond with 2 and Black makes a living shape with 3. To secure these stones in this way is of prune importance. But now White plays kosumi with 4 which seems to take the territory on the upper side. How does Black continue? Answer 26b After White 4, Black attaches with 5 followed by the hane of 7. The sequence continues to 11 with Black making life on the upper side. Moreover, White must still worry about the bad aji of the cut at a. Answer 26c If Black immediately tries to use the aji of , and plays 1 and 3 after Black 5, White will play nobi with 6. Now Blacks cut at a is useless and furthermore his three stones on the right side no longer have eye shape. This is an example of using aji too soon. Since it takes White two moves to eliminate the aji of , Black has time to secure his stones

as in Answer 26a. Hence there is no need to rush to save this stone. When utilizing aji, one must be patient.
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B19 at W13; W20 at B15; B25 at B13

Answer 27a Correct The correct way for Black to continue is to cut at 1. If White resists with 2 4 and 6, Black can easily win the fight in the corner because after drawing back with 11, Black can make life by playing at a, or by cutting at both b and c Answer 27b After the connection of Black 5, White can live in the corner by playing ate at 6, followed by the sagari of 8. However, Blacks stones in the corner can easily escape by playing shicho with 9, 11 and 13. Answer 27c It is also impossible for White to capture the Black stones in the corner by playing the sequence in this diagram. Up to Black 25, it turns out badly for White. Answer 27d Instead of 9 in the problem diagram, the connection of 9 here is the correct procedure. The sequence up to White 15 is joseki.
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p at i Answer 28a Correct In this case, it is still alright for Black to cut at 1. However, after 9, Black cannot capture White . because the shicho is unfavorable. Consequently, Black plays kake with 11, followed by shibori with 13 and 15, utilizing his five stones in the corner as aji to make a thick wall. Finally, Black plays nobi with 17 and even though the Black stones in the corner seem to be dead, they still have some aji, such as Black a which threatens to revive them. Answer 28b Black 1 and 3 may seem like a good way, but now Black , becomes nullified under the shadow of Whites resulting wall and, after White 4, one gets the feeling that it has become a wasted move. In any event, this way of playing is on a very small scale when compared to the way in Answer 28a.
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Answer 29a Correct The keima of Black 1 is the correct answer. If White defends the left side with 2, Black will play kake with 3, severely pressing Whites isolated stone on the upper side. Answer 29b In response to Black 1, if White defends the upper side by extending to 2, there is some bad aji in the upper left corner which Black can

exploit by playing tsuke-koshi with 3. If White continues with the sequence to 8, Black can take the corner with 7 and 9. Answer 29c In answer to the sashi-komi of Black 5, White would probably resist by connecting at 6. In this case, Black will play 7, 9 and 11, after which White secures the corner with the sequence to 18. Finally, Black makes good shape on the left side by playing 19. Now, White has four stones drifting in the center and Black can be satisfied with this result. Answer 29d There is also the tsuke of White 2. In this case, the hane-komi of Black 3 is the proper procedure. If White connects with 6, Black easily makes life with 7 and 9. Besides, Whites aji in the corner is still bad and Black can aim to play at a. On the other hand, if White connects at 7 with his move 6, Black will play kikashi at b followed by the tsuke of a.
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Answer 29e It is bad for Black to reply to the tsuke of White 2 with a simple hane at 3. After Black connects at 5, White can defend at 6 and Blacks stones are still heavy. Answer 30a Correct Black should answer with the hane of 1. Because of the presence of ., White must cut with 2. The sequence continues up to White 8 at which time the ate of Black 9 becomes an important kikashi. After this, Black plays 11 and with the sequence up to 17, Black takes the corner while White has thickness. However, Black , nullifies this thickness to some extent so Black should be satisfied with this result. Besides, there is still some aji left in Blacks stone at 9. l at , Answer 30b In response to Black 9, if White captures , with 10, Black will play 11 and 13, after which he can aim at a to make thickness along the upper side. However, if White plays at a, Black will play kikashi at b and then play elsewhere. Now, if White cuts at c, Black will sacrifice three stones and make thickness along the upper right side beginning with the ate at d. Answer 30c White could also play at 14 in answer to Black 13. This reduces the size of Blacks corner area but, after Black captures at 15, White can no longer cut at a.
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Answer 30d Because of the presence of ., Black cant play the hane-komi of 1. After White connects at 4, the shicho at a is unfavorable for Black. Answer 30e If Black plays nobi at 1, White will reply by connecting at 2. Up to 9, Black gets the corner but is completely confined by Whites thick wall. In addition, White has sente.
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Answer 31a Correct Although it seems to be a suicidal move, Black 1 is the correct answer.

This move is kikashi in that it forces White to play at 2. Next Black plays 3 followed by the throw-in of 5 and because of the damezumari caused by Black 1, White can not capture this stone at a but instead must capture with 6. Now Black takes three stones with 7 saving all his stones that were previously endangered. Answer 31b It is useless for White to resist by connecting at 2. Black plays 3 and 5. If White continues to try to block Blacks escape, he will lose all his
stones in the comer after Black plays 11.

Answer 31c This diagram shows what happens if Black neglects to play 1 as in Answer 31a but instead tries to play ate-komi with 1 immediately as here. White responds with 2 and after Black 3, White
captures seven stones on the upper side with 4 and 6.

Answer 32a Correct The correct answer to Black , is for White to connect at 1. Black must now connect at 2 but White escapes into the center with the nobi of 3. Now, Whites only problem is to extricate his two stones . but this is not difficult as he can either run away at a or attach at b. Answer 32b In response to White 1, Black cannot play nobi at 2 because there is bad aji in the corner. White will play the tsuke-koshi tesuji of 3 and after the sequence to White 17, Black must fight a ko by playing horikomi at a. This is a bad ko for Black because he has no adequate ko threats.
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Answer 33a Correct In cases such as this, the keima of Black 1 is usually the correct procedure. Answer 33b The tobi of Black 1 is not good because after the magari of White 2, there is the bad aji of White a left behind. Answer 33c The magari of Black 1 only provokes the tobi of White 2 and Black cannot connect to his stone at ,. Answer 33d It is not good for Black to play keima with 1. Against this move, White will play 2. Black 3 seems to be the only logical way to continue but after White 4, Black has lost territory on the lower side. Furthermore, the Black area on the lower right side is an example of korigatachi in the sense that too many stones have been invested to take that territory.
125 126

Answer 34a Correct Black 1 followed by 3 is the correct answer. If White plays kaketsugi at 4, Black will use this sente to play the big point at 5.

Answer 34b If White neglects to play 4 as in Answer 34a, and instead plays 4 as here, after White 6, Black will play kikashi at 7. Should White connect at 8, Black will play nobi at 9. Now the right side has been invaded by Black and the five White stones there have become heavy.
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Answer 34c In response to Black 7, White could play katatsuki with 8. However, after 14, Whites four stones are still heavy and isolated. Answer 34d There is also the tsuke of White 8 in answer to Black 7. In this case, White manages to make at least one eye, but Black has still invaded the right side making sabaki with the sequence to 15. Answer 34e Black 1 in Answer 34a is kikashi and it must be played at that time. If Black simply plays 1 as here first and, after White 4, goes back to play at 5, White will respond by lightly jumping to 6, leaving behind none of the bad aji seen in Answers 34b, c or d.
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Answer 35a Correct In this problem, Black can play ate with 1. After 2 and 4, White plays kikashi with 6 and then crawls along the 2nd line to 12. When Black plays 13, White jumps into the corner with 14. The moves from 15 to 23 are obvious, but 24 is a very good move in that it keeps the fight alive. However, the sequence continues to 31 and Black has managed to escape out to the side. It is now impossible for White to save his stones on the left side by playing at a since Black at b in response will kill them. Hence, White must play 32 in order to save his corner stones. Finally, Black runs away with the keima of 33. The outcome is a disaster for White. It should be noted that it would be bad for Black to play 29 at the point 30 in answer to White 28 since this would result in damezumari and White would be able to save all his stones on the left side. Answer 35b When Black plays hane at 25, there is a shicho to consider. After Black 27, White plays kikashi at 28 and the shicho begins with White 32. However, in this case, Black , works as a shicho breaker so White cannot play in this way.
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Answer 35c Instead of 24 in Answer 35a, White must not play 24 as here. If he does, Black will play 25 and Whites corner stones die. Answer 35d

In response to White 14, Black cannot play 15 because he will lose the semeai as can be seen from the sequence to White 24. Answer 36a In this case, Black should play kosumi-tsuke with 1. The sequence continues to Black 5 and then White plays 6 and 8. Next, Black plays nobi at 9 and a fight involving these two stones may take place in the center of the board. However, there is bad aji in the White formation with respect to the hasami-tsuke of Black a and this may have an effect on the fighting that could take place in the center. Because of this, the result is not so good for White.
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Answer 37a Correct The correct way for White to play is with the de-giri of 1 and 3. When Black plays 4, White will play kikashi with 5, 7 and 9 followed by an extension to 11 on the upper side. As a result, both Black 6 and , are low on the third line and, consequently, there is some feeling of korigatachi. It seems that Black 6 would be better placed at a, but this has been prevented by the kikashi of White 5. Again it is seen how kikashi and korigatachi go hand-in-hand. Answer 37b This diagram is taken from the 5th game of the 23rd Honinbo Sen. Black was played by Sakata Eio and White by Rin Kai Ho. After White 14, Black doesnt jump to 15 as in the problem diagram, but, instead plays 15 as here. This move has the virtue of avoiding both the korigatachi of Answer 37a and allowing Black to leave the upper right corner with sente so that he can play wariuchi with 17 which prevents White from making an ideal extension along the upper side.
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Answer 38a Correct Black should begin by playing keima with 1. This forces White to play at 2 and now, when Black plays keima with 3, the two White stones are isolated. Answer 38b If White jumps to 2 in answer to Black 1, the aji on the upper right side comes to life with Black 3 and 5 which capture the six White stones on

the right side. Answer 38c Black 1 in this diagram is a dull move. White is now able to play 2 and 4 which eliminate the bad aji of , and also rescue his two stones .. Answer 38d The formation in the upper right corner is the result of this joseki. This joseki should be studied by all Go players as it contains many examples of Go technique. After White 21, Blacks stones at 12 and 18 leave behind bad aji for White. This aji can be utilized by a Black play at a, b. c or d. However, early in the game it is impossible to tell which point is important so these moves are usually deferred until the middle stage. Problem 38 gives one example of how this aji can be utilized.
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Answer 39a Correct The nobi of Black 1 is the correct move. White must connect with 2 and the sequence up to White 6 results in furikawari. Answer 39b If Black cuts at 1 instead of playing the nobi of 1 in Answer 39a, White will play ate with 2 and after the sagari of White 10, Black is completely demolished. Answer 40a Correct Black must play the sequence from 1 to 9. White 10 is necessary to make life in the corner and when Black plays hane with 11, it results in furikawari; Black lets White take the corner area while securing a large advantage for himself on the right side. That is to say, Whites stones are now without any roots and are drifting aimlessly in the center of the board. Answer 40b White 6 in Problem 40 is an unreasonable move. It is joseki for White to play 6 as here after which Black plays 7. In this case, White must be satisfied with his

thickness. Answer 40c The oshi of Black 1 and 3 are very bad. After White 4, the value of Blacks two stones at , has been negated.
133 134

Answer 41c The usual way for White to secure his stones is with 1, 3 and 5. In this case, Black can be satisfied with his profit on the right. Answer 41a Correct Black should play the hane-komi of 1. This will result in furikawari with the sequence to White 4. After this, Black plays kosumi with 5 which has now become the crucial point for both players. Answer 41 b If Black responds by playing 1, then both of Whites . stones become kikashi. Next, Black will be pressed with the sequence to 6, resulting in good shape for White. Furthermore, Black is pressed into an intolerably low position on the right side. Answer 41 d On the other hand, if White plays tsuke at 1, the sequence will continue to the sagari of 6. This time Black gets profit in the corner, and now Whites stones at 1 and 3 are damezumari which leaves bad aji behind. If we compare Answers 41c and this Answer with Answer 41 b, Blacks loss in 41 b is easy to understand. Consequently, Black 1 in Answer 41 a is the only way to play.
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Answer 42b If Black should play osae from the outside with 4 in response to White 3, the sequence up to the cut of 11 will take place. Now, because of the defects in Blacks wall at a and b, White cannot be prevented from escaping. Answer 42a Correct The hanekomi of White 1 is the correct way to proceed. If Black plays 2 and 4, White will connect with his stone at . with the sequence up to 11. Answer 42c If Black plays ate from underneath with 2, White can escape by the sequence from 3 to 9.
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Answer 43a Correct

In answer to Black ,, the tsuke of White 1 is the tesuji which initiates the sequence to White 7, resulting in furikawari. Answer 43b Black 6 in answer to the oshi of White 5 is bad. Now the aji of . comes to life when White plays the tsuke of 7. When White connects at 11, Black 12 is absolutely necessary and after White secures himself on the upper side with 15, the opposing groups will fight it out in the center. Answer 43c In response to the tsuke of White 7, what about the nobi of Black 8 ? White will play oshi with 9 and after White 13, Black , has become useless. In addition, White . still leaves bad aji in the corner. When playing a furikawari sequence, close attention must always be paid to the aji around which the moves focus. Answer 43d In response to White 6, Black should draw back with 7 instead of playing the nobi of 7 in the problem diagram. After White plays 8, it would then be possible to play the nobi of 9. Answer 43e In order to understand the reasoning in Answer 43d, consider what happens when White plays ikken-tobi with 4. Of course, Black will play the keima of 5, but for White to push Black along the fourth line is very bad since it gives Black too much profit as well as destroying all the aji which exists along the right side. But this is exactly the result in Answer 43d. Answer 43f So, when Black draws back with 7, the nobi of White 8 seems to be in the spirit of the situation. However up to 19 Black gains a profit of at least 22 points. White gets a very thick wall but must connect at 20, ending in gote. This is not necessarily bad for White because profit versus thickness is a common result in Go but it always depends on the overall situation. Anyway, Blacks profit is very large.
137 138

Answer 44a Correct The best way is for Black to play katatsuki with 1. The sequence up to Black 5 results in furikawari. Answer 44b Because of the aji of Black ,, it is impossible for White to resist with 2 and 4. Black plays kikashi with 5 and then captures two White stones with the osae of 7. Moreover, Black , still leaves bad aji behind. Answer 45a The first move that the average player would think of is the extension of

Black 1. However, this is a bad move as it breaks one of the basic rules regarding thickness; "Dont approach thickness." Since Whites two stones at . are very strong, Black wants to stay as far away from them as possible. Answer 45b Correct There are essentially two correct answers, depending on the style of the individual player; the keima of 1 or the ikken tobi of Black a. Both these moves make an escape route for ,.
139

Answer 46a Correct Black should play tsume with 1 from this side in order to drive White toward his strong wall. Since Black threatens to extend to a, White 2 seems to be imperative. Now Black can continue the attack with the keima of 3. White responds with the keima of 4, following the principle of not approaching thickness too closely. Another virtue of this move is that besides the option of making eyes at b. it is also possible to run away at c. Answer 46b It is not good for Black to approach White . from the left with the intention of making territory with his thickness. In such a case, White would calmly secure the lower side with the sequence from 2 to 8. Now, when looking at Blacks potential area in the center of the board, it is clear that it is not yet real profit but will require at least two more moves to become secure. Trying to make territory out of thickness is an inefficient way of playing. Good Go sense demands that thickness be used for attacking.
140

Answer 47a Correct The keima of Black 1 is the correct answer. If White attaches at 2 to make sabaki, Black plays hane at 3 and after drawing back to 5 White cannot play shicho at a because the Black thickness acts as a shicho breaker. As a result, Black has secured the territory on the lower part of the board while White is still drifting in the Black sphere of influence. Answer 47b The keima of Black 1 in this diagram is a bad move. Now, since . has become kikashi, White can make sabaki with the sequence from 2 to 10. In addition, White can play hane-tsugi beginning with a at any time and end in sente leaving Blacks stones over concentrated. Answer 48a Correct The keima of Black 1 is again the correct answer. There is a proverb which says, "Always play keima against boshi." If White attaches with 2, Black will play 3 and 5 utilizing his wall on the right side to isolate the three White stones on the upper side. It should be noted that if White tries to make eyes by playing at a, the sagari of Black b has an effect on the life of the White group in the upper right corner. Answer 48b Black 3 in answer to 2 allows White to make life with the sequence to 10.
141

Answer 48c The keima of Black 1 on this side must be rejected for the same reasons as in Answer 47b. After the tsuke of 2 it is too easy for White to make sabaki on the left. Also, there remains the hane of Black a as aji and Blacks shape will be korigatachi. Answer 48d

When White plays the keima of 2 he aims to attack the Black stones on the right. Consequently, Black must make sabaki with 3 and 5. White is now forced to make good shape with 6 and 8 after which Black secures the upper left corner with 9. Later, Black can descend to a threatening to kill the White stones in the upper right corner by playing at b or to deprive the White group on the upper side of eyes by playing at c.
142

Answer 49a Correct The correct answer is for Black to attach at 1. The hane of White 2 is natural, but after the cut of Black 3, White has no really good continuation. When White plays 4, Black extends to 5. Now, in order to defend against the Black ate at a, White must extend to 6 and after 7, Black threatens to play at b. It should be noted that with respect to 2 and 3, all shicho favor Black. Answer 49b If White plays the hane-komi of 2 in response to Black 1, he cannot avoid playing nobi at 6 after Black 3 and 5. Finally, Black connects at 7 and Whites stones are heavy and drifting in the center. Answer 49c If Black answers with the keima of 1, White . becomes kikashi. Next, White will play uchikomi at 2 making life with the sequence up to 10. This result is very bad for Black and so he has no choice but to play as in Answer 49a or 49b.
143

Answer 50a Correct The correct answer is for Black to play the keima of 1. This is the vital point for both players. Now there is no way for White to make sabaki or to escape. The sequence to Black 7 shows one variation. Answer 50b It is bad for Black to play hane at 1. After 2, there is no way for Black to prevent White from making sabaki. Answer 50c If Black plays hane from above with 1, White easily makes sabaki with the sequence to 6. It should be noticed that . will be of use when White is escaping. Answer 50d If Black descends with 1, White . becomes kikashi and White immediately jumps to 2. Black will not be able to capture these White stones and so Blacks wall is rendered useless. The lesson that should be learned from this example is that when one is strong in one part of the board, he should not become embroiled in a fight because his opponent will easily be able to make sabaki. In Answer 50a, Black hit Whites vital point of sabaki before he could execute his kikashi. Black, however, was able to do this because of his stable formation in this part of the board which rendered Whites subsequent kikashi useless.
144

Answer 51a Correct

The boshi of Black 1 is just the right point. When White plays keima with 2, Black plays kikashi with 3 forcing White to defend with 4. After Black 5, Whites stones on the lower right have become heavy while Black has made sabaki, being able to connect at either a or form eyes by attaching at b. Answer 51b The katatsuki of Black 1 is not a very good move. After the sequence to Black 5, White defends his weak point with the kaketsugi of 6 and it is now Black whose stones have become heavy.
145

Answer 52a Correct The correct answer is Black 1. Now the points a and b are miai. Answer 52b In response to Black 1, if White makes a shimari with 2, Black will play at 3 securing a position for himself on the upper side Answer 52c On the other hand, if White blocks with 2, Black will play kakari at 3 and under these circumstances it will be satisfactory for him. Answer 52e In certain cases, Black 1 is a way to make a light shape. However, here it is not a good move. White plays tsume with 2 and after Black 3, White makes an ideal formation on the upper left side. Furthermore, Blacks position still has many weaknesses which can be attacked later. Answer 52d An immediate kakari with Black 1 is not good since it allows White to play hasami with 2.
146

Answer 53a Black 1 is joseki, but after White plays at 2, Blacks two stones at have be come isolated and are heavy. Hence, Black 1 must be rejected. Answer 53b Correct In this case, the ate of 1 followed by 3 are Blacks best moves. After White cuts at 4, Black continues by securing the right side with 5, 7 and 9. Next, White plays ate with 10 and with the sequence to 17, Black secures almost twenty-five points in the upper right while White gets thickness. However, this thickness is really not so influential in this position. Answer 53c Instead of 10 in Answer 53b, it would also be possible for White to take the corner with 10 and 12. However, with 13 Black captures four White stones making an immense outside

thickness while White is confined to a small life in the corner. This result is even more unbearable than the one in Answer 53b.
147

Answer 54a Correct Black 1 and 3 are again the correct answer. If the sequence continues up to Black 17, the White wall on the left and the Black wall on the right cancel each other out while Black still retains the corner profit. Answer 54c Suppose that Black , is exchanged for White .. Later there is the sequence from White 1 through Black 8. Since White ends with sente, these moves may be considered his option. When we look at the resulting position Blacks area on the upper side is small and over concentrated; in other words, korigatachi. So considering this, the sequence in Answer 54a is the best choice. Answer 54b If White decides to take the corner with 4, Black will connect with 5 and after White plays 6, Black has sente as well as an enormous sphere of influence in the center of the board. There can be no doubt that this result is quite favorable for Black.
148

j connects at , Answer 55a If Black connects at 1, then White . becomes kikashi. Next White invades with 2 starting a fight along the upper side. Answer 55b Correct In the actual game, Black attached at 1 and this was a very good move. White plays kikashi with 2 after which Black sacrifices his stone at , with the shibori sequence to 9. Finally, when Black plays 11, White must play 12 ending in gote and Black is left with thickness throughout the center of the board. This result is clearly superior to that of Answer 55a.
149

% at . Answer 56a Correct The kake of White 1 is the correct answer and this move makes sabaki. What happens if Black now cuts at a ? Answer 56b If Black cuts with 2, White will play ate-de with 3, 5 and 7. Next Black plays osae with 8 and White plays shibori with 9 and 11 sacrificing three stones. However after 13, White has made thickness along the left side and the three White stones which have been sacrificed still have some aji. Answer 56c In response to White 1, Black might play at 2. In this case, White simply extends to 3. Black 4 is a very

important point but against this move, White plays magari with 5 giving White a satisfactory result. Answer 56d It is too slow for White simply to connect at 1. Not only do the White stones become heavy, but Black can play kakari with 2. This is a dull way for White to play.
150

Answer 57a Correct The correct way for Black is to jump to 1. White responds with the kosumi of 2 after which Black makes sabaki with 3, 5 and 7. It should also be noticed that Black , still has some aji. Answer 57b Black 1 is a vulgar way of playing. After White jumps to 2, he can aim to attach at a. In Answer 57a, Black was able to occupy the point 2 forming a secure area on the right side.
151

Answer 58a Correct The kosumi-tsuke of Black 1 is the correct answer. If White plays 2, Black stabilizes his stones with the sequence to 5. Should White play 6, Black will jump out with 7 obtaining a satisfactory result. Answer 58b Suppose White responds to Black 1 with the sagari of 2. In this case Black will play sabaki with 3, 5 and 7 leaving White . isolated. Please note how Black , aids in attacking .. This result is very bad for White. Answer 58c The kosumi of Black 1 is not such a good move. In this case, White will play joseki from 2 to 14 after which Black will be in trouble because of the presence of . on the left side.
152

Answer 59a Correct The cross cut of Black 1 is the correct answer. The sequence continues up to White 8 at which time Black cuts with 9 and then plays kikashi with 11, 13, 15 and 17. Finally, Black plays 19 capturing the four White stones on the right side. Furthermore, the shape of Whites stones on the lower side is korigatachi. Answer 59b The nobi of Black 1 is not good in this case. After White 2, the fighting will shift to the lower right corner and Black will have to make life for his four stones.
153

is the jump of Black 1. If White tries to block Blacks escape with 2, a ko will result with Black 3 and 5. Answer 60a Correct response to Black 1, White must play 2. However, Blacks intrusion becomes even larger than usual after 3 and 5. Answer 60b in Answer 60a, there is no ko. If Black plays 1 and 3 immediately, White will be able to eliminate the aji of the ko Answer 60c

by playing at 4.
154

: at . Answer 61 a Correct White 1 is just the point since it forces Black to defend the lower right corner with 2. Next White plays kikashi with 5, 7, 9 and 11 finally making sabaki with 13. Answer 61 b If Black defends the upper side with 2, White will make life in the lower left corner with 3, 5 and 7. Answer 61c White 1 on the third line is not good since Black will defend his corner with 2 and after White extends to 3, Black will play at 4 making it difficult for White to form a living group on the right side.
155

Answer 62a Correct The correct answer is the tsuki-atari of White 1. White will respond to Black 2 with 3 and 5 after which Black 6 becomes necessary. Finally White plays at 7 leaving himself with thickness radiating throughout the center of the board. Answer 62b In answer to White 1, Black must not play osae with 2. If he does, the sequence to White 5 will turn out badly for him. at ; at , Answer 62c There is really no better way for White to play than the sequence in Answer 62a. For example if White plays ate with 1, Black will play kikashi with 2 and 4. Now after Black 6, Whites four stones on the left have become heavy and are in great danger of being captured. Answer 62d The ate of White 1 is also bad, since Black will respond with 2, 4 and 6 isolating White .. Furthermore, Whites stones on the left have become korigatachi and so this result is not good for him.
156

Answer 63a Correct First of all, Black must play kikashi with 1, 3 and 5 followed by 7, 9 and 11. Now because of the presence of the black stones at 3 and 5, White cannot play at a but instead must cut with 12. The sequence continues to White 16, but after Black 17, White has no choice but to play 18. After 19, the points b and c are miai. Answer 63b If Black does not play kikashi with 1, 3 and 5

as in Answer 63a but instead plays 1 and 3 in this diagram immediately, White can play at 6 in response to Black 5 and now all of Blacks stones on the left side are drifting aimlessly. Answer 64a Correct The kosumi of Black 1 is the correct answer. White must respond by blocking with 2 allowing Black to connect to his group on the upper left side with the hane of 3. Answer 64b If White tries to keep Black separated by descending with 2, the aji of Black , will come into play. Black will connect underneath with 3 and 5. If White continues to resist with 4 and 6, Black will capture five White stones with 7 and 9. Answer 64c It is bad for Black to play the hane of 1 immediately. White cuts with 2 and after the exchange of Black 3 and White 4, the sequence of Answer 64b no longer works as can be seen here.
157 158

Answer 64d The sagari of Black 1 is a crude way of playing. Although Black can connect his stones to the group in the lower left corner, his stones on the upper side are seriously weakened after the kosumi of White 8. Answer 65a Correct The correct way for Black to proceed is to increase his liberties on the left side with the sequence to 7, and then to utilize the aji of his stones in the upper left corner beginning with the nobi of 9. The key move in this sequence is the

sagari of Black 13 which forces White to play hane with 14. Now Black can devastate the upper left corner with the sequence to 17. Answer 65b If White plays 16 in response to 15, Black will follow the sequence to 21. Since White cannot fight a ko in the corner, he must play 22 and after Black 23, the, result is very bad for White. Answer 65c Under these circumstances, White 12 may be the best move. However, Whites corner is again invaded with the sequence up to Black 15.
159

Answer 66a Correct The correct way for Black to play is with the ate of 1 and 3 followed by the geta of 5. As can be seen from the sequence to Black 15, it is impossible for White to escape. In addition, the threat of a Black hanekomi at the point a is left behind. Answer 66b In response to Black 9, the hane of White 10 also fails. After Black 15, there is no way to save the White stones. Answer 66c After the geta of Black 5, White can get furikawari by cutting at 6. With the sequence to 10, Black captures three stones but White also takes three stones on the left side. However, in this case Black has sente and so he can play the hanekomi of 11 capturing a huge area on the right. Answer 66d Black 1 is not really very good. After the sequence to Black 9, White cuts with 10 and it is hard to tell how it will turn out. In any case it is not as neat as in the preceding three answers.
160

Answer 67a Black 1 in answer to White . is not good. White . has now become kikashi. After White plays 2, Blacks aji on the right upper side is quite bad since White is threatening to play at a and b. However, White should wait before playing these two moves because it is not yet clear how this aji can be utilized, but in any case the hane of b is Whites sente for yose and can be played anytime he chooses. Still, White should not rush to play this move since it is aji-keshi.
161

Answer 67b Correct In response to White ., the oshi of Black 1 is the correct way to play. If White invades the upper side with 2, Black will press White on the right side with 3 and 5 after which he will attack Whites three stones with 7 and 9. Not only are the White stones in trouble, but Black is building thickness in the center of the board. Answer 68a Correct The correct procedure for White is to give up his two stones marked . and make sabaki with the sequence to 7. Black , is a bad move in that it violates the principle of dealing with kikashi stones; that is, "Do not attack stones which have played

kikashi". By violating this rule, Black has allowed White to make sabaki easily.
162

Answer 68b Instead of 8 in Problem 68, Black should have simply played 1 as here. Not only does this move attack the two isolated White stones in the center (from a distance), but it also leaves White . with less chance to escape. Answer 68c It is bad for White to connect with 1. Now Black , becomes kikashi and Whites three stones in the center are heavy. After Black plays 2, it will be very hard for White to escape. Remember the principle: "Do not place importance on stones that have played kikashi". By connecting at 1, White has violated this principle.
163

Answer 69a Correct The attachment of White 1 is tesuji. If Black responds with the nobi of 2, White 1 becomes kikashi and he can capture the Black stones in the center of board with the sequence up to 7. Answer 69b Because of the bad result in Answer 69a, Black must respond with the nobi of 2 as here. Next White plays 3 resulting in furikawari. 1 Answer 70a Correct White should attach with the tsuke of 1. If Black rescues his stone at , by playing at 2, it becomes furikawari when White plays at 3. Answer 70b If Black responds with 2, White 1 becomes kikashi and White can proceed to play the sequence up to 9. The points a and b have now become miai. Answer 70c If Black answers with 2, White 1 is still kikashi and after the sequence to 10, White again captures the corner. Answer 70d It is senseless for White to try to play 1, 3 and 5 without first attaching with 1 as in Answer 70a. This way of playing indicates that White has no plan.
164

Answer 71a The sequence from 1 to 4 shows that there is no simple way for White to make two eyes. So he must look for a more clever way. Answer 71b Correct White must cut with 1 against which

Black responds with 2. White continues to make aji in the corner with the kikashi of 3, 5 and 7. Black resists with 8 and now White begins to make eyes by descending to 9. In this case, the sequence will continue to White 13, but here Black cannot connect at a because of damezumari which is caused by the aji of the White stones at 5 and 7. Answer 71c So Black must connect with 8, but now White can easily make eyes with 9 and 11. Answer 71d In response to White 1, Black might try to resist by playing nobi with 2. However, after Black 4, the attachment of White 5 is tesuji against which Black must play 6. Next White descends with 7 and he can live by the same method applied in Answer 71b.
165

Answer 72a Correct Answer 72b Black should invade the corner with 1. This move is kikashi in that it forces White to respond with 2. Now when White plays kosumi-tsuke with 4, the aji of Blacks stone at 1 comes to life with Black 5. Please note that the stone at 5 prevents White from connecting since if White plays at a Black will answer with b and White cannot cut at c. In the actual game Black had to play at a and this move had no effect on the White corner. There is only one chance for Black to play the invasion of 1 in Answer 72a. If he waits till after White attaches with 2 as in this diagram to invade with 3, White will play hane with 4. Of course Black can live in the corner with the sequence to 9, but White will proceed to destroy the eyes of the Black group in the center with the sequence to 18. To say that Black is in trouble would be an understatement.
166

GLOSSARY
atari a move which occupies the last liberty but one of an enemy stone, thus threatening to capture it. ate same as atari. boshi a capping move. damezumari shortage of liberties. de a move which pushes between two enemy stones. fuseki the opening stage of the game, taking the whole board into consideration. gote to play last in a local encounter; the opposite of sente. hane a diagonal move played in contact with an enemy stone. joseki a formalized series of moves usually restricted to the corner. kaketsugi an open connection. katatsugi a solid connection.

keima the relationship between two stones which is the same as a knights move in chess. kosumi a diagonal move. nobi extending one stone along a line. nozoki a peeping move which threatens to cut. ogeima a large knights shape. osae a blocking move which prevents the enemy from extending along a line, oshi to push along a line on top of a line of enemy stones. sagari to descend straight down toward the edge of the board, sente to have the right to choose where to play next; opposite of gote. shibori squeezing. shicho a capturing sequence resembling a staircase. shimari a two stone corner enclosure. tenuki to play elsewhere, ignoring the opponents last move. tsugi a connection. tsuke an attaching move. uchikomi an invasion. wariuchi a wedging move which has room for expansion in either direction.
167

Bibliography
Elementary books are marked with a single asterisk, intermediate books with a double asterisk and advanced books with a triple asterisk. All the books listed below are available from the Ishi Press, Inc., CPO Box 2126, Tokyo, Japan or in North America from Ishi Press International, 1400 North Shoreline Blvd., Building A7, Mountain View, California 94043. Tel. 415-964-7294. A free catalog of go books and go equipment is available on request. *G2 Basic Techniques of Go, by Haruyama Isamu 9-dan and Nagahara Yoshiaki 6-dan A general introduction to tactics, fuseki, endgame and handicap go. **G6 Strategic Concepts of Go, by Nagahara Yoshiaki 6-dan Some of the basic concepts of go and the middle game are analyzed, with a large number of problems that utilize these concepts.

ELEMENTARY GO SERIES
*G10 Vol. 1 In the Beginning, by Ishigure Ikuro 9-dan Required reading for all beginning players. Covers the fundamental ideas of the fuseki (opening). *G11 Vol. 2 38 Basic Joseki, by Kosugi Kiyoshi 7-dan & James Davies The ideal introduction to josekis. All the josekis that you need to know until you reach expert level. *G12 Vol. 3 Tesuji, by James Davies The basics of tesujis (tactical brilliancies) with over 300 examples and problems. *G13 Vol. 4 Life and Death, by James Davies The basics of life and death with over 200 examples and problems. **G14 Vol. 5 Attack and Defense, by Ishida Akira 9-dan & James Davies The basic book on the middle game. Covers the fundamentals of positional judgment as well as other topics. **G15 Vol. 6 The Endgame, by Ogawa Tomoko 4-dan & James Davies The standard book in English on the endgame. Lots of examples and problems. *G16 Vol. 7 Handicap Go, by Nagahara & Bozulich The fundamental principles of handicap go are presented with a problem section. *G17 Kages Secret Chronicles of Handicap Go, by Kageyama Toshiro 7-dan The correct way to play handicap go. **G19 The Breakthorough to Shodan, by Miyamoto Naoki 9-dan Basic principles you need to know if you are going to reach expert level. Examples are from handicap games. DICTIONARY OF BASIC JOSEKI, by Ishida Yoshio 9-dan ***G21 Vol. 1: 3-4 Point Josekis ***G22 Vol. 2:3-4 & 5-3 Point Josekis ***G23 Vol. 3: 5-4,4-4 & 3-3 Point Josekis The standard reference work in English on josekis from the point of view of even games.

***G24 Enclosure Josekis, by Takemiya Masaki 9-dan Josekis that occur in the middle game with emphasis on the ones that involve attacking and defending corner enclosures. **G26 The Direction of Play, by Kajiwara Takeo 9-dan Fuseki theory as expounded by Kajiwara, the great modem fuseki theoretician.
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**G27 Katos Attack & Kill, by Kato Masao 9-dan Attacking techniques in the middle game. How to attack and kill your opponents stones. *G28 Lessons in the Fundamentals of Go, by Kageyama Toshiro 7-dan A chatty and easy to read book about the fundamental principles of go strategy and tactics. **G29 Reducing Territorial Frameworks, by Fujisawa Shuko 9-dan An excellent book on the middle game. All about building and reducing large frameworks of territory. G30 An Introduction to Go, by James Davies & Richard Bozutich *G31 The Second Book of Go, by Richard Bozulich Written for players who have just learned the rules of go. It covers every phase of the game and aims to set the novice on the right track with respect to the strategic principles of go. **G32 The Power of the Star-Point, by Takagawa Shukaku A thorough analysis of the sanren-sei opening pattern. **G33 The Chinese-Style Opening, by Kato Masao A thorough analysis of the Chinese-style opening pattern. Invincible: The Games of Shusaku, edited by John Power. 160 games with detailed commentaries by modern professionals of the greatest go genius who ever lived. A panorama of 19th century go hi Japan, the golden age of go. The finest go book ever written. A must for every serious go player. The Treasure Chest Enigma, by Nakayama Noriyuki 5-dan. A entertaining collection of essays about go and its players. The second part is a collection of unique and fascinating full-board problems that is sure to entertain both beginner and advanced players. * Graded Go Problems for Beginners, Volumes 1 to 4, by Kano Yoshinori 9-dan. A collection of nearly 1500 hundred problems for the beginner, drilling them in the basic tactics of go. Go World, a quarterly magazine on go. The authoritative go magazine in English, published since 1977. All major Japanese tournament games are presented with detailed commentaries as well as general interest articles, go news from around the world, essays and instructional articles.

secuencia inmediatamente pero, en cambio, mantenerlo en reserva como aj. El procedimiento en el Dia. 3 que ahora se llama para. Dia. 24 Si Blanco responde a la nozoki de Negro 1 con el osae de 2, Negro jugar 3. Debido al aji dada por la piedra Negro a 1, Blanco debe jugar 4. A continuacin, Negro se extiende a 5 y el resultado es similar al dimetro. 11. Dia. 23 Dia. 24

Como se ha visto en los ejemplos anteriores, hay muchas maneras de jugar Yosu-miru. Tambin hay muchas maneras de responder a esa medida. La eleccin de un yosumiru mover o una respuesta puede depender de las circunstancias, pero que a menudo depende de la temperamento o el estilo de un jugador individual. Es realmente imposible para juzgar si se mueve como stas son buenas o malas. Sin embargo, hay situaciones tcticas, donde un tipo de movimiento yosu-miru es el nico recurso por el cual para obtener un resultado satisfactorio. He aqu un ejemplo. 61 Dia. 25 - Blanco ha jugado tsume con 1 que amenaza con invadir la formacin de Negro en 'a'. Cmo Negro defenderse de este movimiento? Dia. 26 - Negro debe jugar el sashikomi (insercin) de 2 en respuesta a la tsume de Blanco 1. Blanco ahora se debe conectar a las letras a o b. Dia. 27 - En respuesta a Negro 2, si Blanco conecta a los 3, Negro cortar a las 4 y despus de Blanco 5, descender a 6. Blanco debe jugar osae con 7 y ahora puedo Negro utilizar el aji de sus piedras de 4 y 6 por jugar 8 con sente obligando Blanco para defender la kaketsugi de 9. Debido a su piedra a las 8, Negro no necesitan ya preocuparse por una invasin en 'a' y se proceder a jugar otro gran punto. Dia. 26 Dia. 25 Dia. 27 62 Dia. 28 La otra posibilidad es que las blancas juegan 3 en respuesta a Negro 2. En este caso, Negro simplemente defender su formacin saltando a 4 dejando atrs el aji de un corte en la 'a'. Este aj ser molesto Blanco Negro cuando invade la parte superior. Dependiendo de las circunstancias Negro puede elegir comenzar la invasin por jugar 'b' o 'c'. Dia. 29 La presencia de Negro, hace que la invasin de Blanco 1 sentido. Negro juega tsuki-atari con 2 y se conecta fcilmente por debajo de 4. Dia. 28 Dia. 29 Dia. 30 Dia. 30 Si Negro juega 1 en respuesta a Blanco., Blanco invadir con 2 inmediatamente despus de Negro 3 y 5, que es blanca, que se conecta por debajo de 6,

dejando las piedras negras a la deriva sin ojos en el centro. Si Negro juega ahora sashikomi con 'a', White se conectar a 'b' y Negro no tiene aji de explotar. 63

Problemas PARTE II y Respuestas Con el fin de mejorar la propia habilidad en Go, el primer paso es entender los principios tcticos y estratgicos del juego. El siguiente paso, y quizs el ms difcil, es poner estos principios en prctica. Esta es la fase de la experiencia. Jugar es, por supuesto, una manera de adquirir experiencia en la utilizacin de los principios de Van. Sin embargo, sin la gua de un profesor profesional, el estudiante suele alcanzar una meseta a partir del cual es casi imposible para el progreso. Afortunadamente, hay otra manera de obtener experiencia, para estudiar los problemas en los que el alumno puede utilizar los principios de Van. Los problemas en esta seccin todos utilizan los conceptos introducidos en la Parte I y tratando de resolverlos, el lector puede acostumbrarse a la forma de pensar en cuestin y espero aplicar estos conceptos a sus propios juegos. Sin embargo, la lector no debe ser desalentado por el fracaso para resolver los problemas. El beneficio real viene de pensar seriamente acerca de cada uno y luego comparar la respuesta de uno con La solucin proporcionada. Esta es la mejor manera de descubrir y corregir sus propios puntos ciegos. PROBLEMAS Problema 1 Juegan las blancas Despus de la secuencia de Blanco 6, el kaketsugi de Negro 7 hace un buen forma de asegurar la esquina con hay mal aji. En cualquier caso, es ahora Turno de las blancas para jugar. Cul es el la continuacin correcta? 64 Problema 2 Negro para jugar En respuesta a la Osae de Negro 4,

Cortes blancos con 5, seguido de la ATE Negro de 6 y el sagari de White 7. Despus de esto, cmo debera continuar Negro con el fin de tomar ventaja completa de esta situacin? Problema 3 Negro para jugar La secuencia de este problema fue tomada de un juego de desventaja de cuatro piedras en respuesta a la boshi de White 7, Negro se une con 8 seguido de lo natural intercambio de 10 y 11. Qu debe hacer Negro hacer ahora?

Problema 4 Negro para jugar En respuesta a la boshi de White 1, Negro juega la Keima de 2. La secuencia contina con 3, 4 y 5 lo que resulta en un corte transversal. Hay un proverbio que dice: "Cuando atrapado en un corte transversal, se extiende." Sin embargo, en este caso, Negro no debe seguir este regla, pero, en vez adoptar una actitud ms agresiva. Cul es la mejor jugada de Negro? 65 Problema 5 Negro para jugar Blanco slo ha jugado nozoki a 1 con el objetivo de reducir en 'a'. Si Negro prevenir este corte? Si no, cul es el forma correcta de Negro de

jugar? Problema 6 Juegan las blancas Como se vio en el problema 5, movimientos que parecen ser kikashi puede no ser necesariamente as. Sin embargo, esta medida puede en realidad convertirse kikashi si se responde obedientemente. En este problema, Negro juega nozoki a 1 con el objetivo de impulsar a 'A'. Adems, White tambin debe tener en cuenta el efecto de un Negro corta en 'b'. Cmo debe responder a Blanco Negro 1? Problema 7 Juegan las blancas Teniendo en cuenta la presencia de la pared Negro de espesor en la parte superior lado, cmo debera Blanco responder al nozoki de Negro 1? 66 Problema 8 Juegan las blancas Esto es similar al problema 7. Blanco debe encontrar un buen tesuji a hacer sabaki contra la nozoki de Negro 1. Problema 9 Juegan las blancas Con el fin de sacar a Blanca., Blanco inicia la secuencia de de 1 a 4. Despus de esto, cmo Blanco puede hacer sabaki? Problema 10 Juegan las blancas Negro acaba de jugar el kosumi de 1, atacando Blanco .. Cmo puede hacer sabaki Blanco? 67 Problema 11 Negro para jugar En respuesta a Negro 1, Blanco juega boshi con 2 con el objetivo de utilizar el espesor que tiene en el lado superior. A continuacin, Negro juega 3 vidas bsqueda en la parte inferior, en contra de lo que

Blanco juega kosumi-Tsuke con 4. Cmo deben Negro responder a este movimiento? Problema 12 Negro para jugar El joseki en la parte superior izquierda ha procedido a la sagari de Blanco 7. Cmo debe responder Negro para ambos utilizan su Shimari en la esquina derecha superior y el aji de su piedra a,? Problema 13 Negro para jugar Blanco slo ha jugado nozoki con 1. Es este movimiento kikashi? Cmo deben Negro responder? 68 Diagrama de Referencia 1 La secuencia m de este diagrama es una de las ms bsica joseki incluso el juego. Se suele hacer referencia a como el tsuke-hiki joseki debido a la tsuke se de Negro 3 y el hiki de Negro 5. Diagrama de Referencia 2 En este caso, Negro tiene una piedra a, y as, despus de el tsuke se-hiki de Negro 1 y 3, Blanco de desarrollo normal a Blanco 8 en la Referencia Dia. 1 est bloqueado. En este caso blanco 4 es una movimiento pesado y no tiene sabaki desde existe la posibilidad de jugar Negro kikashi con el nozoki en 'a', obligando a Blanco para conectar en 'b' Diagrama de Referencia 3

La forma correcta de manejar esta Blanco situacin es hacer sabaki con 2 y 4. En Para dar al lector una idea de la potencia de este sabaki, los prximos problemas se ocupar con diversos intentos Negro para atacar este forma sabaki y otras similares a ella. Problema 14 Juegan las blancas Negro ataca a las piedras de las blancas saltando en entre el 1. Cmo debe completar Blanco sus maniobras sabaki comenzaron en Dia de referencia. 3? Problema 15 Juegan las blancas Esta vez los cortes negros con 1. Cmo debera Blanco responder? Problema 16 Juegan las blancas En este caso, Negro, es una lnea ms alta que en Problema 15. Cmo se hacen Blanco sabaki esta vez? 69 Dia de referencia. 4 El joseki en este diagrama se toc brevemente en el captulo 3. Despus de la kosumi de Negro 8, es posible para el blanco, dejar la situacin como es, esperando a ver cmo va a atacar Negro, con la intencin de hacer sabaki. Los siguientes dos problemas se ocupar el corte Negro en 'a' y la Hane Negro en 'b'. Problema 17 Negro para jugar Este problema est relacionado con los tres problemas anteriores. En este Fuseki, despus de la tsuke se-hiki de Negro 9 y 11, las blancas juegan

en otro lugar. Ms tarde, Negro regresa y corta con 15, a la que Blanco responde con el Nobi de 16. Tomando la situacin general en cuenta, cmo debera continuar Negro? Problema 18 Juegan las blancas Tras el corte de Negro 1, cmo se puede hacer sabaki Blanco? 70 Problema 19 Juegan las blancas Esta vez Negro juega hane con 1. Nuevamente Blanco debe hacer sabaki. Problema 21 Juegan las blancas Despus de Blanco., Negro juega kosumi-Tsuke con 1. Cmo funciona Blanco sabaki hacer en este caso? Problema 20 Juegan las blancas Negro acaba de jugar niken-basami con 1. Cmo debera continuar Blanca? Problema 22 Negro para jugar Hay una regla en Go que aconseja que cuando una piedra es capturado por shicho, debe ser removido de la Junta como pronto como sea posible. En este problema, Blanco ha jugado dos joseki en el lado izquierdo. Sin embargo, en ambos de ellos, Blanco termina por la captura de una piedra a shicho, a los 22 y 30 aos. Debido a la mala aji dada por esta doble shicho, Negro es capaz de obtener una ventaja en esta situacin. Cmo puede hacer esto Negro? 71 Problema 23 Negro para jugar Este problema se ha tomado de un juego entre dos jugadores aficionados. El joseki de Blanco 18 Blanco 50 es un largo y complicado

uno, pero bien conocidos por la mayora de los jugadores. Despus Negro 51, Blanco juega kakari a 52, que es un gran punto. Sin embargo, todava existe la mal aji de Negro 47 queda atrs. Cmo debera aprovechar Negro de esta aji? Problema 24 Negro para jugar Contra el kakari de White 1, cmo debe responder Negro? 72 Problema 25 Negro para jugar En este juego de tres piedras discapacidad, la secuencia de 9 es joseki. En responder a White 9, Negro juega ogeima con 10. En este juego, Blanco adjunta con 11 con el fin de limitar Negro hasta la esquina. Qu es Respuesta correcta de negro desde el punto de vista de yose? Problema 26 Negro para jugar Blanco acaba de jugar con hasami. atacando el Negro aislado piedra en el lado superior. Al considerar este problema, la atencin debe ser pagado a la debilidad de tres piedras negras,. Cmo debe responder a Negro Blanco.? 73 Problema 27 Negro para jugar En respuesta a Blanco 3, Negro juega un contador hasami con 4. Una vez de nuevo, Blanco tsuke se juega en 5 y la secuencia contina como en el joseki estudi en Dia. 28 del Captulo 2. Sin embargo, debido a la presencia de Negro 4, White 9 no es un buen paso. Cmo debe Negro aprovecharse de este error? Problema 28 Negro para jugar Lo mismo joseki tiene lugar en la esquina superior izquierda, excepto que este es un juego de desventaja de dos piedras en lugar de una de tres piedras uno como antes. Por favor, considere el efecto de blanco 3 en el joseki ser

jugado en la esquina izquierda. Si Negro volver a jugar el corte en 'a'? 74 Problema 29 Negro para jugar En esta tres piedras discapacidad Fuseki, intentos blancos a hacer pesada Negro, jugando 5 y 7. Cmo pueden Negro hacer sabaki? Problema 30 Negro para jugar Este Fuseki es similar a la que en el problema 29. Sin embargo, en este caso, se trata de un juego de dos piedras y Blanco tsuke se ha jugado a las 7. Cmo debe responder Negro? Ser Asegrese de considerar el efecto de blanco 3 en relacin con el shicho que se puede desarrollar en la esquina superior izquierda. Problema 31 Negro para jugar Las piedras negras en la parte superior son casi muerto. Sin embargo, debido el aji de sus tres piedras, Negro tiene una manera de salvarlos. Cul es el corregir tesuji de Negro? 75 Problema 32 Juegan las blancas Negro juega ogeima a 1, atacando a ambos grupos de piedras blancas en el lado superior. Cmo debe responder a Blanca? Problema 33 Negro para jugar Blanco acaba de conectarse a .. Cmo Negro jugar ahora? 76 Problema 34 Negro para jugar Cuando cortes negros en, blanco 1 y 3 son un procedimiento estndar despus de que Negro debe jugar en la 'a'. Sin embargo, hay una manera para

Negro para jugar el fin de dejar mal aji detrs de las blancas. Qu Negro debe hacer antes de jugar en la 'a'? Problema 35 Negro para jugar En el captulo 3, se estudi la joseki comenzando con blanco 6. Sin embargo, en lugar de la corte a los 16 aos, el osae de 'a' se dice que es joseki. Bueno, qu hay de 16 en este problema? En realidad no es una buena mueve pero Blanca quiere hacer las cosas muy complicadas con la esperanza Negro que comete un error. Qu es ms rentable de Negro curso de accin? 77 Problema 36 Negro para jugar Problema 37 Juegan las blancas Esta es casi la misma que Problema 35 excepto que Blanco tiene jugado 6 y 8. Debido a estos movimientos, la shicho que era visto en respuesta 35b vuelve desfavorable para el Negro. Por lo tanto Negro no puede jugar como antes y tiene que encontrar otra manera. Cmo debe continuar Negro? En este Fuseki, despus de Negro juega Nobi con 11, las blancas juegan 12 y 14. Despus salta Negro a 15, cmo debera continuar Blanca? 78 Problema 38 Negro para jugar Dos piedras de color blanco. son pesados. Cmo se debe atacar Negro ellos? Problema 39 Negro para jugar En este cuatro piedras hndicap de juego, Negro juega ikken basami con 2 contra kakari de White en 1. La secuencia contina hasta Blanco 7 y se ha vuelto muy complicada por cierto. Sin embargo, el Negro puede jugar para revertir la situacin a su favor. Cmo jugar?

Problema 40 Negro para jugar Negro invade con 1. Sin embargo, despus de Blanco 6, Negro parece haber sido separado de sus piedras en el lado superior de la tablero. Cmo se puede jugar Negro con el fin de obtener la parte superior mano en esta situacin? 79 Problema 41 Negro para jugar Blanco juega 10 y 12 en la esquina superior derecha. En fin de evitar el sufrimiento de una prdida, cmo deberan Negro jugar? Problema 42 Juegan las blancas Negro ha jugado cuatro movimientos en contra de blancos .. A pesar de esto, todava hay una cierta aj izquierda. Cmo pueden Blanco utilizar esta aji? Problema 43 Juegan las blancas En respuesta a la oshi de 6, Negro juega Nobi con 7 pero esto no es un buen moverse. Contra 6, lo que es mejor de Negro respuesta, y cmo deben Blanco continuar despus de Negro 7? 80 Problema 44 Negro para jugar En este juego de tres piedras, la secuencia para el corte de White tiene 17 tenido lugar. Cul es el prximo movimiento de Negro?

Problema 45 Negro para jugar En respuesta a la wariuchi de Negro 1, Blanco juega tsume con 2. Cmo debe responder Negro este movimiento? 81 Problema 46 Negro para jugar Contra el wariuchi de White 1, cmo debe responder Negro? Problema 47 Negro para jugar Este problema se ha tomado de un juego de desventaja de siete piedras. A travs de 16, Negro ha formado una pared gruesa, mientras que Blanco ha hecho beneficio en la esquina. Sin embargo, las blancas juegan boshi con 17, amenazando con anular la influencia de la pared de Negro. Cmo debe Negro responder a esta medida? 82 Problema 48 Negro para jugar En este juego de desventaja de cuatro piedra, Negro hace una pared con 10, 12 y 14. Ataca de nuevo blanco en el punto vital con la boshi de 15. Cmo Negro responder a este movimiento? Problema 49 Negro para jugar Cmo debe responder al Negro keima keshi de White 1? 83 Problema 50 Negro para jugar En respuesta a Blanco 1, Negro juega keima con 2. Siguiente, Blanco intenta hacer sabaki uniendo a las 3. Cmo se puede utilizar el Negro pared gruesa para evitar Blanco de llevar a cabo sus planes? Problema 51 Negro para jugar En este Fuseki, hasta 34, Blanco ha trazado un gran territorio prospectivo en el lado derecho. Sin embargo, la kosumi de Blanco 36 es un movimiento tibio y no muy al grano. Cmo

Negro debe jugar para hacer sabaki a la derecha? 84 Problema 52 Negro para jugar Blanco slo ha jugado 16. Cmo se debe tratar con Negro la parte superior? Problema 53 Negro para jugar Blanco juega ni-dan pesadilla con 1 y 3. Tomando la situacin a la derecha lado en cuenta, cmo deberan Negro responder? Problema 54 Negro para jugar Como en el problema 53, las blancas juegan de nuevo ni-dan pesadilla con 1 y 3. En caso de Negro responder de la misma manera que en Problema 53? 85 Problema 55 Negro para jugar Este problema se ha tomado de un juego entre Honinbo Shusai, la 21a Honinbo y Kitani Minoru (ahora 9-Dan), cuando era un nio. Blanco (interpretado por Shusai) acaba de hacer un nozoki con 1. Es este movimiento kikashi, obligando Negro para conectar a 'a'? Si no es as, cmo deben Negro responder a este movimiento? Problema 56 Juegan las blancas Cmo debera Blanco defender el punto de corte en 'a' despus de la intercambio de Blanco. de Negro,? 86 Problema 57 Negro para jugar Cmo debe responder la hasami Negro de White 1? Problema 58 Negro para jugar

Teniendo en cuenta la presencia de Blanco., Cmo debe responder a Negro el hasami de White 1? 87 Problema 59 Negro para jugar Cul es la mejor manera de responder Negro el hane de White 1? Problema 60 Negro para jugar Negro 1 y 2 se mueve Blanco yose estndar. En este punto, la habitual moverse por Negro es el inconveniente de 'a'. Sin embargo, debido a la presencia de Negro, aji de White es malo. Cul es el prximo movimiento de Negro? 88 Problema 61 Juegan las blancas Si Negro juega 2 en respuesta a Blanco 1, deja mal aji en el esquina. Cmo debera Blanco utilizar esta aj en conjuncin con la aji de su piedra. con el fin de invadir el gran valle del territorio Negro que se est construyendo en el lado derecho? Problema 62 Juegan las blancas Blanco responde a la boshi de 1 con el keima de 2, despus de lo cual Negro juega 3 y 5. Cmo se puede prevenir Blanco Negro de hacer sabaki? 89 Problema 63 Negro para jugar Negro juega Yosu-miru con 1. Blanco se retira con 2, Negro juega kikashi con 3 seguido por el Tsuke de 5 y la cruz de corte de 7. En respuesta a 7, White se extiende a 8. Cul es la mejor manera de Negro para utilizar las piedras que slo ha jugado? Problema 64 Negro para jugar

Blanco slo ha jugado 1, amenazando con aislar y para formar un gran rea potencial en el centro del tablero. Cmo se puede prevenir Negro este? 90 Problema 65 Negro para jugar Cmo puede utilizar el Negro aj de su piedra, en conjuncin con la aji de sus piedras en la esquina superior izquierda? Problema 66 Negro para jugar Blanco acaba de cortar con 1. Cmo debe responder Negro este movimiento? 91 Problema 67 Negro para jugar En este cinco piedras hndicap de juego, Blanco ha jugado en 17, amenazando con invadir el territorio de Negro en la parte superior derecha. Cul es la forma correcta de Negro para responder a esta medida? Problema 68 Juegan las blancas Este problema se ha tomado de la misma partida como Problema 67. Antes ahorro de sus piedras en el lado superior con 5 y 7, Blanco juega kikashi con 1 y 3. Negro juega ahora nozoki con 8. Qu es blanco de responder? 92 Problema 69 Juegan las blancas En este problema, White se le pide que escapar con sus tres piedras en la lado superior. Problema 70 Juegan las blancas Blanco no puede capturar Negro, jugando a 'a' porque la presencia de un Negro piedra en el punto 4-4 hace que el shicho

desfavorable. Sin embargo, se puede obtener Blanco una ventaja en esta situacin. Cmo en caso de que proceda? Problema 71 Juegan las blancas Cmo puede hacer dos ojos blancos por su grupo de piedras? 93 Problema 72 Negro para jugar Este problema se ha tomado de la primera partida ilustrada presentado en el Captulo 2. Blanco slo ha jugado kosumi con .. En el real juego de Sakata, Negro, lanz un ataque a la 'a'. Sin embargo, antes jugar aqu, hay un movimiento previo que debe hacer. Cmo debe desempear Negro? 94 RESPUESTAS Respuesta 1a correcta La ETA de Blanco 1 est obligando a kikashi Negro conectar con 2. Despus de esto, White defiende su defecto en 'a' al kaketsugi de 3 haciendo un forma buena. Respuesta 1b Finalmente, Negro puede querer jugar a la 1, pero Ahora, debido a la presencia de Blanco Blanco., 2 se sente obligando Negro para capturar con 3. Respuesta 1c Si descuida Juegan las blancas 1 como en la respuesta, pero en su lugar simplemente se conecta al., Negro podr jugar 1 2 blancos y ya no est sente.

Adems, Negro 'a' tambin puede ser posible para los algunos puntos adicionales en yose. Respuesta 1d Despus de la conexin de Negro 2, White no debe conectar a las 3. En respuesta, el Negro va en silencio extenderse a 4 dejando atrs el punto de corte en 'A' tan malo aji. Respuesta 1e Ms tarde, el nozoki de Negro 1 seguido por el tobi de 3 es una forma posible de atacar. Este deja las piedras blancas con una forma pesada. Por lo tanto, se ve que la kaketsugi de Blanco 3 en Responde la es esencial para tomar buenas condiciones. 95 Respuesta 2a correcta La respuesta correcta es Negro para jugar kikashi la comi de 1. Cuando White conecta con 2, Negro captura dos Piedras blancas con 3. Consideremos ahora el efecto de Negro de kikashi. Respuesta 2b Supongamos que Negro deja de lado para jugar kikashi como

en respuesta 2a, y en su lugar Simplemente juega osae con 1. En este caso, Blanco permitirn jugar comi con 2 (esto tambin es kikashi) y luego jugar sagari con 4. De White forma es ahora muy buena y fcilmente puede hacer la vida jugando Shibori comenzando con la fijacin de la 'a'. De White plasmar en respuesta 2a, en la Por otra parte, es muy pesado y estas piedras tendrn problemas para realizar dos ojos. Respuesta 2c Negro 1 y 3 comprenden una vulgar tesuji. Despus blanco 4, Negro debe jugar 5. A continuacin, Blanco juega 6 y su piedras no tendrn dificultad para escapar, ya Piedras de Negro 1, 3, y son damezumari. Por otra parte, ojos en la esquina puede fcilmente hacerse con el tsuke en 'a'. En resumen, el aji de los dos

Piedras blancas. asegura la la seguridad del grupo de Blanco sobre el lado derecho. El kikashi de Negro 1 en la respuesta impide la utilizacin de los este aji, dejando Blanco con un pesado, grupo de inseguridad a la derecha lado. 96 Respuesta 3a correcta Una vez ms la respuesta correcta es que Negro juegue kikashi con el comi de 1, que obliga a responder con Blanco 2. A continuacin, Negro juega con sagari 3. Ahora los puntos 'a' y 'b' se han convertido en miai, es decir, si las blancas juegan en 'a', Negro jugarn 'b' dejando las piedras blancas efectivamente separadas. Respuesta 3b Si descuida negro en jugar el kikashi de 1 en respuesta 3a y, en su lugar, simplemente desciende con 1 como en este caso, Blanco responder retrocediendo con 2. Negro tiene ms remedio que saltar a 3, despus de que las blancas juega 4 y 6 para capturar dos piedras negras. El kikashi de Negro 1 en respuesta 3a se puede considerar como una medida para evitar la supresin Este contraataque blanco. 97 Respuesta 4a correcta La ETA de Negro 1, que es kikashi, es la corregir la respuesta. Despus blanca desciende con 2,

Negro retrocede con 3. Blanco ahora debe recortar con 4 seguida de la ATE de 6, pero Negro utiliza el aji de su piedra en 1 para que espesor en el exterior con 7 y 9. Adems, despus de 9 Negro, Blanco debe jugar otro paso para asegurarse que sus piedras a la derecha lado de la vida. Ahora las tres piedras blancas en el parte superior estar bajo ataque debido a el espesor Negro. Respuesta 4b Si descuida negro en jugar el kikashi de 1 en Respuesta 4a, pero en cambio se indica el proverbio sobre el corte transversal y llama de vuelta con 1, debido a la presencia de Blanco., Blanco puede capturar Negro, en shicho con 2 y 4. El kikashi de Negro 1 en respuesta 4a impide shicho se materialice. Respuesta 4c La extensin de Negro 1 en esta respuesta tambin sigue el proverbio citado en el diagrama de problema. Adems, tambin se evita que el shicho. Sin embargo, Negro se ve obligado a jugar de 3 y 5 en respuesta a 2 y 4 y despus de 6 Blanco, Negro debe defenderse Invasin de White amenazado en 'a' al descender con 7. A continuacin, Blanco jugar kakari a las 8. Aunque de esta manera no es exactamente malo para el Negro, el mtodo de respuesta 4a es tanto mejor y ms simple. 98

99 j en c Respuesta 5a correcta El sagari de Negro 1 es el correcto responder a White .. Si las respuestas Blanca con 2, Negro jugar kaketsugi en 3 dando sus piedras buena forma mientras restringir el movimiento de Blanco .. Respuesta 5b Blanco 1 en el problema 5 tiene como objetivo reducir, por lo que es natural considerar qu sucedera si Recortes blancos en 2 en respuesta a la sagari de Negro 1. En este caso, Negro juega 3 y 5. Ahora, cuando las blancas juegan comieron con 6, Negro juega con Shibori 7 y 9. Si las blancas conecta con 10, Negro juega Nobi en 11. Forma resultante de las blancas es llamado "dango" (Un grupo sin ojos de piedras) y Negro puede confiar en cualquier lucha que puede desarrollarse alrededor de estas piedras. Respuesta 5c Est fuera de cuestin para Negro jugar el kaketsugi de 1 en respuesta a Blanco .. Despus White 2 no hay manera de prevenir Blanco 2 y. se conecten. Respuesta 5d La conexin de Negro 1 es tambin

mal desde piedras negras se convierten en pesada. Negro 1 es demasiado sumiso, causando Blanco. para convertirse en kikashi. 100 Respuesta 6a correcta El salto del blanco 1 es el correcto responder a la nozoki de Negro,. Debido a este movimiento, Negro no puede sacar adelante a 'a'. Respuesta 6b Contra Blanco 1, si empuja Negro a travs de 2, White bloquear con 3. Si Negro persiste por corte con 4, las blancas pueden aprovechar la mal aji de las piedras marcadas, jugando 5 y 7, lo que obliga a responder con Negro 6 y 8. Por ltimo, Blanco ha capturado una piedra con 9, dejando a los puntos 'a' y 'b' como miai. Es decir, si Cortes negros en 'a', las blancas juegan 'b', que es sente en contra del grupo Negro de piedras en el lado izquierdo, seguido de Blanco 'c' capturar dos piedras de geta. Respuesta 6c Si las blancas responden mansamente a Negro, con la conexin de 1,, se convierte en kikashi. A continuacin, los cortes negros con 2 y los secuencia Negro 12 sigue naturalmente. Sin embargo, Blanco ahora se separa en dos grupos sin ojos y Negro tiene la ventaja en la lucha que seguir. 101

102 Respuesta correcta 7a El Tsuke de Blanco 1 es el correcto tesuji. Despus de Negro 2, White procede a jugar sabaki terminar la secuencia con una conexin keima a las 7. Blanco se deja con una buena forma de radiacin a lo largo de la parte central del tablero, mientras que Piedras negras estn overconcentrated (Korigatachi) y su muro ya no es tan influyente. Respuesta 7b Si Blanco conecta con 1,, se convierte kikashi y Negro saltar ligeramente para 2. Tres piedras de blancos son ahora pesada y, ya que caen bajo la sombra de pared gruesa de Negro, que ser objeto de ataques graves. Respuesta 8a Es malo para las blancas para conectar con 1 en respuesta a la nozoki de Negro,. Esto se traduce en Negro, convirtindose kikashi. Siguiente Negro salta a 2, lo que oblig Blanco huir con 3. Ahora Negro 4 hace que el territorio a lo largo de la parte inferior. Adems de esto Negro Tambin se ha formado una zona potencialmente grande en el lado izquierdo de la tablero. Ms importante an, las piedras de las blancas se han convertido ahora pesado y har un buen blanco para el ataque. De ah Blanco 1 debe ser rechazada. 103

8b respuesta correcta La unin de Blanco 1 es la respuesta correcta. La secuencia contina a la magari de 7 y Negro ser capaz de formar una gruesa pared con 8. Sin embargo, con 9, Blanco establece una posicin en la lado izquierdo, a la vez que anula el muro de Negro en la parte superior izquierda. Por otra parte, debido a la Shimari blanco en la esquina inferior derecha y lo malo aji en la formacin del Negro en 'a', la pared Negro resultante no es tan eficaz. Respuesta 8c En lugar de 8 en respuesta 8b, qu sucede si las negras juegan Nobi con 8, aqu? Blanco primero jugar kikashi con 9 obligando Negro 10, y ahora cuando el blanco se conecta a las 11, Negro debe jugar 12. Blanco 13 tambin obliga Negro 14 despus de que Blanco ataca al grupo de Negro en la parte inferior izquierda esquina con 15. Observe el efecto aqu del kikashi de White 9. Este movimiento da a las blancas una vez ms la libertad que le permite jugar 11 y 13 con sente que se traduce en furikawari. Por otra parte las piedras de las blancas y 9. an tienen algn aj izquierda, por lo que Negro no puede considerar el rea en el lado izquierdo como completamente seguro. Por otra parte, Blanca no tiene que preocuparse acerca de su grupo ya que fcilmente puede hacer la vida tocando el kosumi-tsuke se en 'a'. 104 Respuesta correcta 9a La respuesta correcta es la de Blanco para conectar con 1 lo que hace sabaki. Si Negro responde a esto con el tachi de 2, un furikawari secuencia de resultados hasta Blanco 5. Blanco est satisfecho

con este resultado porque ha utilizado con xito el aji de los tres blancos piedras marcadas. para obtener una gran beneficio en el menor lado izquierdo. Respuesta 9b Si Negro responde directamente a la tsuke se de 1 con el tachi de 2 como en este caso, Blanco jugar kikashi con 3, 5, 7 y 9. Despus Negro captura una piedra con 10, White conecta con 11 y forma resultante de Negro es muy mal. Por ejemplo, si Negro trata de escapar jugando en 'a', las blancas pueden atacar con 'b'. la construccin de territorio en la parte inferior de la mismo tiempo. Adems, puesto que las blancas se puede conectar en V en casi cualquier momento, sus piedras en el lado izquierdo estn en peligro. Tenga en cuenta que por conectar en 'c' White no deja mal aji detrs de la esquina inferior izquierda. Respuesta 9c Otra forma de Negro para responder a la tsuke se de Blanco 1 es con la hane de 2. Blanco, Sin embargo, juega 3, 5 y 7 y esto tambin es malo de Negro desde su

tres piedras no pueden escapar. Respuesta 9d Va a salir mal para el blanco si juega el tsugi comi de 1 y Negro 3 ya 4 es muy severa. Respuesta 9 sexies Tambin es malo para las blancas para conectar a la 1. Blanco 5 y 7 podrn ser kikashi pero el blanco resultante piedras son pesadas. Adems, ahora que el grupo de Negro en el lado izquierdo es seguro, la Blanco en el Shimari esquina inferior izquierda tiene llegar a ser muy delgada. 105 Respuesta 10a correcta La respuesta correcta a Negro, es que las blancas jugar con el tsuke 1 y, en respuesta a Negro 2, dibuje espalda con 3. Estos movimientos son kikashi ya que provocar una respuesta Negro en esta parte de la junta directiva. Despus de 4 Negro, Blanco puede huir con buena sintiendo saltando a 5 y 7.

Respuesta 10b Adems de 2 en respuesta 10a, Negro tambin podra responder a la Tsuke de White 1 con el tachi de 2 como en este caso. En este caso, Blanco hara de nuevo jugar kikashi con 3 y 4 despus de Negro, ejecute de distancia con 5 y 7 como antes. Respuesta 10c Si descuida Juegan las blancas kikashi como en el anterior a dos respuestas y simplemente juega Keima con 1 como en este caso, no puede hacer sabaki. En respuesta, Negro jugar el punto vital de la 2 obligando Blanco para defender con 3. A continuacin, Negro juega Nobi con 4 y la forma de las blancas es pesado. 106 Respuesta 11a Si Negro juega simplemente tachi con 1, Blanco atacar con 2. Ahora Negro hay que tratar de hacer la vida en la parte inferior o escapar hacia el centro. Sin embargo, esto ser difcil de lograr ya que la forma de Negro es pesado. En cualquier caso, slo se puede hacer en gote despus de lo cual se puede jugar en Blanco 'A', asegurando una gran rea en el centro del tablero. Al jugar 1, Negro se ha dejado de hacer sabaki. Respuesta correcta 11b Cuando White respondi Negro, con.,, Se convirti en kikashi. Ahora, Negro debe saltar ligeramente con 1 para hacer sabaki. Si persiste en Blanco atacando con 2 y 4, Negro realizar una forma visual con 3 y 5 seguido del tobi de 7, acabando en el centro del tablero. En respuesta a Negro 1, Blanco puede jugar 2 a 7. Sin embargo, a pesar de que esto tiene el mismo sentido que en 2 Respuesta 11a, Negro no tiene ningn

dificultades de hacer que la vida en la parte inferior del tablero. 107 Respuesta 12a correcta La respuesta correcta es la de Negro para saltar a 1. Este movimiento, en junto con Negro 6 en el diagrama de problemas, hace sabaki de Negro. Si las blancas sigue resistiendo con 2 y 4, Negro puede Blanco mantener confinado debido a la aj de,, con 3, 5 y 7. Respuesta 12b Despus de 7 Negro, Blanco conecta con 8. Ahora el Kake-tsugi de Negro 9 es una paso importante, ya que si los recortes blancos en 'a', a continuacin, despus de Negro 'b'. Negro puede capturar con geta en el punto "c", aunque el shicho no es buena debido a la .. En cualquier caso, la secuencia contina a 12 Blanco y Negro probablemente conectar en 'b' para eliminar el mal aji que permanece. Como resultado de ello. Negro tiene sido capaces de construir una gran zona de potencial en el lado superior. Respuesta 12c Aunque el Kake-tsugi de Negro 1 hace buen estado y las fuerzas blancas de responder con 2, no se recomienda aqu porque la distancia entre este resultando forma y el Shimari en la esquina superior derecha es demasiado grande. Blanco puede objetivo en el punto 'a' y 'b' cuando decide invadir esta rea. 108 Respuesta 13a correcta El nozoki de Blanco 1 es kikashi y Negro debe responder mediante la conexin a 2. Qu pasara si Negro elegir otra respuesta? Respuesta 13b Supongamos que, en respuesta a Blanco

., Negro juega 1. En este caso, Blanco captara una piedra con 2 y, despus de Negro 3, jugara Nobi con 4 rompiendo de este modo de Estructura de confinamiento de Negro. Bueno, qu hay de 3 a 4? Respuesta 13c Negro Para jugar comimos en 3 como aqu es an peor. La secuencia sigue el Nobi de 10 y Negro ha sido divididos en dos grupos dbiles. Esto es un desastre para Negro. Respuesta 13d Para referencia, este problema que sale de un conocido taka-moku joseki como se muestra aqu. Al final, el blanco es capaz para establecerse firmemente en la esquina, mientras que Negro de resultantes estructura irradia potencia en el conjunto tablero. 109 109 B14 en W5

Respuesta 14a correcta La forma correcta para las blancas a jugar es con el de-gin de 1 y 3. Cuando Negro intenta escapar con 4, White juega geta con 5 y 7 seguido de Shibori con 9, 11 y 13. Despus Saltos blancos a 15, una lucha difcil sobrevendr, pero es White, que tiene la ventaja en esta lucha. Contra 15 y 17, Negro debe defender la parte superior con 16 y 18. A continuacin, las blancas juegan kikashi con 19 y 21 despus de lo cual la Nobi de 23 hojas de grupo de Negro de piedras en el centro sin una forma viable de jugar. Respuesta 14b Dado que la respuesta anterior no se enciende tan bien para el Negro, se debe elegir el movimiento ms simple de 2 como en este caso. Blanco contina jugando de-giri con 3 y 5 tras lo cual se capta una piedra con 7 por shicho. Este furikawari es bastante satisfactoria para las blancas que tiene realizado con xito sabaki. Respuesta 14e En cualquier caso, es claramente malo para las blancas conectar con 1 en respuesta a Negro,. Despus Negro 2, Blanco. se ha convertido en aislados y tres piedras blancas son pesados. Al responder con 1, Blanco ha permitido Negro, para convertirse kikashi. Respuesta 14 quater Incluso si el shicho es malo para las blancas, la secuencia hasta 6

todava sera satisfactoria Respuesta 14d Pero, si por circunstancias, la respuesta 14 quater no es satisfactoria para el blanco, blanco 1 aqu hay otra manera de hacer sabaki. 110 Respuesta 15a correcta Una de ellas es que las blancas juegan el tsuke con 1. Despus Negro juega 2, blancos desciende a 3. Como resultado, el efecto de Negro, se anula si bien hay todava algunos ojo de decisiones aj dej con las piedras blancas en .. El punto 'a' parece ser el punto vital para las blancas pero si Negro juega para prevenir Blanco de ocupar este punto, Blanco jugar en 'b' y el aj de sus piedras. viene a la vida. Respuesta correcta 15b Tambin es posible para el blanco para jugar comi con 1. La secuencia se continuar la conexin de Blanco 7 y ahora los puntos 'a' y 'b' se han convertido en miai. Es decir, si Negro juega 'a', White jugar 'b'. Elegir entre esta secuencia y el de respuesta 15a se depender de la situacin en la

tablero. Respuesta 16a correcta Una vez ms, la ATE-de de White 1 y 3 son tesuji que permiten a Blanco hacer sabaki. Despus de 7 Blanco, Negro, est inutilizado en el marco del sombra de cuatro muro de piedra de las blancas. Adems, Blanco 'a' es sente siempre que quiere jugar. Sin embargo, dependiendo de las circunstancias, Blanco puede querer jugar 7 a 'a' en lugar de como en este diagrama. Respuesta 16b Es interesante comparar este caso con respuesta 15b. Si Negro deban jugar como en respuesta 15b, White pudo jugar 7 aqu con gran ventaja. Esto demuestra una diferencia entre Colocacin de la lnea 3 o 4 de las piedras. Respuesta 17a Negro 01 de mayo visto como un buen punto, pero, en realidad, es demasiado lento Blanco y permite hacer una buena posicin en la parte superior con 2. Adems, Negro no necesita preocuparse de jugar Blanca en 1 ya que el shicho est a favor de Negro. Respuesta correcta 17b La forma correcta de Negro para jugar es con la invasin de 1. Contragolpes blancos con 2 y cuando Negro juega oshi a los 3, saltos Blanca a 4, amenaza con capturar Negro, por lo Negro juega tachi con 5. Pero este movimiento tambin amenaza a una obra en 'c',

por lo tanto, Blanco defiende la kaketsugi de 6. Por ltimo, los saltos negros a 7 dejando los puntos 'a' y 'b' como miai. Negro puede hacer sabaki jugar cualquiera de estos dos puntos. El punto a notar aqu en comparacin con Respuesta 17a es que tiene Negro 111 sido capaz de jugar tanto 5 y 7 para hacer sabaki en la parte superior. Respuesta 18a correcta Blanco 1 es la respuesta correcta. A continuacin, har el papel de Negro comi con 2 Blanco y debe descender con 3. Despus de esto, la secuencia contina naturalmente, hasta la conexin de Blanco a las 9 haciendo esquina de Negro bastante vulnerable. Si Negro hace que la forma mediante la ampliacin de la 'a' a lo largo del derecho lado, White jugar en 'b' con Sente. Por otra parte, el blanco puede hacer que los ojos en la esquina de invasores en 'c'. Respuesta 18b Para Blanco para unir con 1 es no es muy bueno. En respuesta, Negro juega kikashi con 2 y 4 seguido de un extensin a 6 formando un buen conformar a la derecha. En este caso, Blanco ya no puede invadir la esquina en 'c' como en Respuesta 18a.

Respuesta 19a correcta Aunque pueda parecer extrao, White 1 es la corregir tesuji hacer sabaki. Ahora, si Negro juega 2, White lo ignorar y jugar en otro lugar, ya no teme la comieron de Negro 'a'. En respuesta a la 'a', Blanco en 'b' hace sabaki. Respuesta 19b Desde Negro 2 en respuesta 19a es demasiado lento, Negro lo ms probable es evitar jugar all. Por lo tanto, es muy probable que las blancas se finalmente ser capaz de jugar 1 como en este caso hacer una formacin de ojos perfecto. Respuesta 19c Para responder con obediencia mediante la conexin a 1 es muy malo. Ataques negras con la nozoki en 2 y las piedras de las blancas no pueden evitar convertirse pesada. 112 Respuesta 20a correcta Blanco comienza por jugar 1 y 3, seguido por el 5 y el tsuke de la Osae de 7. Despus Negro conecta a las 8, saltos blancos a 9. Ahora la posicin de Negro a lo largo del lado inferior es un poco ms concentrada. Es decir, de Negro piedras 6 y 8 no estn funcionando a la mxima eficiencia. Respuesta 20b Supongamos Blanco invierte el orden en el que interpreta los movimientos en Respuesta 10a. Ahora que Negro ha jugado sus piedras, se puede responder a Kake de 1 con la oshi-giri de 2 y 4. La secuencia contina

8 pero ahora las piedras de blancos en 1 y 5 estn bajo un fuerte ataque por de la presencia de piedras negras en,. B8 en. Respuesta 21a correcta El salto del blanco 1 es la respuesta correcta. Si Diapositivas Negro a 2, White har espesor con 3 y 5. Respuesta 21b Sin embargo, el valor real de blancos 1 se encuentra en el orden aqu indicado. Si Negro juega hane a los 2, Blanco renunciar a su piedra. por jugar 3, 5 y 7. Despus Negro conecta con 8, Blanco jugar el kaketsugi de 9 haciendo una forma de buen ojo en el centro. Siguiente Negro, probablemente resulte necesario defender sus tres piedras en la parte superior, dando Blanco la oportunidad de jugar kikashi en 'a'. Respuesta 21c El Nobi de White 1 no es bueno. Negro, ahora adquiere la sensacin de kikashi. De White resultando forma ahora es pesado y en algunos sentido sin ojos suficientes. Blanco 1 en Respuesta 21 a hojas detrs de muchos posibilidades y, en ese sentido, es muy movimiento flexible. 113 Respuesta 22a correcta Negro 1 es un movimiento muy hbil, ya que amenaza con romper tanto shicho. La captura de 2 es probablemente la mejor respuesta de Blanco, pero se escapa ahora Negro

con 3. Blanco 4, 6 y 8 son tesuji pero despus de las negras juegan 9, Blanco debe volver y reparar su pared defectuosa en 10. Ahora, Negro toma esta oportunidad de ampliar de su Shimari con 11. Como resultado, Negro tiene realizado beneficios en el lado izquierdo, mientras que piedras negras en 1 y 11 anulan El muro de Blanco. Respuesta 22b Si las blancas no le gusta el resultado en la respuesta 22 bis, el otro movimiento que puede jugar despus de Negro 3 es la kaketsugi de 4. Sin embargo, despus de 5 Negro, Blanco de tres piedras. estn en gran dificultad. 114 Respuesta 23a correcta Negro debe jugar kikashi a 1 seguido de 3. Este ltimo movimiento fuerzas Blanco captar Negro, con 4. A continuacin, las negras juegan 5 y el blanco es en serios problemas en la parte superior derecha. Respuesta 23b En lugar de 52 en el problema 25, es de suma importancia que las blancas capturar con 1. Por supuesto, Negro har una Shimari con 2, pero esto es inevitable. El punto 2 puede ser muy grande, pero es una regla de la estrategia de Go que los puntos urgentes como 1 tienen prioridad sobre los puntos importantes como 2. Un movimiento como la captura de 1 debe, como se dijo antes, puede jugar tan pronto como sea posible. 115 Respuesta 24a Claramente, la forma natural de Negro para jugar es hacer una hasami en la lado superior. Sin embargo, el ikken basami de 1 en esta respuesta, aunque grave, no es bueno. La razn es que despus de que el intercambio de Blanco 2 de Negro 3, no es malo aji en la esquina superior derecha y negro puede invadir con 4, haciendo la vida con la secuencia de 12. Respuesta 24b

En lugar de 7 en respuesta 24a, Negro 7 aqu tambin es eficaz en prevencin Blanco de hacer la vida que se lleva a cabo con 8 y 10. Respuesta correcta 24c La respuesta correcta es la de Negro para jugar niken basami con 1. Ahora, despus de 3, Blanco ya no puede hacer una invasin exitosa en 'a'. Respuesta 24d Si las blancas debe invadir con 4, Negro jugar 5 y 7, pero ahora, despus de la Hane de Blanco 8, la Osae de Negro 9 es posible debido a la presencia de Negro,. Este es el movimiento que hace que sea imposible para los Blanco vivir. 116 Respuesta 25a El tsuki-atari de Negro 1 se ve como el ms movimiento lgico, pero es no es realmente tan bueno porque despus de Blanco 4, se deja en mal aji la esquina. Respuesta 25b Despus de la secuencia en la Respuesta 25a, Blanco se jugar kikashi con 1 y Negro debe conectarse con 2. A continuacin, las blancas juegan Tsuke con 3. Este movimiento es Yosu-miru y Blanco de

movimientos posteriores se depender de Negro de respuesta. Respuesta 25c Si Negro responde a 3 con la Hane de 4, Blanco jugar el secuencia del 5 al 11 y la vida de Negro, pero con gote cuando obras en 12. Respuesta 25d Por otro lado, si Negro juega a las 4 de responder a 3, Blanco se jugar a dejar en otro lugar la situacin como es. Cuando sea el momento adecuado que puede capturar dos piedras con 3 y 5, pero este es gote y por lo tanto debe ser pospuesta hasta Yose. Respuesta 25e Cabe sealar que la presencia de blanco. impide Negro de haciendo que el Hane de 1

ya que se necesita ahora Blanco slo capturar dos piedras con 2. Si las blancas. eran no est presente, Negro 1 sera un buen yose, terminando con Negro de sente Respuesta correcta 25f Por lo tanto, la correcta responder a la tsuke se de Blanco. es para Negro simplemente llamar de nuevo a 1 y si Blanco juega 2, que terminar en gote. Por consiguiente, Blanco no debe apresurarse a jugar un mover similares. y debe esperar hasta un poco ms tarde en el juego. 117 Respuesta 26a correcta El kosumi-Tsuke de Negro 1 es la respuesta correcta. Blanco se ve obligado a responden con 2 y Negro hace una forma de vivir con 3. Para asegurar estos piedras de esta manera es de importancia ciruela. Pero ahora las blancas juega con kosumi 4, que parece tomar el territorio en el lado superior. Cmo funciona Negro continuar? Respuesta 26b Despus blanco 4, Negro adhiere con 5 seguido por el hane de 7. La

secuencia contina con Negro 11 haciendo que la vida en el lado superior. Por otra parte, Blanca todava tiene que preocuparse por el mal aji del corte en 'a'. Respuesta 26c Si Negro inmediatamente intenta utilizar el aji de, y juega 1 y 3 despus Negro 5, White jugar Nobi con 6. Ahora corte de Negro en 'a' es intil y, adems, sus tres piedras en el lado derecho ya no tienen ojo forma. Este es un ejemplo del uso de aj demasiado pronto. Dado que lleva Blanco dos movimientos para eliminar el aji de, Negro tiene tiempo para asegurar sus piedras como en respuesta 26a. Por lo tanto no hay necesidad de correr para salvar a esta piedra. Cuando se utiliza el aj, hay que ser paciente. 118 B19 en W13, W20 en B15, B25 a B13 Respuesta 27a correcta La forma correcta de Negro para continuar es reducir a 1. Si Blanco resiste con 2 4 y 6, Negro puede ganar fcilmente la lucha en la esquina, porque despus de dibujar de vuelta con 11, Negro puede hacer la vida por jugar en 'a', o cortando tanto 'b' y 'c' Respuesta 27b Despus de la conexin de Negro 5, Blanco puede vivir en la esquina de jugando comieron a 6, seguido por la sagari de 8. Sin embargo, las piedras negras en la esquina puede escapar fcilmente shicho jugando con 9, 11 y 13. Respuesta 27c

Tambin es imposible que las blancas capturar las piedras negras en la esquina tocando la secuencia en este diagrama. Hasta Negro 25, resulta mal para las blancas. Respuesta 27d En lugar de 9 en el problema diagrama, la conexin de 9 aqu es el procedimiento correcto. La secuencia hasta Blanco 15 es joseki. 119 p en i Respuesta 28a correcta En este caso, todava est bien para Negro de reducir en 1. Sin embargo, despus de las 9, Negro No puede capturar Blanca. porque el shicho es desfavorable. Por consiguiente, Negro juega Kake con 11, seguido de Shibori con 13 y 15, utilizando sus cinco piedras en la esquina como aji para hacer una pared gruesa. Por ltimo, Negro Nobi juega con 17 y aunque las piedras negras en la esquina parecen estar muerto, todava tienen algunos aji, como Negro 'a' que amenaza con revivirlos. Respuesta 28b Negro 1 y 3 puede parecer una buena manera, pero ahora Negro, se convierte en anulado bajo la sombra de la pared resultante de las blancas y, tras Blanco 4, uno tiene la sensacin de que se ha convertido en un movimiento perdido. En cualquier caso, este manera de jugar es en una escala muy pequea en comparacin con la forma en la Respuesta 28a. 120 Respuesta 29a correcta

El keima de Negro 1 es la respuesta correcta. Si Blanco defiende la izquierda lado con 2, Negro jugar Kake con 3, presionando fuertemente Blanco de piedra aislada en la parte superior. Respuesta 29b En respuesta a Negro 1, si Blanco defiende el lado superior mediante la ampliacin a 2, hay algo de malo aji en la esquina superior izquierda, que Negro puede aprovechar al jugar el tsuke-koshi con 3. Si Blanco contina con la secuencia a 8, Negro puede tomar la esquina con 7 y 9. Respuesta 29c En respuesta a la sashi-komi de Negro 5, White probablemente resistir mediante la conexin a 6. En este caso, Negro jugar 7, 9 y 11, despus de Blanco asegura que la esquina con la secuencia de 18. Por ltimo, Negro hace buena forma en el lado izquierdo de juego 19. Ahora, Blanco tiene cuatro piedras a la deriva en el centro y Negro pueden ser satisfechos con este resultado. Respuesta 29d Tambin existe la tsuke se de Blanco 2. En este caso, el hane-komi de Negro 3 es el procedimiento correcto. Si Blanco conecta con 6, Negro fcilmente hace la vida con 7 y 9. Asimismo, aji de White en la esquina es siendo mala y Negro puede aspirar a jugar en 'a'. Por otro lado, si Blanco conecta a las 7, con su movimiento 6, Negro jugar kikashi en 'b' seguido por el tsuke se de 'a'. 121 Respuesta 29e Es malo para el Negro para responder a la Tsuke de White 2 con un simple hane en 3. Despus Negro conecta a 5, las blancas pueden defender a las 6 y piedras negras son siendo pesada.

Respuesta 30a correcta Negro debe responder con el hane de 1. Debido a la presencia de., Blanco debe cortar con 2. La secuencia contina hasta 8 Blanco momento en el que la comi de Negro 9 se convierte en un importante kikashi. Despus de esto, Negro juega 11 y con el secuencia de hasta 17, Negro saca el crner mientras que Blanco tiene grosor. Sin embargo, Negro, anula este espesor en cierta medida lo que Negro debe estar satisfecho con este resultado. Adems, todava hay aji dejado en la piedra de Negro a las 9. l a, Respuesta 30b En respuesta a Negro 9, si Blanco captura, con 10, Negro jugar 11 y 13, despus de lo cual se puede aspirar a 'a' hacer grosor a lo largo de la parte superior. Sin embargo, si las blancas juegan en 'a', Negro jugarn kikashi en 'b' y luego jugar en otro lugar. Ahora bien, si los recortes blancos en 'c', Negro sacrificar tres piedras y hacer grosor a lo largo de la parte superior derecha con el principio comimos en 'd'. Respuesta 30c Blanco tambin podra jugar en 14 en respuesta a Negro 13. Esto reduce el tamao de los rea de la esquina de Negro, pero despus de las capturas negras a los 15, Blanco ya no puede cortado en 'a'. 122 Respuesta 30d Debido a la presencia de., Negro no puede jugar el hane-komi de 1. Tras Blanco conecta a las 4, la shicho en 'a' no es favorable para el Negro. Respuesta 30e Si Negro juega Nobi a 1, Blanco responder conectando a las 2. Hasta 9, Negro consigue la esquina, pero es totalmente limitada por el grosor de las blancas pared. Adems, las blancas tienen sente. 123 Respuesta 31a correcta

A pesar de que parece ser un movimiento suicida, Negro 1 es la respuesta correcta. Este movimiento es kikashi en que obliga a Blanco jugar en 2. Siguiente Negro juega 3 seguido por el saque de banda de 5 y debido a la damezumari causada por Negro 1, las blancas no pueden capturar la piedra 'a' sino debe capturar con 6. Ahora Negro tiene tres piedras con 7 guardar todos sus piedras que fueron amenazadas previamente. Respuesta 31b Es intil Blanca para resistir por conectar a 2. Negro juega 3 y 5. Si las blancas sigue tratando de bloquear el Negro de escape, que va a perder todo su piedras en la esquina despus de Negro juega 11. Respuesta 31c Este diagrama muestra lo que sucede si Negro descuida a jugar 1 como en respuesta 31a sino intent comi-komi con 1 inmediatamente como en este caso. Blanco responde con 2 y despus de Negro 3, Blanco captura siete piedras en el lado superior con 4 y 6. Respuesta 32a correcta La respuesta correcta a Negro, es de Blanco para conectar a la 1. Negro debe Ahora conecte a 2, pero se escapa blanco en el centro con la Nobi de 3.

Ahora, el nico problema de las blancas es sacar a sus dos piedras. pero esto no es difcil, ya que cualquiera puede huir a 'a' o adjuntar en 'b'. Respuesta 32b En respuesta a Blanco 1 Negro no puede jugar Nobi en 2 porque no hay mal aji en la esquina. Blanco jugar el tsuke se-koshi tesuji de 3 y despus de la secuencia Blanco 17, Negro debe luchar contra un ko jugando horikomi en 'a'. Esta es una mala ko de Negro porque no tiene suficientes amenazas ko. 124 Respuesta 33a correcta En casos como este, el keima de Negro 1 suele ser la correcta procedimiento. Respuesta 33b El tobi de Negro 1 no es bueno porque despus de la magari de White 2, existe el mal aji de Blanco 'a' dej atrs. Respuesta 33c El magari de Negro 1 slo provoca la tobi de Blanco 2 y Negro no se puede conectar a su piedra,. Respuesta 33d No es bueno para jugar Negro keima con 1. En este movimiento, Blanco jugar 2. Negro 3 parece ser la nica manera lgica de continuar pero despus de 4 Blanco, Negro ha perdido territorio en la parte inferior. Por otra parte, el rea de Negro en la parte inferior derecha es un ejemplo de korigatachi en el sentido de que demasiadas piedras se han invertido para tomar ese territorio. 125 126 Respuesta 34a correcta Negro 1 seguido de 3 es la respuesta correcta. Si Blanco juega kaketsugi

a las 4, Negro usar esta sente a jugar el gran punto a 5. Respuesta 34b Si descuida blancas jueguen 4 como en la respuesta 34 bis, y en su lugar juega 4 como aqu, despus de 6 Blanco, Negro jugar kikashi a las 7. En caso de Blanco conectar a las 8, Negro jugar Nobi a las 9. Ahora del lado derecho ha sido invadidos por Negro y las cinco piedras blancas se han convertido en pesada. 127 Respuesta 34c En respuesta a Negro 7, White pudo jugar katatsuki con 8. Sin embargo, despus de 14, cuatro piedras de las blancas siguen siendo pesados y aislados. Respuesta 34d Tambin existe la tsuke se de Blanco en 8 responder a Negro 7. En este caso, Blanco se las arregla para hacer por lo menos un ojo, pero Negro todava ha invadido el lado derecho hacer sabaki con la secuencia de 15. Respuesta 34e Negro 1 en respuesta 34a est kikashi y debe ser jugado en ese tiempo. Si Negro juega 1 simplemente como aqu en primer lugar y, tras Blanco 4, vuelve a jugar a los 5, Blanco responder por saltar a la ligera 6, dejando atrs nada de lo malo aji visto en Respuestas 34b, c, d. 128 Respuesta 35a correcta En este problema, Negro puede jugar comi con 1. Despus de 2 y 4, Blanco

juega kikashi con 6 y luego se arrastra a lo largo de la lnea 2 a 12. Cundo Negro juega 13, saltos blancas en la esquina con la 14. Los movimientos del 15 al 23 son obvias, pero 24 es un muy buen movimiento, ya que mantiene viva la lucha. Sin embargo, la secuencia contina a 31 y Negro ha logrado escapar hacia un lado. Ahora es imposible para el blanco para salvar a sus piedras en el lado izquierdo jugando en 'a' ya Negro en 'b' en respuesta va a matar. Por lo tanto, las blancas deben jugar 32 con el fin de salvar a sus piedras angulares. Por ltimo, Negro huye con el Keima de 33. El resultado es un desastre para las blancas. Cabe sealar que sera malo para Negro para jugar 29 en el punto 30, en respuesta a Blanco 28 ya que esto dara lugar a damezumari y blanco sera capaz de guardar todas sus piedras en el lado izquierdo. Respuesta 35b Si Negro juega hane a 25, hay una shicho a considerar. Despus Negro 27, las blancas juegan kikashi en 28 y el shicho comienza con Blanco 32. Sin embargo, en este caso, Negro, funciona como un interruptor shicho lo blanco no puede jugar de esta manera. 129 Respuesta 35c En lugar de 24 en respuesta 35a, White no debe jugar 24 como en este caso. Si lo hace, Negro jugar 25 y Piedras angulares de las blancas morir. Respuesta 35d En respuesta a Blanco 14, Negro no puede jugar 15

porque perder la semeai como puede verse a partir de la secuencia de Blanco 24. Respuesta 36a En este caso, el Negro debe jugar kosumi-Tsuke con 1. La secuencia contina Negro 5 y luego juega Blanco 6 y 8. A continuacin, Negro juega Nobi a las 9 y una pelea de estos dos piedras pueden tener lugar en el centro del tablero. Sin embargo, no es malo aji en la formacin blanco con con respecto a la hasami-tsuke se de Negro 'a' y esto puede tener un efecto sobre la lucha que podran llevarse a cabo en el centro. Debido a esto, el resultado es no es tan bueno para las blancas. 130 Respuesta 37a correcta La forma correcta para el blanco es para jugar con el de-Giri de 1 y 3. Si Negro juega 4, White jugar kikashi con 5, 7 y 9 seguido por una extensin a 11 en el lado superior. Como resultado, tanto Negro y 6, son bajas en la tercera lnea y, en consecuencia, no cierta sensacin de korigatachi. Parece que el Negro 6 sera mejor

colocado en 'a', pero esto ha sido impedido por la kikashi de Blanco 5. Una vez ms se ve cmo kikashi y korigatachi van mano a mano. Respuesta 37b Este diagrama se toma del quinto partido de la 23a Honinbo Senador Negro fue interpretado por Sakata Eio y negro por Rin Kai Ho. Tras Blanco 14 Negro no salta a 15 como en el problema diagrama, pero, en lugar juega 15 como aqu. Este movimiento tiene la virtud de evitar tanto la korigatachi de respuesta 37a y permitiendo Negro dejar la esquina superior derecha con sente para que pueda jugar wariuchi con 17 que impide Blanco de hacer una extensin ideal a lo largo del lado superior. 131 Respuesta 38a correcta Negro debe comenzar jugando keima con 1. Esto obliga a Blanco a jugar en 2 y ahora, cuando Negro juega keima con 3, las dos piedras blancas son aislados. Respuesta 38b Si salta blancos a 2 en respuesta a Negro 1, el aj en el lado superior derecho viene a la vida con Negro 3 y 5 que captura las seis Piedras blancas en el lado derecho. Respuesta 38c Negro 1 en este diagrama es un sordo moverse. Blanco est ahora en condiciones de jugar 2 y 4

que eliminar la mala aji de, y tambin rescatar a sus dos piedras .. Respuesta 38d La formacin en la esquina superior derecha es el resultado de esta joseki. Este joseki debe ser estudiadas por todos los jugadores de Go, ya que contiene muchos ejemplos de la tcnica de Go. Despus Blanco 21, piedras negras, a las 12 y 18 dejar atrs malos aji para las blancas. Esto puede aji ser utilizado por una jugada Negro en 'a', 'b'. 'C' o 'D'. Sin embargo, al principio del juego es imposible decir qu punto es importante por lo que estos movimientos suelen ser diferidos hasta la etapa intermedia. Problema 38 da una ejemplo de cmo este aj se puede utilizar. 132 Respuesta 39a correcta El Nobi de Negro 1 es el movimiento correcto. Blanco debe conectarse con 2 y la secuencia hasta Blanco 6 resultados en furikawari. Respuesta 39b Si los cortes negros en 1 en vez de jugar el Nobi de 1 en respuesta 39a, White jugar comi con 2 y despus de la sagari de Blanco 10, Negro es completamente demolido. Respuesta 40a correcta Negro debe jugar la secuencia de 1 a 9.

Blanco 10 es necesario hacer la vida en la esquina y si Negro juega hane con 11, que resulta en furikawari; Negro permite Blanco tomar el rea de la esquina asegurando al mismo tiempo una gran ventajas para s mismo en el lado derecho. Es dicen, piedras de blancos son Ahora, sin races y estn a la deriva sin rumbo fijo en el centro del tablero. Respuesta 40b Blanco 6 en el problema 40 es un movimiento irracional. Es joseki para Juegan las blancas 6 como en este caso despus de que Negro juega 7. En este caso, Blanco deben estar satisfechos con su espesor. Respuesta 40c El oshi de Negro 1 y 3 son muy malas. Despus de Blanco 4, el valor de Negro de dos piedras, ha sido negada. 133

134 Respuesta 41c La forma ms habitual de Blanco para asegurar sus piedras es con 1, 3 y 5. En este caso, puede ser Negro satisfechos con sus ganancias a la derecha. Respuesta 41a correcta Negro debe jugar el hane-komi de 1. Esto dar como resultado furikawari con la secuencia de Blanco 4. Despus de esto, Negro juega kosumi con 5, que se ha convertido en el punto crucial, tanto para jugadores. Respuesta 41 b Si Negro responde al jugar 1, entonces los dos De las blancas. piedras se conviertan en kikashi. A continuacin, Negro se pulsar con la secuencia a 6, lo que resulta en buena forma para las blancas. Adems, Negro se presiona en un intolerablemente posicin baja en el lado derecho. Respuesta 41 d Por otro lado, si Blanco juega en el tsuke 1, la secuencia continuar hasta el sagari de 6. Esta vez Negro recibe beneficios en la esquina, y Ahora piedras de blancos en 1 y 3 son damezumari que deja mal aji atrs. Si comparamos Respuestas 41c y esta respuesta con la respuesta 41 b, la prdida de Negro en 41 b es fcil de entender. Por consiguiente, Negro 1 en una respuesta 41 es el nica forma de jugar. 135

Respuesta 42b Si Negro debe jugar osae del exterior con 4 en respuesta a Blanco 3, la secuencia hasta el corte de 11 se llevar a cabo. Ahora, debido a los defectos en el muro de Negro en 'a' y 'b', White no puede prevenirse se escape. Respuesta 42a correcta El hanekomi de Blanco 1 es la forma correcta de proceder. Si Negro juegos 2 y 4, White se conectarn con su piedra. con el secuencia de hasta 11. Respuesta 42c Si las negras juegan comieron desde abajo con 2, Blanco puede escapar por la secuencia del 3 al 9. 136 Respuesta 43a correcta En respuesta al Negro, el tsuke se de blancos 1 es la que tesuji inicia la secuencia de Blanco 7, lo que resulta en furikawari. Respuesta 43b Negro 6 en respuesta a la oshi de White 5 es malo. Ahora el aj de. viene a la vida cuando las blancas juegan el tsuke se de 7. Cuando White conecta a las 11, 12 Negro es absolutamente necesario y despus de Blanco asegura a s mismo en la parte superior del lado de 15, los grupos opositores se disputarn en el

centro. Respuesta 43c En respuesta a la Tsuke de White 7, qu pasa con el Nobi de Negro 8? Blanco jugar oshi con 9 y 13 despus de Blanco, Negro, se ha convertido en intiles. Adems, Blanco. an deja mal aji en la esquina. Al reproducir una secuencia furikawari, atencin siempre debe ser pagado al aji en torno al cual el foco se mueve. Respuesta 43d En respuesta a Blanco 6, Negro debe retroceder con 7 en vez de jugar el Nobi de 7 en el diagrama de problemas. Despus Blanco juega 8, entonces sera pueda reproducir la Nobi de 9. Respuesta 43e Con el fin de entender el razonamiento en respuesta 43d, considerar lo que sucede cuando las blancas juegan ikken-tobi con 4. Por supuesto, Negro jugar el keima de 5, pero para el blanco para empujar Negro largo de la cuarta lnea es muy mal, ya que da Negro demasiados beneficios, as como destruyendo todo el aj que existe a lo largo del lado derecho. Pero esto es exactamente el resultado en respuesta 43d. Respuesta 43f As que, cuando Negro se retira con 7, el Nobi de White 8 parece estar en el espritu de la situacin. Sin embargo, hasta un 19 Negro gana un beneficio de al menos 22 puntos. Blanco consigue un muy grueso pared, pero se debe conectar a 20, terminando en gote. Esto no es

necesariamente malo para las blancas, porque los beneficios frente a espesor es un resultado comn en Go, pero siempre depende de la general situacin. De todos modos, el beneficio del Negro es muy grande. 137 138 Respuesta 44a correcta La mejor manera es que Negro juegue katatsuki con 1. La secuencia de hasta Negro 5 resultados en furikawari. Respuesta 44b Debido a la aj de Negro,, es imposible para el blanco para resistir con 2 y 4. Negro juega kikashi con 5 y luego capta dos Piedras blancas con el osae de 7. Por otra parte, Negro, deja mal aji atrs. Respuesta 45a El primer movimiento que el jugador promedio pensara es la extensin de Negro 1. Sin embargo, este es un mal movimiento, ya que rompe una de las reglas bsicas respecto espesor; "No se acerque espesor." Dado que dos piedras de White a. son muy fuertes, Negro quiere mantenerse lo ms lejos posible de ellos. Respuesta correcta 45b Hay esencialmente dos respuestas correctas, dependiendo del estilo de la jugador individual, el keima de 1 o ikken tobi de Negro 'a'. Ambos estos movimientos hacen una ruta de escape para,. 139 Respuesta 46a correcta Negro debe jugar tsume con 1 de este lado con el fin de impulsar Blanco hacia su fuerte muro. Desde Negro amenaza con extenderse a la 'a', White 2 parece ser imprescindible. Negro Ahora puede continuar el ataque con el Keima de 3. Blanco responde con el keima de 4, siguiendo el principio

de no acercarse a espesor muy de cerca. Otra virtud de esta medida es que adems de la opcin de hacer los ojos en 'b'. tambin es posible ejecutar lejos en 'c'. Respuesta 46b No es bueno para acercarse a Blanco Negro. desde la izquierda, con el intencin de hacer territorio con su espesor. En tal caso, Blanco se calma fije la parte inferior con la secuencia de 2 a 8. Ahora, cuando se mira en el rea potencial de Negro en el centro del tablero, es claro que todava no es el beneficio real, pero se requieren por lo menos dos movimientos ms para convertirse en seguro. Tratando de hacer territorio de espesor es un forma ineficiente de jugar. El buen sentido Go exige que el grosor sea utilizado para atacar. 140 Respuesta 47a correcta El keima de Negro 1 es la respuesta correcta. Si Blanco se une a las 2 para hacer sabaki, Negro juega hane a las 3 y tras empatar de nuevo a 5 White no puede jugar shicho en 'a', porque el espesor Negro acta como un interruptor shicho. Como En consecuencia, Negro ha asegurado el territorio de la parte inferior de la plancha mientras que Blanca est todava a la deriva en la esfera de influencia Negro. Respuesta 47b El keima de Negro 1 en este diagrama es un mal movimiento. Ahora, desde entonces. tiene convertirse kikashi, Blanco puede hacer sabaki con la secuencia de 2 a 10. Adems, las blancas pueden jugar hane-tsugi comienza con "a" en cualquier tiempo y terminan en sente dejando piedras negras ms concentrada. Respuesta 48a correcta El keima de Negro 1 es de nuevo la respuesta correcta. Hay un proverbio que dice: "Siempre jugar contra keima boshi." Si Blanco se une con 2, Negro jugar 3 y 5 utilizando la pared de la derecha para aislar las tres piedras blancas en la parte superior

lado. Cabe sealar que si Blanco intenta hacer que los ojos jugando en 'a', la sagari de Negro 'b' tiene un efecto en la vida del grupo blanco en la esquina superior derecha. Respuesta 48b Negro 3 en respuesta a 2 permite a las blancas para hacer la vida de la secuencia de 10. 141 Respuesta 48c El keima de Negro 1 de este lado debe ser rechazada por las mismas razones que en respuesta 47b. Despus del 2 de tsuke se es demasiado fcil para las blancas para hacer sabaki a la izquierda. Adems, queda la hane de Negro 'a' como aji y Negro de forma ser korigatachi. Respuesta 48d Cuando White toca el keima de 2 que tiene como objetivo atacar a las piedras negras a la derecha. Por consiguiente, Negro debe hacer sabaki con 3 y 5. Blanco est ahora obligado a hacer buena forma con 6 y 8 despus de que Negro asegura la esquina superior izquierda, con 9. Ms tarde, Negro puede descender a 'A' amenazar de muerte a las piedras blancas en la esquina superior derecha jugar a 'b' o privar al grupo blanco en la parte superior de los ojos jugando en 'c'. 142 Respuesta 49a correcta La respuesta correcta es la de Negro para fijar en 1. El hane de White 2 es natural, pero despus del corte de Negro 3, White no tiene muy buena continuacin. Cuando Blanco juega 4, Negro se extiende a 5. Ahora, con el fin para defender contra el Negro comi en 'a', Blanco debe extenderse a 6 y despus de 7, Negro amenaza con jugar en 'b'. Cabe sealar que, con respecto a 2 y 3, todos shicho favor Negro. Respuesta 49b

Si Blanco juega el hane-komi de 2 en respuesta a Negro 1, no puede evitar jugando Nobi a 6 despus de Negro 3 y 5. Por ltimo, Negro conecta a las 7 y Piedras de las blancas son pesados y la deriva en el centro. Respuesta 49c Si las respuestas negros con el keima de 1, blanco. convierte kikashi. A continuacin, Blanco jugar uchikomi a 2 toma la vida con la secuencia de hasta 10. Este resultado es muy malo para el Negro y por eso no tiene ms remedio que jugar como en Respuesta 49a o 49b. 143 Respuesta 50a correcta La respuesta correcta es la de Negro para jugar el keima de 1. Esta es la fundamental puntos para ambos jugadores. Ahora no hay manera para las blancas para hacer sabaki o para escapar. La secuencia de Negro 7 muestra una variacin. Respuesta 50b Es malo para el Negro para jugar hane en 1. Despus de 2, no hay manera de Negro a prevenir Blanco de hacer sabaki. Respuesta 50c Si las negras juegan hane desde arriba con 1, White hace fcil sabaki con la secuencia a 6. Debe tenerse en cuenta que. voluntad ser de utilidad cuando el blanco est escapando. Respuesta 50d Si Negro desciende con 1, Blanco . convierte kikashi y Blanco inmediatamente salta a 2. Negro no ser capaz de capturar estos Piedras blancas, etc Negro de pared se vuelve intil. La leccin que se debe aprender

a partir de este ejemplo es que cuando uno es fuerte en una parte de la bordo, que no debe convertirse en envuelto en una pelea porque su oponente podr fcilmente hacer sabaki. En respuesta 50a, Negro golpe punto vital de las blancas de sabaki antes de poder ejecutar su kikashi. Negro, sin embargo, fue capaz de hacer esto debido a su formacin estable en esta parte de la junta que dictada posteriormente kikashi de White intil. 144 Respuesta 51a correcta El boshi de Negro 1 es el ms apropiado punto. Cuando White juega keima con 2, Negro juega kikashi con 3 forzando Blanco defender con 4. Despus de Negro 5, Piedras de blancos en la parte inferior derecha tienen convertido pesada mientras Negro ha hecho sabaki, pudiendo conectarse en cualquiera 'A' o formulario ojos uniendo a 'b'. Respuesta 51b El katatsuki de Negro 1 no es un muy medida buena. Despus de la secuencia de Negro 5, White defiende su punto dbil el kaketsugi de 6 y es ahora Negro cuyas piedras han vuelto pesado. 145 145 Respuesta 52a correcta La respuesta correcta es Negro 1. Ahora los puntos "a" y "b" son miai. Respuesta 52b

En respuesta a Negro 1, si White convierte un Shimari con 2, Negro jugar 3 a asegurar una posicin por s mismo en el lado superior Respuesta 52c Por otro lado, si los bloques blancos con 2, Negro jugar kakari a las 3 y bajo estas circunstancias ser satisfactoria para l. Respuesta 52e En ciertos casos, Negro 1 es una manera de hacer una forma de luz. Sin embargo, aqu No es un movimiento goo'd. Blanco juega tsume con 2 y despus de Negro 3, Blanco hace una formacin ideal en la parte superior izquierda. Adems, Negro de posicin todava tiene muchos puntos dbiles que pueden ser atacados despus. Respuesta 52d Un kakari inmediata con Negro 1 no es bueno, ya que permite a las blancas jugar hasami con 2. 146 Respuesta 53a Negro 1 es joseki, pero despus de las blancas juegan a los 2, Del negro dos piedras se han venido aislado y son pesados. Por lo tanto, debe ser Negro 1 rechazado. Respuesta correcta 53b En este caso, la ATE de 1 seguido por 3 estn Mejores jugadas de las negras. Despus de recortes blancos en 4, Negro contina asegurando el lado derecho con 5, 7 y 9. A continuacin, las blancas juegan comieron con 10 y con la secuencia de 17, Negro asegura casi veinticinco puntos en la parte superior derecha mientras Blanco obtiene espesor. Sin embargo, este

espesor no es realmente tan influyente en este posicin. Respuesta 53c En lugar de 10 en respuesta 53b, que tambin sera posible para las blancas a tomar la esquina con 10 y 12. Sin embargo, con 13 capturas negras de cuatro Piedras blancas hacen un inmenso fuera espesor, mientras que Blanco se limita a una pequea la vida en la esquina. Este resultado es an ms insoportable que el de respuesta 53b. 147 Respuesta 54a correcta Negro 1 y 3 estn de nuevo la respuesta correcta. Si la secuencia contina hasta Negro 17, la pared blanca de la izquierda y la pared Negro a la derecha cancelar el uno al otro, mientras que Negro an conserva el beneficio de esquina. Respuesta 54c Supongamos que el Negro, se cambia por Blanca .. Ms adelante hay la secuencia de White 1 a 8 Negro. Desde fines blancas con sente, estos movimientos pueden considerar su opcin. Cuando nos fijamos en la posicin resultante rea de Negro en el lado superior es pequea y ms concentrada, es decir, korigatachi. As que teniendo en cuenta esto, la secuencia en la respuesta 54a es la mejor opcin. Respuesta 54b Si las blancas decide tomar la esquina con 4, Negro se conectarse con 5 y despus de las blancas juegan 6, Negro tiene sente, as como una enorme esfera de influencia en la centro del tablero. No puede haber ninguna duda de que esta resultado es bastante favorable para el Negro. 148

j conecta a, Respuesta 55a Si Negro conecta a 1, entonces las blancas. convierte kikashi. Siguiente White invade con 2 partir de una lucha a lo largo del lado superior. Respuesta correcta 55b En el juego real, Negro fijado en 1 y fue una muy buena moverse. Blanco juega kikashi con 2 despus de que Negro sacrifica su piedra, con la secuencia de Shibori a 9. Por ltimo, cuando Negro juega 11, las blancas deben jugar 12 que termina en gote y Negro est a la izquierda de espesor en todo el centro del tablero. Este resultado es claramente superior a la de respuesta 55a. 149 % A. Respuesta 56a correcta El Kake de Blanco 1 es el correcto responder y este movimiento hace sabaki. Qu pasa si ahora Negro corta en 'a' ? Respuesta 56b Si los cortes negros con 2, White jugarn comi-de con 3, 5 y 7. Siguiente Negro juega osae con 8 y las blancas juegan Shibori con 9 y 11 de sacrificar tres piedras. Sin embargo despus de 13, Blanco ha hecho a lo largo del espesor lado izquierdo y las tres piedras blancas que se han sacrificado an tienen algunos aji.

Respuesta 56c En respuesta a Blanco 1 Negro podra jugar en 2. En este caso, simplemente Blanco se extiende a 3. Negro 4 es un muy punto importante, pero en contra de este movimiento, Blanco juega magari con 5 dando Blanco un resultado satisfactorio. Respuesta 56d Es demasiado lento para el blanco simplemente conectarse a la 1. No slo los blancos piedras vuelto pesado, pero Negro puede jugar kakari con 2. Esta es una forma opaca para Juegan las blancas. 150 Respuesta 57a correcta La forma correcta de Negro es saltar a 1. Blanco responde con la kosumi de 2 despus de lo cual Negro hace sabaki con 3, 5 y 7. Tambin debe tenerse en cuenta que Negro, todava tiene algo de aj. Respuesta 57b Negro 1 es una forma vulgar de jugar. Despus salta Blanca a 2, lo que puede tratar de colocar a 'a'. En respuesta 57a, Negro fue capaz de ocupar el punto 2 que forma un rea segura en el lado derecho. 151 Respuesta 58a correcta El kosumi-Tsuke de Negro 1 es la respuesta correcta. Si las blancas juega 2, Negro estabiliza sus piedras con la secuencia a 5. Debe desempear Blanco 6, Negro saltar con 7 obtener una resultado satisfactorio.

Respuesta 58b Supongamos Blanco responde a Negro 1 con el sagari de 2. En este caso Negro jugar sabaki con 3, 5 y 7, dejando Blanco . aislados. Por favor, tenga en cuenta la forma en Negro, interviene en atacar .. Este resultado es muy malo para las blancas. Respuesta 58c El kosumi de Negro 1 no es un buen movimiento tal. En este caso, Blanco jugar joseki del 2 al 14 despus de lo cual Negro estar en problemas a causa de la presencia de. a la izquierda lado. 152 Respuesta 59a correcta El corte transversal de Negro 1 es la respuesta correcta. La secuencia contina hasta Blanco 8 en el que el tiempo cortes negros con 9 y luego juega kikashi con 11, 13, 15 y 17. Por ltimo, Negro juega 19 la captura de las cuatro piedras blancas a la derecha lado. Adems, la forma de las piedras de las blancas en la parte inferior es korigatachi. Respuesta 59b El Nobi de Negro 1 no es bueno en este caso. Despus White 2, la lucha se desplazar hacia la esquina inferior derecha y Negro tendr para hacer la vida de sus cuatro piedras. 153 es el salto de Negro 1. Si las blancas intenta bloquear de Negro de escape con 2, un ko resultar con Negro 3 y 5. Respuesta 60a correcta respuesta a Negro 1, Blanco debe jugar 2. Sin embargo, la intrusin de Negro se hace an ms grande de lo normal despus de 3 y 5. Respuesta 60b

en respuesta 60a, no hay ko. Si Negro juega 1 y 3 inmediatamente, Blanco ser capaz de eliminar el aj de la ko respuesta 60c jugando a las 4. 154 : A. Respuesta 61a correcta Blanco 1 es el punto, ya que obliga Negro para defender la esquina inferior derecha con 2. Siguiente White juega kikashi con 5, 7, 9 y 11 de finalmente hacer sabaki con 13. Respuesta 61 b Si Negro defiende la parte superior con 2, White har la vida en la parte baja esquina izquierda con 3, 5 y 7. Respuesta 61c Blanco 1 en la tercera lnea no es bueno ya que Negro defender su esquina con 2 y despus de Blanco se extiende a 3, Negro jugar 4 en lo que hace difcil para el blanco para formar un grupos que viven en el lado derecho. 155 Respuesta 62a correcta La respuesta correcta es la tsuki-atari de Blanco 1. Blanco responder Negro a 2 con 3 y 5 despus de lo cual se hace necesaria Negro 6. Juega Finalmente blancos en 7 quedndose con el grueso radiante en todo el centro del tablero. Respuesta 62b En respuesta a Blanco 1 Negro no debe jugar con osae 2. Si lo hace, la secuencia en White 5 va a salir mal para l. a ; al,

Respuesta 62c Realmente no hay mejor manera para Juegan las blancas de la secuencia en la Respuesta 62a. Por ejemplo, si las blancas juegan comieron con 1, Negro jugar kikashi con 2 y 4. Ahora, despus de 6, Negro de White cuatro piedras en la izquierda se han convertido en fuertes y estn en gran peligro de ser capturado. Respuesta 62d La ETA de Blanco 1 tambin es malo, ya que Negro responder con 2, 4 y 6 aislar Blanco .. Adems, las piedras de las blancas de la izquierda se han convertido en korigatachi por lo que este resultado no es bueno para l. 156 Respuesta 63a correcta En primer lugar, debe desempear Negro kikashi con 1, 3 y 5 seguido por 7, 9 y 11. Ahora debido a la presencia de la piedras negras en 3 y 5, blancos no se puede jugar en 'a', sino que debe cortar con 12. La secuencia contina a Blanco 16, pero despus de Negro 17, Blanco no tiene ms remedio que jugar 18. Despus de 19 aos, 'b' los puntos y 'c' son miai. Respuesta 63b Si el Negro no juega kikashi con 1, 3 y 5 como en respuesta 63a pero en cambio juega 1 y 3 en

este diagrama inmediatamente, el blanco puede jugar en 6 en respuesta a Negro 5 y ahora de Piedras negras en el lado izquierdo se deriva sin rumbo. Respuesta 64a correcta El kosumi de Negro 1 es la corregir la respuesta. Blanco debe responder mediante el bloqueo con 2 permitiendo Negro para conectarse a su grupo en la parte superior izquierda lado con el hane de 3. Respuesta 64b Si las blancas intenta mantener Negro separados por descendiente con 2, el aji de Negro, entrarn en juego. Negro conectar debajo con 3 y 5. Si las blancas contina para resistir con 4 y 6, Negro capturar cinco piedras blancas con 7 y 9. Respuesta 64c Es malo para jugar el Negro Hane de 1 inmediatamente.

Cortes blancas con 2 y despus de el intercambio de Negro 3 y Blanco 4, la secuencia de Respuesta obras 64b ya no como se puede ver aqu. 157 158 Respuesta 64d El sagari de Negro 1 es un crudo forma de jugar. Aunque Negro se puede conectar sus piedras para el grupo en la esquina inferior izquierda, sus piedras en el lado superior estn gravemente debilitado despus de la kosumi de Blanco 8. Respuesta 65a correcta La forma correcta de Negro de proceder es aumentar sus libertades en el lado izquierdo con la secuencia a 7, y despus de utilizar el aj de sus piedras en la esquina superior izquierda comenzando con el Nobi de 9. La paso clave en esta secuencia es la sagari de Negro 13 que obliga Juegan las blancas hane con 14. Ahora Negro puede devastar la parte superior izquierda esquina con la secuencia de 17. Respuesta 65b

Si las blancas juegan 16 en respuesta a 15, Negro seguir la secuencia de 21. Dado que las blancas no pueden luchar contra un ko en de la esquina, que debe jugar el 22 y despus de Negro 23, el, resultado es muy malo para Blanco. Respuesta 65c Bajo estas circunstancias, Blanco 12 puede ser la mejor jugada. Sin embargo, Esquina de White se volvi a invadir con la secuencia hasta 15 Negro. 159 Respuesta 66a correcta La forma correcta de Negro para jugar es con el ate de 1 y 3 seguido por el geta de 5. Como puede verse a partir de la secuencia de Negro 15, es imposible que Blanco se escape. Adems, la amenaza de un Negro hanekomi en el punto 'a' se quede atrs. Respuesta 66b En respuesta a Negro 9, el hane de Blanco 10 tambin falla. Despus Negro 15, no hay manera de salvar las piedras blancas. Respuesta 66c Despus de la geta de Negro 5, las blancas pueden conseguir furikawari cortando a las 6. Con la secuencia de 10, Negro captura tres piedras, pero Blanco tiene tres piedras en el lado izquierdo. Sin embargo, en este caso Negro tiene sente y por eso se puede jugar el hanekomi de 11 la captura de una gran rea de la derecha. Respuesta 66d Negro 1 no es realmente muy bueno. Despus de la secuencia de Negro 9, Cortes blancos con 10 y es difcil saber cmo va a salir. En cualquier

caso de que no es tan limpio como en los tres anteriores respuestas. 160 Respuesta 67a Negro 1 en respuesta a Blanco. no es bueno. Blanco. ahora se ha convertido kikashi. Despus Blanco juega 2, aji de Negro en la parte superior derecha es bastante malo ya que Blanco es amenaza con jugar en 'a' y 'b'. Sin embargo, Blanco debe esperar antes de reproducir estas dos movimientos, ya que an no est claro cmo este aji se puede utilizar, pero en cualquier caso, el hane de 'b' es sente de White para yose y se puede jugar en cualquier momento que elija. Sin embargo, White no debe apresurarse para jugar a este movimiento ya que es aji-keshi. 161 Respuesta correcta 67b En respuesta a Blanco., La oshi de Negro 1 es la forma correcta de jugar. Si las blancas invade la parte superior con 2, Negro presionar blanca en el lado derecho con 3 y 5 despus de lo cual atacar tres piedras de blancos con 7 y 9. No slo son el Blanco piedras en problemas, pero Negro est construyendo espesor en el centro del tablero. Respuesta 68a correcta El procedimiento correcto para las blancas es renunciar a sus dos piedras marcado. y hacer sabaki con la secuencia a 7. Negro, es un mal movimiento, ya que viola el principio de tratar con kikashi piedras, es decir, "no atacan a las piedras que han desempeado kikashi. "Al violar esta regla, Negro ha permitido Blanca hacer sabaki fcilmente. 162 Respuesta 68b En lugar de 8 en el problema 68, Negro debera haber jugado slo 1 como aqu. No slo atacan a este movimiento las dos piedras blancas aisladas en el centro (de una distancia), pero tambin deja blanca. con menos oportunidad de escapar.

Respuesta 68c Es malo para las blancas para conectar con el 1. Ahora Negro, vuelve kikashi y tres piedras de blancos en el centro son muy pesados. Despus de las negras juegan 2, ser muy difcil para las blancas se escape. Recuerda el principio: "No ponga importancia en las piedras que han jugado kikashi". Por conectar a los 1, Blanco ha violado este principio. 163 Respuesta 69a correcta La unin de blancos 1 es tesuji. Si Negro responde con el Nobi de 2, White se convierte en 1 kikashi y puede capturar las piedras negras en el centro de la junta con la secuencia de hasta 7. Respuesta 69b Debido al mal resultado en la respuesta 69a, Negro debe responder con la Nobi de 2 como en este caso. Siguiente Blanco juega 3 resulta en furikawari. 1 Respuesta 70a correcta Blanco debe adjuntar con la tsuke se de 1. Si Negro rescata a su piedra, jugando en 2, se convierte furikawari cuando White juega a las 3. Respuesta 70b Si Negro responde con 2, Blanco 1 convierte kikashi y negro puede proceder a reproducir la secuencia hasta 9. Los puntos 'a' y 'b' tienen ahora convertido miai. Respuesta 70c Si las respuestas negros con 2 Blanco 1 es

Todava kikashi y despus de la secuencia a 10, Blanco capta de nuevo la esquina. Respuesta 70d No tiene sentido para las blancas para tratar de juego 1, 3 y 5 sin primero adjuntando a 1 como en respuesta 70a. Esta manera de jugar que indica Blanco no tiene un plan. 164 Respuesta 71a La secuencia de 1 a 4 espectculos que no hay ninguna manera sencilla de Blanco para hacer dos ojos. As que l debe buscar una manera ms inteligente. Respuesta correcta 71b Blanco debe cortar con 1 contra el cual Negro responde con 2. Blanco sigue haciendo aji en la esquina con la kikashi de 3, 5 y 7. Negro resiste con 8 y ahora las blancas comienza a hacer ojos de descender a 9. En este caso, la secuencia continuar Blanco 13, pero aqu Negro no se puede conectar a 'a' debido a que es damezumari causada por el aji de las piedras blancas en 5 y 7. Respuesta 71c

As que Negro debe conectarse con 8, pero ahora las blancas pueden hacer fcilmente ojos con 9 y 11. Respuesta 71 quinquies En respuesta a Blanco 1 Negro podra tratar de resistir al jugar Nobi con 2. Sin embargo, despus de 4 Negro, la fijacin del blanco 5 es tesuji contra la que Negro debe jugar 6. Siguiente White desciende con 7 y se puede vivir con el mismo mtodo aplicada en respuesta 71b. 165 Respuesta 72a respuesta correcta 72b Negro debe invadir la esquina con 1. Este movimiento es kikashi en que obliga a Blanco a responder con 2. Ahora, cuando las blancas juegan kosumi-Tsuke con 4, el aji de piedra de Negro en 1 vuelve a la vida Negro con 5. Tenga en cuenta que la piedra en 5 impide Blanco de la conexin, ya que si las blancas juegan a 'a' Negro respondern con 'b' y el blanco no puede cortar en 'c'. En el Negro juego real tuvo que jugar en la 'a' y este movimiento no tuvo ningn efecto sobre la blanca esquina. Slo hay una posibilidad de Negro para jugar la invasin de 1 en Respuesta 72a. Si espera hasta despus de Blanco se une con 2 como en este diagrama de invadir con 3, Blanco jugar hane con 4. Por supuesto Negro puede vivir en la esquina con la secuencia de 9, pero Blanca proceder a la destruccin de los ojos del grupo de Negro en el centro con la secuencia de 18. Decir que el Negro est en problemas sera un

eufemismo. 166 GLOSARIO atari un movimiento que ocupa la ltima libertad, sino la de una piedra enemigo, por lo que amenaza para capturarlo. comi igual que atari. boshi un tapado movimiento. damezumari falta de libertades. de un movimiento que empuja entre dos piedras enemigas. Fuseki la apertura de etapa del juego, tomando todo el tablero en consideracin. got jugar pasado en un encuentro local, lo opuesto a la sente. Hane un movimiento diagonal jugado en contacto con una piedra enemiga. joseki una serie formalizada de movimientos generalmente restringidos a la esquina. kaketsugi una conexin abierta. katatsugi una conexin slida. keima la relacin entre dos piedras que es el mismo que el movimiento de un caballero en el ajedrez. kosumi un movimiento diagonal. Nobi extendiendo una piedra a lo largo de una lnea. nozoki un movimiento peeping que amenaza con cortar. ogeima la forma de un gran caballero. Osae un movimiento de bloqueo que evita que el enemigo se extiende a lo largo de una lnea, oshi para empujar a lo largo de una lnea en la parte superior de una lnea de piedras enemigas. sagari para descender directamente hacia el borde de la placa, Sente tener el derecho de elegir dnde jugar al lado; opuesto gote. Shibori apretar. shicho una secuencia de captura se asemeja a una escalera. Shimari una piedra recinto dos esquina. tenuki para jugar en otro lugar, haciendo caso omiso de la ltima jugada del rival.

tsugi una conexin. Tsuke un movimiento de fijacin. uchikomi una invasin. wariuchi un movimiento acuamiento que tiene espacio para la expansin en cualquier direccin. 167 Bibliografa Libros de primaria estn marcados con un asterisco, libros intermedios con un doble asterisco libros y avanzada con un asterisco triple. Todos los libros que se enumeran a continuacin estn disponibles en el Ishi Press, Inc., CPO Caja 2126, Tokio, Japn o en Amrica del Norte desde Ishi Press International, 1400 North Shoreline Blvd.., Edificio A7, Mountain View, California 94043. Tel. 415-964-7294. Un catlogo sin ir libros e ir equipo est disponible bajo peticin. * Tcnicas bsicas G2 del Go, por Haruyama Isamu 9-dan y Nagahara Yoshiaki 6-dan una introduccin general a las tcticas, Fuseki, endgame y minusvala van. ** G6 Conceptos Estratgicos de Go, por Nagahara Yoshiaki 6-dan Algunos de los conceptos bsicos del movimiento y el medio juego se analizan, con un gran nmero de problemas que utilizan estos conceptos. PRIMARIA SERIE GO * G10 vol. 1 En el principio, por Ishigure Ikuro 9-dan Lectura para todos los jugadores que comienzan Obligatorio. Cubre las ideas fundamentales de la Fuseki (apertura). * G11 vol. 2 38 Joseki Basic, por Kosugi Kiyoshi 7-dan y James Davies La introduccin ideal a josekis. Todos los josekis que usted necesita saber hasta llegar a nivel de expertos. * G12 vol. 3 Tesuji, por James Davies Los fundamentos de la tesujis (fulgores tcticos), con ms de 300 ejemplos y problemas. * G13 vol. 4 La vida y la muerte, por James Davies Los fundamentos de la vida y la muerte, con ms de 200 ejemplos y problemas. Vol. ** G14. 5 Ataque y Defensa, por Akira Ishida 9-dan y James Davies El libro bsico sobre el medio juego. Cubre los fundamentos de la sentencia de posicin, as como otros temas. Vol. ** G15. 6 El Final de partida, por Tomoko Ogawa 4-dan y James Davies El libro estndar en Ingls en el juego final. Un montn de ejemplos y problemas.

* G16 vol. 7 Handicap Go, por Nagahara y Bozulich Los principios fundamentales de go discapacidad se les presenta una seccin de problemas. * G17 Crnicas Secretas de Kage de Handicap Go, por Kageyama Toshiro 7-dan la forma correcta de jugar hndicap ir. G19 ** La Breakthorough a Shodan, por Miyamoto Naoki 9-dan Los principios bsicos que usted necesita saber si usted va a llegar a nivel de expertos. Son ejemplos de los juegos de desventaja. DICCIONARIO DE JOSEKI BASIC, por Ishida Yoshio 9-dan Vol. *** G21. 1: 3-4 Josekis Point *** G22 Vol. 2:3-4 y 5-3 Josekis Point Vol. *** G23. 3: 5-4,4-4 y 3-3 Josekis Point El trabajo de referencia estndar en Ingls en josekis desde el punto de vista de los juegos de pares. *** G24 Josekis Enclosure, por Takemiya Masaki 9-dan Josekis que se producen en el medio juego, con nfasis en aquellos que implican atacar y defender recintos esquina. ** G26 la direccin del juego, por Kajiwara Takeo 9-dan Teora Fuseki como expuesta por Kajiwara, el gran terico Fuseki mdem. 168 Ataque del G27 ** Kato y muertes, por Kato Masao 9-dan Atacar tcnicas en el medio juego. Cmo atacar y matar las piedras de su oponente. * G28 Lecciones de los Fundamentos de Go, por Kageyama Toshiro 7-dan un libro hablador y fcil de leer sobre los principios fundamentales de ir a estrategia y tctica. G29 ** Reduccin de marcos territoriales, por Fujisawa Shuko 9-dan Un libro excelente en el medio juego. Todo sobre la construccin y la reduccin de grandes marcos de territorio. G30 An Introduction to Go, de James Davies y Richard Bozutich * G31 El Segundo Libro de Go, por Richard Bozulich Escrito para los jugadores que acaban de aprender las reglas del go. Abarca todas las fases del juego y tiene por objeto establecer el principiante en el camino correcto con respecto a la principios estratgicos de go. G32 ** El poder de la Estrella-Point, por Takagawa Shukaku Un anlisis exhaustivo del patrn apertura Sanren-sei.

G33 ** La apertura del Chino-Estilo, por Kato Masao Un anlisis en profundidad del modelo de apertura al estilo chino. Invencible: Los Juegos de Shusaku, editado por John Power. 160 juegos con comentarios detallados de los profesionales modernos de el mayor genio go que ha vivido. Un panorama del siglo 19 va hi Japn, la edad de oro de la marcha. El libro go mejor jams escrito. Una visita obligada para todos los jugadores van en serio. El Enigma Cofre del Tesoro, por Nakayama Noriyuki 5-dan. Una coleccin divertida de ensayos sobre el movimiento y sus jugadores. La segunda parte es una coleccin de nica y fascinante de pensin completa problemas que est seguro de entretener tanto a jugadores principiantes y avanzados. * Calificado Problemas Go para principiantes, volmenes 1 a 4, por Kano Yoshinori 9-dan. Una coleccin de cerca de 1.500 cien problemas para el principiante, la perforacin en las tcticas bsicas de go. Vaya Mundo, una revista trimestral sobre la marcha. La revista go autoridad en Ingls, publicada desde 1977. Todos los principales partidos del torneo japons se presentan con comentarios detallados, as como artculos de inters general, van de noticias de todo el mundo, ensayos y artculos educativos.