TESUJI FOR SEPARATING Tesuji that Separate, that Prevent the Connection of the Opponent’s Stones Our topic is both separating the opponent into two large groups and cutting off the escape of invading stones. There are a number of terms that are used, but the basic purpose is the same. By not allowing the opponent’s stones to connect, we look to gain some benefit. However, separating is such a basic technique that often it’s not necessary to use the sort of unusual shapes or clever order of moves that we call tesuji. Before examining tesuji that separate, let’s look at a few examples of separating that don’t locally require “tesuji” per se. Jumping to w2 separates the white stones on the left and right. Jumping out with A instead would allow White B; a diagonal move at Black C would allow White to link up at w2. Black will now solidify territory while attacking to the left and right.
2 B
1 C
A
Diagram 1: Jump-Descent A 2 1
Because Z! is high, w2 is the strongest way to separate White. Playing at A would give White sabaki (making flexible shape lightly) chances with B. Instead of w2, if C, White can play at w2; or, if Black D then White E fortifies a weak group.
D B C
E
Diagram 2: Solid Descent If Black descends to A in this case, White B is good enough to give Black trouble. In such cases, the sideways bump with w2 is effective. Black should bump the side he doesn’t mind making stronger.
A 1
2 B
Diagram 3: Sideways Bump 1
Problem 9: Jump The basic principle of pressing is to get out one step in front of your opponent and press his head down. However if you hurry to press your opponent’s head down, there are many cases in which you put wind in his sails instead. White to Play 2 A B 1
3 4
Diagram 1: One Step Behind
Z! lets Black run out with w2, leaving White a step behind. Instead of Z#, it’s tempting to try to pincer Black with a move around w4, but White doesn’t have eyes yet, so playing this way would be risky and depends on surrounding circumstances. After w4, White can press at A, but this does not have a big impact. Instead of w2, jumping to B fails due to a shortage of liberties. It’s hard to expect success after hastily blocking with Z!. Black crawls with w2 and w4 and then can play w6. This is fine for Black. Instead of w2, Black can also play an asking move with an atari at A.
4 2 5 3 1 A
6
Diagram 2: Too Hasty
Neither the slack move in the previous diagram nor the hasty move in the current diagram can be called tesuji. Look for a moderate approach that diminishes White’s weaknesses while pressing Black. The jump to Z! is the move. If Black gives atari with A, White can press down with the ko starting at B. If Black is going to play here he must choose the slide at w2. Spreading out with Z# is fine; if surrounding conditions permit, White can consider the pincer at w4.
C 2 1 A B
3 4
Diagram 3: Z! is the tesuji.
White still has the possibility of attaching at C to seal Black in. This is thanks to jumping out an extra step at Z!. 37
TESUJI FOR MAKING YOUR OPPONENT HEAVY “Light” and “heavy” are among the more difficult go terms to understand. One simple expression of the concept is this: “heavy” refers to a lump of stones that cannot easily be sacrificed. Therefore, when you attack, you want to make the opponent’s stones heavy so that he is less likely to be able to set up a trade. These tesuji are apt to be overlooked, but as your skill increases they become more and more necessary. However, be careful that you don’t strengthen your opponent instead of making him heavy. If you do, your attack will not succeed. B 1
A
2
3
Diagram 1: Diagonal Attachment
This is a typical tesuji for making your opponent heavy. Black plays the diagonal attachment at w1, forcing White to stand at Z@, then Black attacks with w3. Just playing w3 first lets White jump to the 3-3 point at A—White is happy to make a trade here. After the exchange of w1 for Z@, if White jumps into the corner with A, Black descends to B. The corner stones would be under pressure and the side heavy.
Pushing along against White with w1 forces Z@, then w3 attacks while taking profit along the side. Usually this white shape could be considered thickness, but in this case Black already has \ in place as a pincer. Rather than thick, White is heavy. Instead of w1, if Black A, then White at w1, Black B, White C, and the attack has no effect.
A 1 B 2 C 3
Diagram 2: Pushing Along
A B
1
C
2 3
Bumping with w1 forces White to stand with Z@, after which Black defends with w3. Instead of w1, if simply A, B, or something similar, White can go for a trade in the corner with C. Usually when you play from the inside to make your opponent heavy, you make moves that also serve one or more defensive purposes.
Diagram 3: Bump 120
Problem 10: Double Hane Attacking a weakness directly doesn’t always work out well. Eyeing it from afar while getting benefits elsewhere is usually good enough.
Black to Play B A 4 2 3 1
Pushing and cutting directly with w1 and w3 leads nowhere. White connects with Z$, and Black has no good follow-up, so the cutting stone becomes a gift. About the best Black can do is to force with w5 and w7 , but this does not make up for the loss incurred by solidifying the upper side.
6 8 5 7
C
However, instead of Z$, if White A, then Black B, Z$, Black C, leads to a ko.
Diagram 1: A Gift
Giving atari with w1 seems like erasing aji, but the double hane with w3 and w5 creates new aji. White can cut once with Z^, but then needs to come back to defend at Z*. The profit in the corner remains up for grabs.
8 4 5 2 3 6 1 7
B A
Black has not disturbed the upper side, so pressing with A or checking with B both remain powerful possibilities.
Diagram 2: w5 is the tesuji. 1 A 4 3 C 2
B
D E
Instead of Z* in Diagram 2, if White greedily goes for the corner territory with Z! in this diagram, this is the time for Black to push and cut with w2 and w4. If White A, Black B captures the corner. If White C, Black captures a stone in a ladder. If Black plays the atari at B before w2 and w4, White captures at D, and Black loses the forcing move at E.
Diagram 3: Resurrection 150
Problem 12: Attachment If you play a double threat that is too unsophisticated, you may actually incur a loss. In this situation, how can you use the cutting aji in the corner to make shape?
Black to Play
3 4 6 5 7
1 A 2
8
Diagram 1: Settled
2 4
1
A
3
Diagram 2: Double Threat A 3 B 2 4 5 1 C
Diagram 3: w1 is the correct order.
Black would rather not lose the possibility of playing the atari at w1 followed by making shape with w3 and w5. It is highly likely that Black will get to play A in sente, and this point is quite large both in terms of territory and of being a key point for both sides in making a base. Forcing White to make the extension at Z$ is not something Black really wants to do, but after w5, this group is out of any immediate danger. However, White is happy to be able to push with Z^. Bumping with w1 makes miai of the cut at A and the hane on top of White’s stone with w3. However, descending to Z@ is quite large, and Black’s chance to make an eye on the side is now completely gone, so this is actually not so promising for Black. One problem is that while w3 is forcing, there is no clear follow-up move that makes shape for Black. These black stones will likely come under attack.
Black first plays the attachment at w1. If Z@, Black gives atari at w3 before bumping with w5. It goes without saying that this result is better for Black than Diagram 1. Instead of Z@, if White descends to w3, Black starts a trade by playing the hane at Z@. Instead of Z@, if White at w5, Black forces at Z$, White at w3, Black A, White B, and Black blocks with C.
171
TESUJI FOR TAKING AWAY YOUR OPPONENT’S BASE Attacking from above aims to seal in; attacking from below aims to take away your opponent’s base and chase him out into the open. In many cases, while taking away your opponent’s base you also reduce his territory and increase your own. What’s more, while attacking you will likely solidify your surrounding territory. If your opponent makes a mistake, or ignores your attack, you may be able to capture his group. However, as a matter of principle you should avoid chasing an opponent into your own moyo. You will incur a large loss by doing so, and it will be extremely difficult to generate an attack so effective that it makes up for this loss. A 1 B E D C
Diagram 1: Solid Extension F E 1
C
G A D B
Diagram 2: Diagonal Attachment D 1 A B E
C
Diagram 3: Knight’s Move
Extending to w1 takes away White’s base while also protecting the corner territory. If Black did not play w1 , White could slide to A. Even if Black then defends at B, White gets some breathing room. After w1, if White develops toward the center with C, there are no immediate attacking chances against this group. If White ignores w1, D and E are the shape points for Black’s continuing the attack.
The diagonal attachment at w1 looks to play the hane at A next, so it demands a response. If White A, Black continues the attack with B, an active way to play that attempts to remove the possibility of White C while maintaining an attacking posture. White may feel that standing with A is heavy, and can instead try jumping to D, a lighter way to manage the group that involves a ko after Black E, White F, Black A, White G. In terms of territory, the most profitable way to attack is with w1. However, White can aim for the waist of the knight’s move at A, so this is a bit thin for Black. Further, there is no particularly severe follow-up that Black can aim for. White can tenuki. Jumping to B just gives Black a good chance to respond with C. White can wait until Black plays D and then jump to E.
181
Problem 5: Spiral Ladder Ultimately, this tactic is a ladder, but when it arises unexpectedly as the result of a squeeze, it is frequently called a spiral ladder.
Black to Play B 2 A
C 1 D
If Black connects at w1 from fear of being cut, White can play the belly attachment at Z@, a tesuji to win the capturing race. If Black A, White B. It follows that in order to win the capturing race in the corner Black will need to block at C. But how can Black handle the atari at D?
Diagram 1: Belly Attachment 5 3 1 4 C 2 B A
Diagram 2: w3 is the tesuji.
6 11 10
8 9 7
Diagram 3: Ladder
D
After Z@, Black gives atari from the weak side with w3, setting up a squeeze. Black links up and gives atari again with w5. Reading out the finish after this is also important. Instead of w3, if Black connects at Z$, of course White can capture three stones with A. Instead of w3, if Black gives atari at B, then Z$, Black C, White D, and Black has not gained much.
After White connects at Z^, w7 and w9 neatly catch White in a ladder. Even here, if Black carelessly plays at ZAS instead of w9, he gets hit with an atari— be careful! The Japanese name for spiral ladder, guru guru mawashi, is a rather unsophisticated way to describe spinning something in a circle—but when you see it in action, the name is rather apt. 214
TESUJI FOR DEVELOPING Developing your groups into the center in and of itself provides no profit, but it helps to prevent your opponent’s attacks before they can begin, and is also a fundamental skill in the art of pressing or enclosing your opponent or otherwise narrowing his space. Moving into the center appropriately is bound to have an important effect on any fighting that ensues. However, whether to develop into the center or to seek a base immediately, perhaps even allowing your opponent to seal you in while you turn to play elsewhere—this cannot be decided according to local considerations alone. Most of all it is necessary to avoid cases in which moving out into the center just winds up playing on dame points. B C
A 1 E D
Diagram 1: One Space Jump
1
Diagram 2: Two Space Jump
A B 1 C D
Diagram 3: Shoulder
The most fundamental of all developing moves is the one space jump. In this case the jump prevents Black from being sealed in by White A while also preparing threats on both the left and right. Of course, there are other sequences here that are also considered joseki—such as those starting with B, C, D, or E, and a wide variety of possible variations thereafter. But when your base has been threatened the first possibility you should consider is moving out into the center. This move is based on the same basic idea as the one space jump, but since the connection is less secure, it is necessary to exercise caution when the opponent’s stones draw near. This jump is used when you want to move out quickly, and when it is less important to exert immediate influence on your opponent’s position. A three space jump, however, would be too thin. If your opponent is trying to develop into the center and you want to develop one step faster, you can play a pressing move on your opponent’s shoulder such as w1. This move seems to leave a gap in Black’s position, but after White A, Black B, White C, Black can give atari with D and move out so there is no need for worry. In addition to w1, the attachment at Black D is also an effective idea. Black C is usually not a very good shape. 18
Game Example 4: Diagonal Move A
If you develop your group, you prevent attacks before they can occur, while also building thickness of your own. Frequently you take a point that lets you glare menacingly in many directions.
1
The diagonal move of Z! allows White to aim for both the press at A and an attack on the black group on the left; an invasion on the lower side now begins to seem possible as well.
Game Record 4 2nd Meijin Title Match, Game 6 White: Sakata Eio Black: Fujisawa Shuko
To consider an alternative for White, Z! would also be a good point, calculated both to help stabilize White’s group while also giving a greater punch to any invasion on the lower side.
2 3 4 5 6 7 8
1
Variation: A shoulder press by Black would be vicious.
However, the press at w2 quickly leads to a clear, easily understood position. About the best White can do is to spread out with Z# through Z&; however, w8 not only connects the upper and left sides, but even offers Black the hope that he might make some territory here.
Viewed this way, Z! in the game record is more than just a developing move. It is a vital point to determine whether each of three groups will become thin or thick. As such, it prevents the game from becoming instantly bad for White and prepares to conduct a protracted resistance.
26
TESUJI FOR TAKING SENTE Game situations often arise in which you are willing to take a bit of a loss locally in order to take a big point elsewhere. There may be a proper move available if you are willing to spend a move, but if you misapprehend the situation a proper move may well end up being slack. Of course, if you play nothing at all in a local area you have sente to play elsewhere. But in cases where ignoring a local situation leaves you open to a heavy blow it is necessary to take some sort of temporizing measure to soften the blow. These are tesuji played in order to take sente. If you accept too large a loss in order to get sente, the value of sente itself is lessened.
2
1
B C A
Diagram 1: Tenuki
A 1 3 2
B
C 4
Diagram 2: Block
2 1 A B
Diagram 3: Peep
If your opponent’s threat is not too severe, you can just ignore it and play elsewhere. This is just basic common sense, and requires no tesuji per se. For example, the two space jump at w1 aims to enclose the corner next with A. But White can still live in the corner after this and so can ignore the threat, switching to the upper side to play Z@. Instead of w1, if Black plays B, the threat of C is too severe for White to ignore. Instead of w1, if Black pulls back to Z@, then White at w1, Black A, and Black ends in gote. That said, if Black just ignores the situation and plays elsewhere, the jump to White A or an invasion at White B would be quite large. Therefore, Black plays the block at w1, threatening to cut at C. If White now plays Z@ and Z$, Black can play elsewhere, having lessened the urgency of the situation. White for his part can also skip the capture at Z$. To prevent White from escaping at A, capturing with Black A would be the proper move, but a bit slack in this case. In this shape, Black should peep with w1, and if White responds with Z@, Black can play elsewhere. With w1 on the board, if White tries to escape with A, Black can capture with a net at B. The value of being able to play elsewhere is greater than the loss incurred by solidifying White on the upper side. 89
TESUJI FOR STRIKING BACK If your opponent comes at you with a line of play that is slack, you can respond by ignoring it or by playing a tesuji to take sente; on the other hand, if your opponent makes an overplay or a bad move you can counterattack directly. That is, you can move from defense to attack—this is what we will call “striking back.” The situations and shapes in which these tesuji arise actually have little in common, and in fact many of them could be classified under Tesuji That Attack. But it is possible to gather together a number of tesuji in which you seize a momentary opportunity to launch a counterattack. First, let’s try looking at two or three examples. G E B C F H J 1 I A
D
Diagram 1: Light Sabaki 1 2 4 3 5
A
Jumping to Z! is a light way to manage the situation. If Black A, then White B, Black C, White D seems about right. If Black E, then White F, Black G, White A. White plays lightly, dodging Black’s attack. Instead of Z!, extending to White H would be heavy; after Black A, White is headed for trouble. Instead of Z!, if White I, Black makes the empty triangle at J, and it is surprisingly hard for White to manage the situation.
White might play the hane at Z!, hoping for w2. Then Z# and Z% make shape with perfect timing. Black is pushed low on the right, and White can settle with a single move at A. However, Z! is an actually overplay. If Black strikes back, things will not go this way.
Diagram 2: What White Wants 8
1 7 5 3 6 2 4
Diagram 3: w2 is the tesuji.
The hane at w2 is the tesuji to strike back. The point is that after White gives atari with Z#, there is no continuation for White. If White lives with Z%, Black is happy to seal in with w6 and w8. Instead of Z%, if White at w8, Black cuts at Z&. Unlike the previous diagram, Black is taking influence and giving up profit, but there is no doubt that this result is good for Black.
132
Problem 6: Cut Inside White has just played the hane with |. This move is intended to remove bad aji from the corner. But actually Black can take advantage of a momentary opening to land a blow that renders White’s hane useless. Black to Play 1 A
Playing the block at w1 as an automatic response to White’s hane is the epitome of unspirited play. After White connects with Z@, not only have any aims Black may have had in the corner been removed, Black also has less of a free hand in trying to attack the white stones in the center because there is now a cutting point at A.
2 B
Black would like \ to perform one more task. Cutting at Z@ is meaningless after White B.
Diagram 1: Lacking Spirit 2 1
5 3 4
Throwing in a cut with w1 is severe. If White connects with Z@, Black extends to w3, with the point that w5 will be atari thanks to the cut at w1. | offers no help at all in this line of play. Capturing the three cutting stones is unquestionably good for Black.
Diagram 2: w1 is the tesuji. A
3 1 2 B
Diagram 3: Sente
It follows that White has no choice but to capture with Z@, though the atari at w3 swallows up the single white stone. After this, if White connects the two stones and Black plays A, White needs to play another move in the corner—otherwise Black kills with B. This is miserable for White. Instead of the hane at |, capturing with Z@ would be a proper move. 141
TESUJI FOR SOLIDIFYING A BASE From the opening through the middlegame, whether a base can be taken away or solidified is an extremely important issue. In many cases this requires only basic techniques, hardly worthy of being called tesuji, but still you need to learn certain defensive shapes to prevent attacks that would chase you out into the center. In creating a base, you should strive to make one that is as large as possible with the best possible aji and at the same time to create weaknesses in your opponent’s camp. In some cases, the issue will revolve around making shape or getting sente. Let’s look as some fundamental examples. There is nothing tricky about the knight’s move slide to Z!. This move not only exploits Black’s open skirt to reduce Black’s territory, it also performs valuable duty in solidifying White’s base. If White does not play here, Black can choose from among Black A, B, or C, driving White out into the center where he will have to play on dame (neutral) points just to escape.
A 1 B C
Diagram 1: Slide B D
1 C A
Diagram 2: Large Knight’s Move F
E C 1 3 D B A 2
Diagram 3: Diagonal Slide
The large knight’s move slide is much the same as the small knight’s move slide. However, it is a bit more ambitious and a bit thinner as well. For example, after Black defends at A, he has a follow-up with the placement at B. Crawling once more with White C removes the threat of the placement, but ends in gote. Before White plays Z!, Black D would be a big move that looks to attack. There is also a shape in which White slides with the diagonal jump to Z!, leaving behind a loophole in his own position. This shape is useful when White would rather not solidify Black’s right side with White A, w2, White B, Black at Z#. Instead of w2, if Black B, then White C. Instead of Z#, White could conceivably play elsewhere. However, without Z#, then Black B, White C, Black D, White E, Black F is a severe attack. 169
Problem 5: Hanging Connection When you have a choice of ways to live, an alternative that gives you a somewhat bigger space while creating weaknesses for your opponent is better. Likewise, it is better to choose a way to live that does not cause problems for your other groups in the vicinity. White to Play B C 3 D 1
2 A
Diagram 1: Tenuki B C
6
5
3 2 1
4 A
Diagram 2: Lives, But Loses Points A
C D B E
6
5 4
Diagram 3: Z! is the tesuji.
3 1 2
The corner is alive even if White does not play there. White can play a move like Z! to reinforce the upper side. But then Black can capture two stones in sente, which means that White can no longer aim for the cutting point at A, and besides the loss of territory is too big—this is not promising for White at all. If White lives with Z#, Black can still force with B. Instead of Z#, if White C, Black can start a ko later with the atari at D. The connection at Z! is sente. w4 guards the cutting point at A while also attacking, an attempt to recover the loss incurred by letting White live in the corner. In this shape the descent to Black B is sente (threatening C), and this has a big effect on the fighting on the upper side. Instead of Z!, Z# or White at w2 would lead to much the same result.
Crouching down to defend the two stones with Z! is the correct shape. If we then follow the same sequence as before, even if Black plays A followed by the attachment at B, White lives with White C, Black D, White E. This small finesse in living in the corner completely neutralizes the descent to Black A, which is otherwise a rather unsettling forcing move.
175
Classic Game 2: Meijin Inseki’s Masterpiece Dosaku’s disciple Kuwabara Dosetsu became the head of the Inoue family and became the third Inoue Inseki. The second Inseki (Yamazaki Dosa) had been Dosaku’s younger brother. Dosetsu Inseki later became Mejin Godokoro (Minister of Go) and so is called Meijin Inseki. He assembled a history entitled Dengonroku (Record of Oral Game Record 2 History) as well as a book of life 1706 and death problems, Hatsuyoron, White: Inoue Inseki and spent considerable effort in Black: Honinbo Dochi training Dosaku’s heir, Kamiya Dochi. During Dochi’s training the two played a ten game match with Dochi taking Black in each game. The tenth game is known as Inseki’s Masterpiece. In the game record, Black has just played the cross-cut at \. White’s next move is a surprising one, and a forceful way to handle the situation.
9 C A B 7 8 D E 1 2 3 4 6 5
With the extension to Z!, White suddenly grabs the upper hand. Usually White would extend to A, but after w2, White would face a difficult fight. Instead of w2, even if Black pushes through at Z&, followed by White A and Black B, White plays C and now Black needs to play D, so White can seal him in with White at w2, Black E, White at w6. This would not be good for Black. With Z(, White finds a stylish way to live.
Game Continuation 243
Game Example 1: Attachment
12
7 6 4 2
Occasionally you can omit an extension along a side and attach to a stone of your opponent’s, with the aim of making his position overconcentrated. This is a fast way to play.
9 5 3 1 8
A 11
10
Game Record 1 Go Seigen vs. the Young 8 dans White: Go Seigen Black: Shimamura Toshihiro
A C 1 B
The attachment at Z! is an imaginative move. Black crawls, starting with w2, after which w8 is the key point. White considers that he has converted the corner into territory, while Black’s territory on the side is not so large because White can still play the slide to A. The result is about equal.
There is nothing glaringly wrong with enclosing the corner with Z!, but the checking extension to Black A will be severe, and Black B is still a good point. Meanwhile, if White plays elsewhere instead of Z!, the approach at Black C is a perfect point.
3 1
2
4
Variation 1: Leisurely
Instead of w8 in the game record, if Black plays for territory with w1 and w3, the hane at Z$ stifles Black’s position in the center. With such large scale influence as a base, White has freedom to choose any strategy he likes. w8 in the game record is a clearer way to play—it lets Black take sente and play first on the Variation 2: remaining large opening points. The Issue in the Center 16
TESUJI FOR INVADING An invasion is a technique for destroying potential territory. It is the obverse of surrounding, but as a technique it has more of the characteristics of fighting than of opening play. An invasion is often played in association with a tesuji to link up, or a tesuji to develop into the center, and in that sense an invasion is often a tesuji that makes multiple threats. As invasions take away territory, they also steal the opponent’s base. Therefore, an invasion is often a tesuji that launches a fight. First let’s look at some examples of key invading points in the corner and on the side.
1
Diagram 1: 3-3 Point 1
Diagram 2: 3-3 Point from the Inside 1
Diagram 3: 3-3 Point from the Outside
The key point in the corner is the 3-3—hence the proverb “if the 3-3 point is open, there is a move there.” In star-point openings, it is rare that the corner territory is protected in the opening. If you enter at the 3-3 point, you can usually destroy the corner territory easily. However, you will also probably get sealed into the corner and your opponent will gain thickness outside; the correctness (or otherwise) of this invasion can only be judged by looking at the whole board. This is a tesuji that jumps into the middle of an area your opponent has surrounded, making miai of running out or diving into the 3-3 point. Choose this option when playing the 3-3 directly would be too cramped or could lead to damage to some position or positions on the outside. However, your opponent has a choice of defending the corner or of sealing you in—if either of these is particularly effective, this technique is not good. From outside the area your opponent has surrounded, you make miai of diving into the 3-3 point or developing. This idea could also be categorized as a tesuji to draw near. In general, moves that aim at an open corner from the side are played low; in cases in which being pressed low would be disadvantageous, you should probably consider something else. 87
TESUJI FOR REDUCING LIBERTIES Tesuji to reduce liberties can be broadly divided into two categories—those whose main idea is to take away resilience in your opponent’s shape, and those that sacrifice. Nearly all of the examples of sacrifices consist of adding a stone to a stone on the second line in order to sacrifice both, but tesuji to take away your opponent’s resilience take a number of forms, and can be hard to find. In particular, in capturing races in which there are internal liberties, it is easy to fall into the trap of focusing so intently on taking away your opponent’s liberties that you inadvertently take away your own. In a capturing race, you need to save internal liberties, and ko captures, for the very end.
1 2 3
Diagram 1: Throw-In D
3 B 1 A 2 C
Diagram 2: Attachment 3 2 1 A
Diagram 3: Hane
One fundamental technique for reducing liberties is to sacrifice with a throw-in. The basic principle is that, in sacrificing Z! and forcing Black to capture with w2, you compel Black to come in contact with |, in effect reducing a liberty. Instead of Z!, if White just routinely gives atari at Z#, Black at Z! gives Black four liberties. Instead of Z!, if White at w2, Black connects at Z!, again with four liberties. The belly attachment at Z! is a classic example of a key point for resilience. No matter where else White plays, Black would win by playing at Z!, but if White takes this key point, he wins by a move. Instead of Z!, if White simply plays the hane at Z#, then after Black at Z!, White A, Black B, White C, Black D is fine. Resolving the shape with the hane at Z! is good move order. By threatening to link up, White invites Black to take away his own liberty with w2. After blocking with Z#, White wins by one move. Playing conventionally, this would be a race of three liberties against four; Z! turns the tables. Instead of Z!, if White plays the hane at w2, Black blocks at Z!, and after White A, the capture by Black at Z# takes away a white liberty. 120
Problem 4: Bad Shape Black is threatening to link up in two different ways. White needs to find some way to stop one of these threats in sente. This position is from GuanziPu.
White to Play 4 1 3 B C 2 A
Diagram 1: Miai 2 1 A 3 B 5 4
Diagram 2: Making a Ko 7
6 5 A 3 2 1 4
Diagram 3: Z! is the tesuji.
If White A, then Black B. If White B, then Black A. There is only one possible way to prevent Black A, so White’s only hope is to find a good way to stop Black B. However, the placement at Z! doesn’t provide a real solution when Black plays w2 and w4. Instead of Z!, if White plays the hane at C, Black links up with Black A and it’s over. White can make a ko by playing the hane at Z! and, after w2, playing a hane at Z#, taking advantage of the special properties of the corner. If w4, White gives atari with Z% and we have a ko. However, instead of w4, of course Black will first capture the ko once. Also, the connection at Black B will serve as a ko threat. Winning this ko will not be easy for White.
Starting by making the ugly shape with Z! is the correct sequence. After forcing Black to connect at w2, White plays the hane at Z# to prevent Black from linking up. After Z% and Z&, White is two ko threats better off than in the previous diagram. This difference can be enough to decide the outcome of a game. Note that White can end this ko by connecting at A—this is a direct ko. 157
Problem 4: Empty Triangle Black has a gote eye along the side, so in order to live he needs to make an eye in sente in the center. Where is the key point to alleviate his shortage of liberties?
Black to Play
6 3 A 2 4 5
1
Instead of w3, if Black at Z^, White A threatens both to capture in a snapback and to connect outside.
Diagram 1: Inside Cut
A 1 3 2 4 5
The intent of w1 is to first solidify the eye on the side while waiting to see how White will attack. The cut inside at Z@ is the key point. If w3, then Z$ and Z^; instead of w3, if Black at Z$, then White A. Either way, Black dies.
6
It follows then that Black needs to make an eye in the center in sente, but if Black just plays w1 to expand his area, he is once again cornered by the cut at Z@. Instead of w1, if Black A, then Z$. Instead of w1, if Black at Z$, then White at w1, threatening to next steal the eye with White at w3.
Diagram 2: Reinforcing the Center
3
1
2
It seems to be giving ground, but the empty triangle at w1 is the key point. If Z@, w3 lives with a bent four shape. Instead of Z@, if White pushes in at w3, Black can ignore him and just secure the eye on the side. w1 falls on the key point for the \ stones that are short of liberties—the “mid-point of three stones.”
Diagram 3: w1 is the tesuji. 177
TESUJI FOR USING SHORTAGE OF LIBERTIES TO LIVE Living by exploiting your opponent’s shortage of liberties, or by alleviating your own shortage of liberties—these themes arise when the stones for both sides become entangled in close combat. In some cases, there may be related capturing races you need to read out. In these situations, lines of play that aim to make eye shape or to expand living space do not work. You need to focus on shortage of liberty situations for yourself and for your opponent. There are quite a few situations in which the key point turns out to be rather unexpected, and the success rate of taking a somewhat circuitous route is high. 5 1
3 2 A
The sequence of w1 through w5 is a procedure to make the eye creating move at Black A an atari. If Black plays any other move, then when Black plays A, White can play the thrust at B, and Black will be unable to exploit White’s weakness because Black himself is short of liberties.
4
B
Diagram 1: Angle Wedge 3 A 1 C D B
It may seem as though w1 has no value, but in fact it is the only way to alleviate Black’s shortage of liberties. Once you play this move, it becomes apparent that Z@ and w3 are miai.
2
Instead of w1, if Black at Z@, White can play the angle wedge at w1, and Black dies after Black A, White B. Instead of w1, if w3, then White at w1, Black C, White D, and there is no way for Black to live.
Diagram 2: Empty Triangle 5 A 3 2 1 4
Diagram 3: Descent to First Line
After Black creates a three stone group to sacrifice with w1, Black has two forcing moves—w3 and Black A. Instead of w1, if w3, then White at w1; instead of w1, if Black A, then White at w1, and there is no way for Black to live. Gripping Black’s stones from below by White at w1 is a good move that alleviates the shortage of liberties of White’s three stones, so Black plays w1 to eliminate this resource. 215
Tesuji for Destroying Eye Space You play on your opponent’s key point to divide his area in two, defeating his aim of making two eyes. Or, just as your opponent is on the verge of making two eyes, you strike at the weak point and create a false eye. Killing techniques all follow these fundamentals. What’s important is to develop the power to discern the key point in your opponent’s shape. Make sure you don’t become confused by shapes that appear similar on the surface but are actually different. You can often apply the proverb “the opponent’s key point is your key point” because your opponent’s move to live is quite frequently the move you should play to kill. Let’s start by looking at some examples of fundamental tesuji. 3 B 2 1
A
After White makes the placement at Z!, Black dies. If w2, Z#. Instead of Z!, if White captures at A, Black lives by blocking at Z#. Instead of Z!, if White extends inward to Z#, Black captures with B, threatening to either make two eyes in the corner or to make a second eye along the side. Z! is the solution, hitting the key point for dividing Black’s area into two eyes.
Diagram 1: Placement C
A 2 1 B 3
Diagram 2: Placement A 3 B 1 2
Diagram 3: Attachment
w1 is, among other things, the 1-2 key point. If Z@, w3 takes a liberty from the outside. Due to the special characteristics of the corner White cannot play A. If White plays B to avoid the snapback, Black plays C, and White does not have enough room to live. Instead of Z@, if White B, Black can just quietly play C. w1 attaches at the 2-2 point. Now if Z@, then w3; instead of Z@, if White at w3, then Black at Z@— either way, White dies unconditionally. Instead of w1, if w3, then White at w1, Black A, White B, and White lives by pinning Black down in the corner. Instead of w1, if Black at Z@, then White at w1. Instead of w1, if Black A, then White at w3. Only w1 eliminates all White’s chances to struggle on with a ko. 45
Problem 12: Attachment and Descent This is a famous position from Xuanxuan Qijing (GenGen Gokyo in Japanese). With a subtle sequence, Black increases White’s shortage of liberties while relieving his own.
Black to Play 6 5 2 1 3 A 4
Diagram 1: Alive A 5 3 4 1 6 2
Diagram 2: Links Up on the Edge 3 A 4 B 5 1 2
Diagram 3: w3 and w5 are the right order.
There is no doubt that the attachment at w1 is a vital point. White is forced to play Z@, and Black links up with w3 and w5. However, it is not enough to kill White after White forces with Z^ followed by A. Instead of w1, if Black crawls to w5 instead, White gives way at w3 and lives. Instead of w1, if Black tries jumping in at Z^, White lives at w3. For the time being, w1 is a vital point. Instead of Z@, if White blocks Black’s retreat at w3, the cut at Z@ is decisive. However, after Z@, if Black rushes to play w3, White lives neatly with Z$ and Z^. The atari at White A is forcing so the eye on the side cannot be taken away. Rather than linking up, Black should exploit White’s shortage of liberties.
Black plays the descent to w3, looking to respond to White A with a play at Z$. If White plays Z$ to solidify his eye in the center, Black next pushes in once with w5. Now if White B, Black links up at A, and this time White’s eye on the side is ruined. Instead of Z$, if White at w5, then Black at Z$, ruining White’s eye shape while linking up.
105
Problem 5: Diagonal Move When you capture stones, some ways to capture are more profitable than others. That said, if you are too greedy, you may suffer a reversal, so you need to read the situation out completely. This position is from Gokyo Shumyo. Black to Play B 2 A 3 1
If Black plays the hane at w1, there is no question that the white stones are captured. That said, it is painful to be forced by the hane at Z@. Instead of w3, even if Black blocks at A, after White B, Black will still need to defend at w3. For White’s part, (after w1) there is no chance for him to wiggle free by moving the captured stones with a play at w3.
Diagram 1: Loses Two Points 2 3 1
Diagram 2: w1 is the tesuji. 7 1 5 4 2 A 3 8 6
Diagram 3: Greedy
After the diagonal move at w1, the three white stones are captured. Even if White forces with Z@, Black defends with w3. This shape is clearly superior to the previous diagram by two points. Because this is a more ambitious way to capture White, it grants White a considerable number of ko threats, but it would be unbearable to give away two points.
The hane at w1 is too greedy. After White plays the diagonal attachment at Z@, Black loses the capturing race. Instead of w1, even if Black just descends to w5, he still loses the capturing race after the diagonal attachment at Z@. With w1, Black is hoping for a block by White at w7, followed by w5, White at w3, and Black A, but that is not likely to come to pass. 183
Tesuji for Forcing Removal These are tesuji in which you force your opponent to remove stones by winning a capturing race. In order to take the stones off the board, your opponent needs to play extra moves—when these fall inside what should have been your opponent’s territory, you gain points. The basic ideas behind these tesuji are to maximize the liberties of the stones that will be captured, or to prevent your opponent from making an eye, etc. They require a sharp eye for the resilient shapes. These tesuji are not showy, but they are effective. B 1 3 4 A 2 C
Diagram 1: Placement C 3 B 4 1 D A 2
Diagram 2: Placement A
B
3 4 1 2
Diagram 3: Attachment
White makes the placement at Z! and forces the exchanges through w4. Doing this means Black will need to play both A and B, giving Black a territory of five points. If White does not make these exchanges, Black will defend at w2 and have six points of territory. A couple of simple forcing moves gain White a point. Instead of w2, if Black at Z#, then White at w2 and Black C lead to a ko—this is trouble for Black.
White makes the placement at Z!, and has already made a profit after forcing with the hane at Z#. Instead of Z!, if White just plays the hane at Z#, Black connects at A. Eventually Black B and White C will occur, so Black will have seven points of territory. However, with Z! there, Black will have to capture at D and will have only six points. If White can make the connection at C before Black D, Black will get only five points. After White attaches at Z!, Black needs to play w2 and w4 in order to live unconditionally. In this shape, Black will eventually need to capture the two stones to avoid a seki, so we can consider that Black has six points of territory. Instead of Z!, if White first plays out White A, Black B, then when White attaches at Z!, Black has a good defense with a clamp at Z#—Black will get seven points of territory. 206
Classic Game 2: Game-Reversing Tesuji After the death of Sansa, leadership of the Honinbo school passed to the young Sanetsu, who was instructed by the Meijin Godokoro Nakamura Doseki. In later years, Sanetsu applied to become Meijin Godokoro, but Yasui Sanchi II objected and a challenge match ensued. However, that six game match was played at the rate of one Game Record 2 game per year. There are present1653 ly some who doubt whether this White: Yasui Sanchi was a true challenge match at all. Black: Honinbo Sanetsu It is also unclear under what handicap the match was played, but in any event the sixth game was played with Sanetsu taking Black. White has just linked up with |, and Black’s stones on the left are threatened.
The descent to w1 is a brilliant move. Instead of this move, if Black A, Z* kills unconditionally. After the sequence through ZAO, the result is a ko, but White has no adequate ko threat.
5 4 6 7
It may have been during this game that Matsumoto Higonomori, who was watching this game, said “the Honinbo has a losing position” in response to which Sanetsu said “go is my way of serving the Shogun” and redoubled his efforts. The six game match ended in a draw.
8 2
A 1 11
13 14 15 10 16
9
12
3
Game Continuation
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