© 2006 Hinoki Press

Vital Points and Skillful Finesse for Sabaki

Yoda Norimoto 9 dan

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Sabaki is one of the most intriguing techniques of go. In the hands of accomplished players it can seem like pure sorcery. At times the stones can appear to dance with life. While playing lightly hither and yon, the opponent’s forces can end up ineffective, over-concentrated and misdirected.

Yoda Norimoto has been one of the leading players on the go scene for more than ten years. In this landmark volume he uses a question and answer format to explore a variety of the aspects of go regarding sabaki from each player’s point of view.

78 Model Problems, each with limited responses, are posed for the reader to solve. Despite this narrow focus, finding the correct solution can be surprisingly difficult. But Yoda clearly explains all of the possibilities, so the reader can cultivate the judgment to find the key line of play in such positions.

This is a book that all go players will treasure.

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Copyright Page

Copyright © 2006 Hinoki Press. All rights reserved worldwide according to international law. This book and parts thereof may not be reproduced in any form without written permission from the publisher.

ISBN of print edition: 0–9788874–0–9

Translated by Robert J. Terry

Edited by Chris Greene

Conversion to SmartGo Books by John Mifsud

Cover Art by Doug Cable

Thanks to the Nihon Ki-in and John Power for helping us obtain the publishing rights for this English translation.

Special thanks to Yoda Norimoto for allowing us to bring this wonderful book to English readers.

Contents

Vital Points and Skillful Finesse for Sabaki

Copyright Page

Yoda Norimoto

Translator’s Notes

Foreword

Introduction – How to Think About Sabaki

1. Sabaki Requires Whole Board Vision

2. Judgment of Strength and Weakness is Key to Sabaki

3. The Structure of This Book

Chapter 1 – Fundamental Skillful Finesse for Sabaki

Problem 1: White 7 and 9 are Bad Moves

Problem 2: Meeting a Variation

The chapters in gray are included only in the full book.

Problem 3: Choosing Between Two Strategies

Problem 4: The Direction to Cut

Problem 5: Black is Overwhelmingly Strong!

Problem 6: A Sharp Sabaki Technique Exists

Problem 7: White Suffers From a Shortage of Liberties

Problem 8: Follow-Up to a Common Technique

Problem 9: Following an Attachment and Cut

Problem 10: Three Exquisite Follow-Up Moves

Problem 11: A Set Pattern

Problem 12: A Skillful Finesse When the Ladder is Favorable

Problem 13: A Fundamental Skillful Finesse for Making Sabaki

Problem 14: A Crude Line Used by Players Enamored With Their Own Strength

Problem 15: The Impetus of Sabaki for Stones

Problem 16: Proof of an Overplay

Problem 17: Pivotal Stones or Throwaway Stones

Problem 18: Tough Moves

Problem 19: The Position After Falling into the Trap

Problem 20: A Common Skillful Finesse

Problem 21: Questioning One’s Sense for the Correct Direction

Problem 22: The Choice of Joseki

Problem 23: A Strategy for Dealing With the Skillful Finesse for Sabaki

Problem 24: A Sharp Skillful Finesse to Seal the Opponent In

Problem 25: A Strong Encircling Net

Problem 26: Dodging Orders

Problem 27: A Hane Over is a Skillful Finesse

Problem 28: Wandering Judgment

Problem 29: Common Sabaki Technique

Chapter 2 – Judgment of Sabaki

Problem 30: Common Sabaki Technique

Problem 31: Are Black’s Two Marked Stones Pivotal?

Problem 32: Counterattacking is Unreasonable

Problem 33: A Difficult Problem?

Problem 34: The First Thought is the Vital Point, But…

Problem 35: Plunging Into the Middlegame

Problem 36: Countering the Capping Move

Problem 37: A Mock Skillful Finesse

Problem 38: The Real Line of Attack

Problem 39: A Basic Taisha Joseki

Problem 40: Punishing a Play Elsewhere

Problem 41: A Question About the Shapes of Stones

Problem 42: An Overplay

Problem 43: The One Space Jump or Shoulder Hit

Problem 44: The Opponent’s Strong Quarter

Problem 45: Reading Out the Situation on the Lower Side

Problem 46: Judgment Regarding Moving Out or Sacrificing

Problem 47: With a Side Glance at White’s Large Territorial Framework

Problem 48: A Countermeasure Already Prepared

Problem 49: Full Board Vision of Attack and Defense

Problem 50: A Skillful Finesse for Sabaki

Problem 51: The Direction for Attacking the Corner

Chapter 3 – Real Game Skillful Finesse for Sabaki

Problem 52: Attacking Firmly

Problem 53: The Policy of Lightly Making Sabaki

Problem 54: The Countermeasure Against the Cut at the Vital Point

Problem 55: The Ko Technique

Problem 56: The Direction to Defend

Problem 57: A Countermeasure Against Opponents Enamored With Their Own Strength

Problem 58: A Place to Display One’s Strength

Problem 59: Judgment About Attacking

Problem 60: Reading Out the Line for Fixing Up Shape

Problem 61: Choice of Strategy for the Middlegame

Problem 62: A Sharp and Good Skillful Finesse

Problem 63: A Crossroads of Attack and Defense

Problem 64: Turning Attention to the Upper Side

Problem 65: The Only Move for Fixing Up the Shape

Problem 66: Dealing With a Counterattack

Problem 67: A Set Response

Problem 68: A Feeling for the Line of Play of the Stones

Problem 69: War and Peace

Problem 70: A Standard Pattern of Sabaki

Problem 71: The Relative Importance of Black’s Marked Stone

Problem 72: Attaching is a Skillful Finesse for Sabaki

Problem 73: An Uncertain Future, But…

Problem 74: The Ladder Relationship

Problem 75: Do Not Waver

Problem 76: Reading Out Variations to Follow

Problem 77: Enthusiastically Welcomed

Problem 78: A Sabaki Technique That Attracts All Eyes

A Final Word

Buy This Book

About SmartGo Books

Yoda Norimoto

Born February 11, 1966 in Iwamizawa (located approximately 30 miles northeast of Sapporo), Hokkaido, Japan. Became a student of Ando Takeo 6 dan and became professional in 1980 at the age of 15.

Won Shinjin-O title five times, and in 1984, at the age of 18, became the youngest player in go history to participate in the Meijin League. 14 times winner of Kido magazine awards. Promoted to 9 dan in 1993. Perennial participant in both the Meijin and Honinbo leagues.

Married Hara Sachiko 3 dan in 1998.

A partial list of notable accomplishments:

1980 Turned professional at age 15

1981 Winner of the Oteai lower section

5th Kisei Tournament, winner of the 1 Dan Division

1983 7th Kisei Tournament, winner of the 4 Dan Division

8th Shinjin-O Title winner, becoming the youngest titleholder in go history.

1984 Youngest player to enter the Meijin League at age 18.

1986 1st NEC Shunei Title

11th Shinjin-O Title

17th Shinei Title

1987 11th Kisei Tournament 6 Dan Division

12th Shinjin-O Title

18th Shinei Title

1988 13th Kisei Tournament 7 Dan Division

1989 14th Kisei Tournament 7 Dan Division

14th Shinjin-O Title

1990 15th Kisei Tournament 7 Dan Division

15th Shinjin-O Title

1991 38th NHK Cup

1992 12th NEC Cup

1993 40th NHK Cup

5th Asian TV Cup

1995 33rd Judan Title

1996 34th Judan Title

1st Samsung Cup

21st Gosei Title

1997 22nd Gosei Title

17th NEC Cup

4th Agon Cup

1998 23rd Gosei Title

10th Asian TV Cup

45th NHK Cup

1999 46th NHK Cup

11th Asian TV Cup

2000 25th Meijin Title

47th NHK Cup

2001 26th Meijin Title

2002 27th Meijin Title

24th Kakusei Title

21st NEC Cup

2003 28th Meijin Title

28th Gosei Title

2004 29th Gosei Title

2005 30th Gosei Title

Translator’s Notes

Sabaki is one of the most intriguing techniques in the game of go. When I was younger, I translated the word as “fancy footwork” which, in certain situations, is accurate. But in the interest of a precise rendering of the term, it must be stated that in Japanese dictionaries the word is translated as “treatment, handling, management, disposal, manipulation”: in other words, dealing with a tricky or difficult matter. Going to court, for instance, often requires sabaki to ensure a good result.

Tesuji is another term that is common but needs accurate rendering. I translate this as “skillful finesse”. Objection has been made that it is redundant: if something is a finesse, then ergo, it must be skillful. But that is actually not true. Over the course of many years, for instance, joseki have evolved to include many intricacies of move order that have become automatic, and although they are finesses, there is nothing particularly skillful about them. Tesuji are plays that come up uniquely in particular situations and display refined technique.

Suji is related to this. I usually translate this word as “technique”, but sometimes the cogency of the text requires that “line” be used.

Aji is another difficult technical term. When the reader sees “potential” in the text or a variation, it invariably means that aji was the original Japanese word.

Finally, there is the term nozoki. Strictly speaking, this means “peep”. However, I prefer to translate this as “poke”. One pokes at a hole to see what will happen. Peeping at the hole does not make much sense to me. To placate the purists, I disclose here that “poke” is used in this work.

Translating go books has been a labor of love for me for almost fifteen years. I am happy that I can provide access for English speaking readers to a rich culture of the game that Japanese, Chinese and Korean players take for granted.

Bob Terry, Long Beach

Foreword

My father is an amateur 5 dan player. Among amateurs, that is rather strong I imagine. I talked to him and said, “For my next book, I plan to write about sabaki. That will be interesting, won’t it?”

“Young man,” he said in an authoritarian tone, “a book on sabaki would be too difficult for amateurs.”

“No, Dad, you’re wrong. I imagine that you’re thinking about attacking and cutting, dazzling skillful finesse like that, but what amateurs really need to understand is how to think about skillful finesse before it is put into action to make sabaki. That is, what I think is important is being able to discern the power relationships across the board. It is vital to know how to compare one’s own positions to the opponent’s, and understand which is stronger; that is what a player’s training should be directed at. I want to put the emphasis there.”

With this kind of argument, I was finally able to convince him.

It seems that amateurs have a strong instinctive sense of not wanting any of their stones to be taken, no matter which ones. That means that they will hold tight to worthless stones, even at the risk of pivotal stones, and run away with them into the teeth of an attack. The inclination is to hold on to those kind of burdensome stones no matter what.

On those occasions, before moving out, one must be able to judge the strengths and weaknesses in that position, which will give rise to the inspiration to sacrifice stones. Or else, one will realize how weak one’s position is and understand that there is no alternative to having half one’s stones ripped away. That kind of judgment precludes blindly moving out with no plan in mind.

The theme of this book is sabaki. The time that sabaki comes into play is when one is weak. In go it is an ironclad rule that in weak positions initiating a frontal assault for a strong fight will not produce a good result. For that very reason judgment about strength and weakness is essential. Another way of putting it is “whole board evaluation of sabaki”, and for readers who aim at going from the lower dan ranks into the upper echelons, this is the most essential thing, without doubt.

To that point, my principal purpose in this book is to show how to think fundamentally about sabaki and to make judgments about it, using concrete techniques.

So in this book I have taken up sabaki plays that everyone can use in their own games, utilizing a question and answer format. Various positions are offered for the reader to evaluate. Based on those judgments, one can determine which fundamental skillful finesse to use. I would be most gratified if the reader would answer those questions that I pose as if they were coming up in a real game.

Nevertheless, there is no need to think too long about them. One can ponder for a minute or two, respond intuitively; or it would be fine to consider it the do-or-die moment in the game and think long and hard. The point is that while the reader is confronting problems that often appear in games and demand sabaki, the reader will also develop the habit of discerning the balance of strength and weakness, understanding “whether to discard stones or move out with them” and see the path to greater skill.

In that way, I hope that the reader will enjoy the problems while challenging oneself.

Yoda Norimoto 9 dan

Introduction – How to Think About Sabaki

1. Sabaki Requires Whole Board Vision

Readers, with what do you associate the word “sabaki”?

Perhaps the reader thinks of attaching against the opponent’s stones, or else has the image of attaching and cutting with a brilliant skillful finesse. Of course, there are striking lines of sabaki where attachments and cuts are made, but the really important thing is to have whole board vision. In short, as long as one has a correct judgment of the whole board, one can effectively use brilliant skillful finesse to advantage.

To put it a different way, no matter how deadly a fighting technique might be, unless it is applied correctly, it will not be successful.

Diagram 1

This is from a game between amateur dan players. After white 1 and black 2, White used the technique of the attachments at 3 and 5 to destroy Black’s territory.

Just considering the upper left section, white 3 and 5 were a sharp line. However, considering the prevailing conditions, there is something greatly problematical about rushing in to attack with white 3 and 5.

Diagram 2

Black 1 through 11 is how the game continued. When this happens, White cannot consolidate the upper right on a large scale. Whether Black plays at A or B, White will be hard pressed to answer.

In what way, then, how did things come to this pass? The fact is that white 3 and 5 in Diagram 1 were questionable.

Diagram 3

Here, White should, first of all, play the defensive move of 1, aiming to attack Black’s marked stone, and this would show correct whole board vision.

I hope that this illustrates to the reader how important whole board vision is in sabaki. The key point in whole board vision is evaluating the strengths and weaknesses of stones. According to that judgment, one throws away or moves out with stones.

Diagram 4

In regards to White’s large territorial framework in the upper right, the next essential point to expand the area for white would be 1. Since it would be difficult to hold down White’s territory after a defensive move at 1, black 1 is a commonsense method of reducing territory.

The sequence of black 3 through 7 is a standard model of sabaki technique.

Diagram 5

Here, brute force proponents would contemplate white 1 and 3. Now the important judgment to be made is whether to respond to the cut by moving out with the three marked black stones or discard them.

Diagram 6

If Black moves out with 1 and 3, white 4 shows how unreasonable this is. In that case, one might think that if Black were to move out with 1, how about exchanging black A for white B, or else →

Diagram 7

Black might attach with 1. However, play would continue through white 6, leaving Black in difficult straits. Black’s two marked stones are under attack with no compensating factors.

Diagram 8

Because of this, Black must discard the stones with 1 through 5, then play 7. This is the only way to preserve the possibility of attacking White’s marked stones.

Since White is strong in the upper right, discarding the three marked black stones in Diagram 8 is the correct whole board vision.

2. Judgment of Strength and Weakness is Key to Sabaki

From the opening to the middlegame, professional players make professional judgments as to “my own and the opponent’s position”, and amateurs make amateurish judgments. Readers, if you can regularly pass the judgment test, you can graduate into the upper ranks of dan players.

Consequently, in order to quickly improve, it is important to be able to discern regularly if, in a particular sector, the opponent’s or one’s own forces are stronger. If one can judge that in a certain area one is strong, one can adopt strong tactics to fight. Or, if one perceives that one is weak in an area, one can sacrifice stones, or else choose compromising measures. The problem of using sabaki effectively is in knowing where the weaknesses are in one’s own position. It is a truism in go that trying to fight strongly from a weak position will not produce a good result.

Therefore, judging strengths and weaknesses is key to sabaki.

Diagram 1

This is an amateur game. When White plays 3, Black can consider A or B.

If Black had a strong position on the lower side, then black A would be best, but in a weak position Black would play B to make sabaki.

Diagram 2

Playing black 1 shows poor judgment. White responds with 2 and 4, putting Black under attack without compensation.

Diagram 3

Since Black’s position in the lower left is weak, Black enters the corner with 1 to make sabaki.

Instead of black 3 →

Diagram 4

Black could also choose to play the joseki starting with 1.

The important thing is to understand that in weak positions one must lightly play sabaki. If one makes a mistake in that judgment, one will cede the attack to the opponent, and the attacking initiative will pass into the adversary’s hands, with no attacking chances for oneself.

That is, the correct way to think is to deal with weak positions by lightly making sabaki. In this situation, the correct application of sabaki from the initial phases is the problem.

Diagram 5

I often see amateur games where the preconditions of sabaki are mishandled. For example, white 1 through 7 are symptomatic.

This is a game between amateur dan players, and you can see where White mistakenly plays 1 through 7 to lay the foundation for sabaki. But the initial idea itself was faulty.

Here, supposing that White wants to attack the lower right corner, the options are not limited to playing white 1 at 7, or playing 1 and then, without making the forcing moves at 3 and 5, playing 7.

But consider that following white 7 →

Diagram 6

If Black pincered at 1, White would come under a one-sided attack. Play would proceed to black 5, upon which Black would gain the early advantage.

Diagram 7

Next, White sets up an attack with 1 and 3, and if White plays 1 at 4, Black would answer at A.

Diagram 8

Consequently, White might use 7 in Diagram 5 to make the defensive play at 1 here or at a similar point. This is vital to defend the weakness of the white group. One lightly makes sabaki to defend a weak group. That is the same kind of thinking.

Diagram 9

When White attacks the corner in Diagram 5, Black can respond at 1, and then play can proceed through white 6 as happened in an amateur’s game.

Actually, the correct play for black 1 is immediately at A. The point is that through exchanges in the upper right, it would become clear how best to play in the lower right corner.

Diagram 10

Regardless of that, the pincer of black 1 is severe, as one might expect. When Black plays here first, there is little chance of incurring a disadvantage.

The actual game proceeded through black 7. Black stubbornly attacked White’s base with 3, setting up an attack on the group.

Diagram 11

However, Black need not attack so severely, since black 3 and 5 would be sufficient. Next, white A would be met by black B, a shoulder hit and leaning attack.

In addition, instead of white 4 →

Diagram 12

If White is accommodating enough to make life with 1 through 7, Black is allowed to repair the shape of this group with 8, and one can only wonder what White is doing.

Diagram 13

Furthermore, attaching with white 1 and crosscutting with 3 would just be thrashing around. If one is forced to play this way, there must be something wrong with the original idea.

I must apologize for only taking up amateurs’ bad moves. But, before learning skillful finesse for sabaki, it is important to understand the correct way to think about sabaki, that is, how to evaluate the strength and weakness of stones, so please be a bit indulgent with me.

Diagram 14

Black 1 was played in a game between amateur dan players. But casting an eye over the whole board, one sees that Black’s three marked stones in the upper left as well as Black’s two marked stones in the lower left are weak, so that invading with black 1 is unreasonable.

With either white A or B, Black’s position would be split. Black just comes under a one-sided attack.

Diagram 15

If one can make that kind of judgment about strengths and weaknesses, one would realize that it is unavoidable to cede the left side territory to White. Therefore, Black should take the initiative with 1 and 3 to start an attack, first reinforcing the two marked black stones, and that is the appropriate evaluation.

Diagram 16

Black 1 and 3 are purely defensive. The upshot is that this way of playing is too tight. A professional like myself is able to appreciate the thinking behind this, since compared to black 1 in Diagram 14, it is far and away the better way of playing.

Diagram 17

In that case, how about the defensive move of black 1?

That way of thinking as well is not bad. However, the preemptive attack of white 2 and 4 is severe, allowing White to attack while building up territory on the left side.

In any event, black 1 in Diagram 14 is a wild move.

Diagram 18

Black 1 through 11 is the continuation in the actual game. Black 3 is one strategy for sabaki, but black 3 at A would have been sufficient. In response, White should have played B or C to split Black.

Regardless, Black laid waste to the left side with the moves through 11, but Black’s two marked stones and the three marked stones become weaker and weaker.

Diagram 19

Next, White uses a good move order to attack with 3 and 5.

Diagram 20

Black 1 and 3 would be answered by white 4 and 6. That is a natural flow of moves for attacking, with White playing in good form.

White A is a severe move for white to aim at.

3. The Structure of This Book

By now the reader should understand how I have tried to hammer home the importance that the judgment of the strength and weakness of stones holds in sabaki. This book has been structured around the question and answer format, posing questions to challenge the reader’s judgment regarding strong and weak stones to illustrate the evaluation of fundamental techniques of sabaki.

In a given position, the reader is asked what the best way of thinking is. By judging the position correctly, one can find what the effective skillful finesse for sabaki would be. Positions that regularly appear in games like the reader’s are examined, and the reader is asked to think about the way to play in just those actual game situations.

There is no need to think too long, and for each position, thinking for two or three minutes would be fine. That way will allow the reader to gain real strength.

Example Problem 1

Problem 1
Black to play

For instance, if White attached with 1, Black might be perplexed whether to respond at A or B. Black A is a big move, so white 1 represents exquisite timing.

By deducing what Black is thinking, what is the most important reply to choose, A or B?

Example Problem 1 – Answer

Solution I

Since White can slide to A on the right side, the territory is open on the edge. Therefore, one’s intuition would be to place the importance on the block of black 1 on the lower side.

White 2 through the descent of 8 is a set sequence.

First to Key Point for Influence

Next, after making the placement at the vital point with 1, Black blocks at 3 to settle the shape. Compared to black 1 at 3 and white 1, White’s territory in the corner is considerably reduced, making black 1 and 3 an endgame skillful finesse.

After waiting for White to defend at 4, Black plays the key point for both sides to either build or mitigate influence, the point at 5. By being able to first occupy 5, Black can look forward to an easy to play middlegame.

Solution II

This is a perplexing point. One cannot declare outright what is right or wrong. Black 1 and 3 are also possible.

Example Problem 2

Problem 2
White to play

Continuing from the previous diagram, black A is a set play. However, Black embarks on a variation with 1.

Is the only move for White to play next B or C?

Example Problem 2 – Answer

Failure

According to circumstances, the two marked white stones on the right can be sacrificed. The key stone is the marked white stone to the left. The reason is that pulling back with 1 is heavy. Black will attack with the iron post of 2, and White’s options for moving out with the four stones are restricted.

After white 1 and black 2, White’s sabaki has failed. What is more, responding according to Black’s orders is not one bit gratifying.

Correct Solution

Here, viewing White’s two marked stones as light is a fundamental part of sabaki. In that case, sliding to white 1 is the only move.

If Black captures at 2, White plays the diagonal move of 3, making a success on the lower side for White. Since Black’s two marked stones are far and away more important than White’s two marked stones, Black’s handling of the situation after this will be extremely difficult.

In this way, using positions that can easily arise in actual games for problems, I ask that the reader seriously think about them. While grappling with these problems one will naturally come to understand how to make judgments and use techniques regarding sabaki.

Chapter 1 – Fundamental Skillful Finesse for Sabaki

Skillful Finesse for Sabaki is the Foundation and Backbone of Go

A Basic Joseki With the Two Space High Pincer

For instance, when Black pushes through with 1 and cuts with 3, the atari of white A is crude.

I imagine that there are many players who know that the line starting with the attachment of white B is a fundamental skillful finesse for sabaki.

Basic Joseki

Here is the attachment of white 1. The moves through white 5 are a basic joseki, after which there is a lull in the action.

Attaching is a Skillful Finesse

However, in this kind of position, when Black plays 1 and 3, White answers with atari at A. There are many people who, despite knowing full well the joseki in Basic Joseki, will use white 4 to atari at A.

In order to avoid playing that kind of crude move, the reader is urged to thoroughly learn fundamental skillful finesse in sabaki. By grappling with the fundamental skillful finesse in this chapter, the reader can master basic techniques.

Problem 1: White 7 and 9 are Bad Moves

Problem 1
Black to play

White 1 and 3 are a common skillful finesse for dealing with a large knight’s move enclosure. In response to black 4 and 6, White captures a stone with 7 and 9.

White 7 and 9 are bad. How can Black punish White’s bad moves?

A Return Atari is a Fundamental Skillful Finesse

Correct Solution

Since White can respond to black 1 at 3 by playing at 1, the return atari of black 1 is a fundamental skillful finesse. White has no choice but to capture at 2. Then, playing at 3 is the line that Black has read out.

Sufficient for Black

Next, White is forced to make life with 1 and 3 and the following moves. White has a low position, and this is sufficient for Black.

Failure

Capturing with 1 and 3 would not leave Black badly off. But this cannot be said to be the best.

Problem 2: Meeting a Variation

Problem 2
Black to play

In Sufficient for Black in the previous problem, White is badly off. Therefore, White might play for a variation with 1 and 3.

Here, one must consider whether the only move for Black is to next connect at A or to make the return atari at B. How would the reader play to make sabaki?

The Technique of the Return Atari

Failure

If Black connects at 1, White will be allowed to crawl at 2, and Black will struggle to handle the situation. Black will probably block at 3.

The Technique for Wrapping the Opponent Up

Next, white 1 and 3 are a skillful finesse for wrapping the opponent up. If Black plays 4 at A, White responds at 4, and with black 4, White slices through with 5 and 7, making ideal sabaki.

Correct Solution

Consequently, black 1 is a skillful finesse.