© 2003 by Mingjiu Jiang

Punishing and Correcting Joseki Mistakes

Mingjiu Jiang 7 dan
and Adam Miller

Buy the full book at gobooks.com

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Introduction

This book concerns common joseki mistakes, why they are bad, and how to take advantage of them. Each mistake originates in a real game where an amateur made a real mistake. Joseki books typically concentrate solely on the correct line of play, with perhaps lip service paid to mistakes whose subtlety eludes all but the most advanced of go players. The faulty lines are dreamed up by the author, a professional go player, and do not reflect the mistakes of astounding simplicity that amateurs routinely commit. Showing only the mistake is insufficient: an opponent of equal skill will often fail to take advantage of these mistakes. Therefore, a thorough discussion of the mistake is necessary to truly learn its nature.

We have chosen games reflecting many of the most common joseki mistakes committed by amateur players, most of whom fall between 3 kyu and 4 dan. Although some of the specific mistakes contained in this book are unlikely to be precisely duplicated in the reader’s games, the concepts behind them will prove an informative study for players of many levels. Consider this a practical guide to learning joseki sequences and the ideas that govern them.

Mingjiu Jiang
Adam Miller
August 2003

Copyright Page

© 2003 by Mingjiu Jiang

All rights reserved. Reproduction in whole or in part is prohibited.

Slate & Shell
1425 Westshire Lane
Richmond, VA 23238
www.slateandshell.com

Special thanks to Yuan Zhou for help with proof reading.

Edited by William Cobb

Cover design by Laurie M. Crammond

Conversion to SmartGo Books by William Cobb and John Mifsud

ISBN of print edition:
1–932001–14-X

SSMJ001

Table of Contents

Punishing and Correcting Joseki Mistakes

Introduction

Copyright Page

About the Authors

Chapter One: 3–3 Point Joseki

Game 1

Game 2

Game 3

Game 4

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

Game 5

Chapter Two: 3–4 Point Joseki

Game 1

Game 2

Game 3

Game 4

Game 5

Game 6

Game 7

Game 8

Game 9

Game 10

Game 11

Game 12

Game 13

Game 14

Game 15

Game 16

Game 17

Game 18

Game 19

Game 20

Game 21

Game 22

Game 23

Game 24

Game 25

Game 26

Game 27

Game 28

Game 29

Game 30

Game 31

Game 32

Game 33

Game 34

Chapter Three: 5–3 Point Joseki

Game 1

Game 2

Game 3

Game 4

Chapter Four: 4–4 Point Joseki

Game 1

Game 2

Game 3

Game 4

Game 5

Game 6

Game 7

Game 8

Game 9

Game 10

Game 11

Game 12

Game 13

Game 14

Game 15

Game 16

Game 17

Game 18

Chapter Five: 5–4 and 6–4 Point Joseki

Game 1

Game 2

Game 3

Game 4

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About SmartGo Books

About the Authors

Mingjiu Jiang 7 dan (Photo by Chris Garlock)

Mingjiu Jiang was born July 15th, 1957 in Shanxi province, China, Tai Yuang city. He began to learn go at the age of six, initially learning from his grandfather, and became a professional in 1973. Two years later he joined the Chinese national team, on which he competed until 1983. While on the team he twice went to Japan to compete in the Japan–China Go Competition. By the end of his time on the national team he had achieved the rank of 5 dan. Mr. Jiang attended college for two years, and subsequently played go on the state team, reaching 7 dan by 1987. In 1988 he commenced working for a go publishing company, where he was employed for six years. From 1994 to 2000, he worked for a go school. During this period, he placed 5th and 6th in the Chinese national tournament. In 2000, he moved to Mountain View, California with his wife and son. In 2001 he placed second in the North American Goe Master Tournament. Most recently, he represented America in the 2002 7th LG Cup World Baduk Championship. He has published several books on go in Chinese.

Adam Miller

Adam Miller plays as a 3 dan amateur in San Francisco. He runs the goproblems.com website.

Chapter One: 3–3 Point Joseki

Game 1

Game 1

＞＜

The sequence that unrolls in the bottom left looks rather like joseki, but it is not. After Black starts pushing from behind, White gets a strong corner, and Black receives little of value in return. Where does Black go wrong?

Joseki 1

＞＜

This simple joseki is the most commonly played variation starting from the 3–3 point. White concentrates on territory and Black on influence.

Diagram 1: Almost Joseki

＞＜

This sequence, with White 1 on the third line like White 10 in the game, is not exactly joseki, but is occasionally played when White strongly desires sente. In Joseki 1, it’s possible for Black to ignore White 7 on occasion, but here he cannot very well leave White 1 unanswered. But hold on just a minute: doesn’t this look better for White than joseki? Isn’t it better to have White 1 on the third line here rather than on the second line in Joseki 1?

Diagram 2: The Weakness

＞＜

White has an important weakness in his shape here. At any time, Black can push and cut. Subsequently, White has bad potential in the corner, which impedes White’s ability to run out at A.

Diagram 3: White Cannot Run

＞＜

Let’s say White attempts to run out with the jump at White 1. After Black 10, White either lets Black cut at A or is forced to give up the corner.

Game 2

Game 2

＞＜

Joseki starting at the 3–3 point tend to be relatively simple, but many variations exist outside the average amateur’s knowledge. In this game, Black first deviates from joseki with Black 7. Perhaps he was determined to play on the left side, which is fine, but this is the wrong way to go about it. Following this, White, in an effort not to be outdone, replies with a mistake of greater magnitude. Both players make poor moves, but White’s is more severe and Black emerges with a superior position.

Joseki 1: Normal Joseki

＞＜

We’ve looked at this sequence already. Starting at the 3–3 point, Black gets a secure if not large corner, and White achieves outside influence. Instead of making a solid extension after Black 3 as in the game, Black jumps out to the side.

Joseki 2: White Takes the Bottom

＞＜

When White craves the bottom side, he can choose to block Black’s encroachment at White 6. Black in return achieves a more active position, playing on the fourth line at Black 7.

Joseki 3: Black Takes the Bottom

＞＜

When Black is determined to get his nose out on the bottom side, he jumps at Black 5. This gives White no chance to block Black’s progress. Comparing this diagram to the game, we see how this is better for White: Black 5 is on the third line, instead of the hane on the fourth line. We are familiar with the proverb, “hane at the head of three stones”. This explains what went wrong for White in the game: White permitted Black such a shape-crushing hane.

Diagram 1: Black’s Mistake

＞＜

Black’s extending at Black 1 here violates a different proverb: “do not push from behind”. This result differs significantly from the previous joseki pattern. Here, Black has made one more exchange on the third line for a white stone on the fourth line. This exchange is good for White, and permits him to extend further along the right side.

Diagram 2: Punishing White

＞＜

The start of this position comes from the game at move White 10. When White hanes here at White 1, Black should simply extend at Black 2: this way there’s no bad potential at A. Black came out on top in the game, but this is even better.

Game 3

Game 3

＞＜

The first joseki, in the upper left corner, is free from error. This is not surprising given its simplicity and the fact that it’s one of the most popular joseki in play today. Examining the bottom right, we see mistakes made by both sides leading to a slightly favorable result for Black, who now has a sizeable corner and is out on the right side.

Joseki 1

＞＜

This joseki sequence deviates from the game with the wedge at Black 5. Black’s jump at Black 9 gets his head out to the left: this is better for him than the attachment at Black 13 in the game, which White can more easily enclose.

Diagram 1: Erasing Potential

＞＜

The exchange of White 1 for Black 2 (White 18 for Black 19 in the game) hurts White significantly. He should instead reserve this potential for a later play at A or B.

Diagram 2: Continuation

＞＜

After the sequence in the corner, White plays 20 at White 1 on the bottom side seeking to build a large framework. However, the position of this stone is sub-optimal. White should play at A instead of White 1 because the bottom side is not territory. After White plays high at White 1, Black can come in from the right corner and reduce the value of this move.

Game 4

Game 4

＞＜

Starting at the 3–3 point in the bottom left, White gets a large corner and is out on both sides. The black wall is not sufficiently valuable to compensate for White’s territory, so somewhere in this seemingly straight-forward sequence Black makes a mistake.

Joseki 1

＞＜

When White turns at White 5, Black should jump to 6 instead of attempting a hane (Black 9 in the game). Black 8 optimally fixes the shape; he does not fear a push and cut. White has A or B after Black 8 depending on which side he wishes to develop.

Diagram 1: Black’s Mistake

＞＜

The hane of Black 9 in the game (at Black 1) is unreasonable. White’s response at White 2 soundly refutes it. Black is left without a good continuation.

Diagram 2: Black Crumbles

＞＜

Black may think descending at Black 1 could be viable, but it only leads to unhappiness. Black takes a stone on the inside, but White captures two stones on the outside for a magnificent result.

Diagram 3: Black Runs

＞＜

Not wanting to lose the two stones in a ladder as in the previous diagram, Black may high-tail it with an extension to Black 5. However, this struggling will only compound the problem. There’s no way for Black to live on both sides. Should he keep running with this group, White will capture the two cutting stones on the bottom. If Black now captures the white stone in the same ladder as in the previous diagram, White will hane and take the three stones on the other side.

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© 2003 by Mingjiu Jiang

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