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© 2004 Slate & Shell

Dictionary of Basic Tesuji

Volume 1:
Tesuji for Attacking

Fujisawa Shuko 9 dan

Buy the full book at gobooks.com

Tesuji are moves that make the most effective use of stones. While they are typically techniques for close-combat fighting, tesuji play a crucial role in all aspects of the game, from the opening to the endgame. In this famous dictionary, translated into English in four volumes, Fujisawa provides a thorough and systematic survey of key tesuji, arranging them in accordance with he purpose they serve.

This first volume covers tesuji that are useful for attacking, including things like creating weaknesses, separating, ruining an opponent’s shape, creating a ko, and taking away the opponent’s base. The other three volumes will deal with tesuji used in defense, in the opening, in capturing races, and in the endgame. In all these areas, tesuji are closely involved with fighting, and knowledge of them is essential for becoming stronger. Fujisawa also points out that tesuji are part of what makes go an elegant and fascinating game and in this way they contribute to the beauty of go.

About the Author

Known and loved in Japan as “Shuko sensei”, the Nihon Ki-in Go Almanac lists him as Fujisawa Hideyuki. The Chinese characters of the name he chose in 1946 can be read either as “Shuko” or as “Hideyuki”. By his own account, Fujisawa intended the name to be read “Hideyuki”, but others chose to read it “Shuko”, perhaps because the first character is the same as the Shu in the Honinbo family’s famous players Shuwa, Shusaku, Shuho, Shuei, and Shusai.

Fujisawa Shuko

Born in Yokohama, June 6, 1925. Original given name “Tamotsu”. Insei in 1934, shodan in 1940, 2-dan in 1942, 3-dan in 1943, 4-dan in 1945, 5-dan in 1948, 6-dan in 1950, 7-dan in 1952, 8-dan in 1959, 9-dan in 1963. Retired in October 1998. Died in 2009.

Winner of Young Players Championship, 1948. Winner of 1st Prime Minister’s Cup, 1957. Winner of 1st Nihon Ki-in Championship, 1959. Winner of Strongest Player in 1960. In 1962, won the Meijin League and became the 1st Meijin. Returned as Meijin in 1970. In the intervening years, won the Japan Top 10 Championship in 1965 and 1968. Winner of 10th Go Player’s Championship, 1965. Winner of 15th Oza in 1967, held for two terms. Winner of NHK Championships in 1969 and 1981. Winner of 1st Lightning Go Championship, 1969. Winner of 1st Tengen, 1976. In the 1st Kisei title match, 1977, defeated Hashimoto Utaro to become Kisei. Held title for the following six terms, earning the right to be called Honorary Kisei. In 1991, won the Oza to become the oldest titleholder in history at 66. Broke this record by defending the title in 1992. In 1987, received the Shiju Hosho (an Imperial award for the advancement of the arts). In 1988, won a Special Award from Kido magazine. In 1991 and 1992 won Excellent Player award from Kido. Winner of the 16th Shusai Award. In 1990, won the Okura Kishichiro Award. Winner of the Journalism Club Award and the Go Program Television Producer’s Award. In 1990, held an exhibition of calligraphy in Ginza. Published Complete Games in 1995. Author of many books. Fujisawa Kazunari 8-dan is his son. Fujisawa Rina 3-dan is his granddaughter.

Copyright Page

(c) 2004 Slate & Shell

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

Originally published in Japanese in two volumes by the Nihon Ki-in.

Translated by Steven Bretherick

This translation is of the revised expanded edition published in 1995. The first edition was published in 1978 by the Nihon Ki-in. A number of errors in the diagrams in the Japanese version have been corrected in this translation.

Special thanks are due to John Pinkerton, whose generous support helped make this project a reality.

Slate & Shell
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Edited by William Cobb

Cover design by Laurie M. Crammond

Conversion to SmartGo Books by William Cobb

ISBN of print edition: 1–932001–19–0

Table of Contents

Dictionary of Basic Tesuji, Volume 1: Tesuji for Attacking

About the Author

Copyright Page

Introduction

Tesuji for Separating

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

Tesuji for Pressing Down

Tesuji for Sealing In

Tesuji for Spoiling Shape

Tesuji for Probing

Tesuji for Making Heavy

Tesuji for Creating Weaknesses

Tesuji for Making Double Threats

Tesuji for Taking Away the Base

Tesuji for Capturing

Tesuji for Intimidating with Ko

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About SmartGo Books

Introduction

Tesuji is the name for the moves that make the most effective use of stones. Taking this as a basic premise, this book categorizes tesuji by purpose and draws together the fundamentals of go from the opening through the endgame.

Until recently, common usage has been that the term “tesuji” by itself refers to techniques for close-combat fighting: “suji” refers to key points for attacking and “shape” to key points for defense. However, it’s also the fact that people talk about “tesuji for life-and-death” and “yose (endgame) tesuji”, etc., so among these various usages the definition for “tesuji” has become a bit fuzzy. The term has even been put to such wildly varied purposes that systematic classifications have been limited to two or three examples.

In the midst of this widening of the use of the word, I’ve attempted to categorize moves by their purpose. It could be said that any move that’s not a bad move is a tesuji. It can also be said that whether or not a move is bad depends on the whole board situation. Of course, there are many debatable features to the categorization in this book, and no doubt a good deal of overlap. But I hope I’ve given at least some measure of an answer to the fundamental question of the reasons for playing particular tesuji.

Tesuji are a rich asset for all go players, and the basis for the game’s beauty. That said, tesuji are also a double-edged sword. If we make a mistake, there’s a real risk that we’ll wind up injuring ourselves. When dealing with tesuji, we can’t cling to illusions. Yet to ignore tesuji, to leave their secrets buried, would be to avert our eyes from the essence of go.

This book is divided into four volumes. The first two contain tesuji for fighting (the heretofore common usage of the word) and the second two contain tesuji for the opening, capturing races, and yose. The first two volumes are broadly divided into tesuji for attacking, volume 1, and tesuji for defense, volume 2, and each of these volumes has been subdivided into 11 sections representing different objectives of play. I’ve attempted to arrange the contents to allow for use as either a text on tesuji to be read, or as a set of problems to test your strength. I leave it to the reader to determine which method will allow him or her to traverse the path to the inner secrets of go.

In creating this collection, I’ve referred to many of the classic tesuji collections in go literature. To find familiar shapes for the reader I’ve also taken positions arising from joseki variations. I would like to thank Mr. Aiba Ikko, who served as amanuensis, and Mr. Sakamaki Tadao, who served as editor, for all their mighty labor on these volumes.

Fujisawa Shuko

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.

Diagram 1: Jump-Descent

Jumping to Black 2 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 Black 2. Black will now solidify territory while attacking to the left and right.

Diagram 2: Solid Descent

Because White 1 is high, Black 2 is the strongest way to separate White. Playing Black 2 at A would give White sabaki (making flexible shape lightly) chances with B. If Black 2 is at C, White can play at Black 2; or, if Black 2 is at D then White E fortifies a weak group.

Diagram 3: Sideways Bump

If Black 2 descends at A in this case, White B is good enough to give Black trouble. In such cases, the sideways bump with Black 2 is effective. Black should bump the side he doesn’t mind making stronger.

Diagram 4: Diagonal Move

The upwards diagonal move at Black 2 is also a standard shape to separate White’s stones on the left and right. If White attaches at A, then, after Black B and White C, Black strikes with the atari at D. Of course, if White starts with E, Black B is fine for Black.

Diagram 5: Diagonal Attachment

The diagonal attachment at Black 2 is a shape that arises often. It threatens a hane next and so separates in sente. This situation is appropriate for this move because White has so Black doesn’t mind making White reinforce with 3.

Diagram 6: Jump Attachment

Black first prepares with Black 2 and 4, then makes the jump attachment at 6, a move that coordinates with the atari at A. White offers resistance with 7 and 9, but Black next extends firmly with 8 through 12, succeeding in separating the left from the right.

Diagram 7: Jump

When is as far away as this, even a vague move such as the jump to Black 2 can serve to keep White separated. Afterward, when White plays 3, Black plays 4 through 10.

Diagram 8: Cut

At the simplest level, Black 2 is the basic cut. However, in this shape Black needs to make sure the ladder is favorable, and this is such an obvious cut that you need to expect that White has an answer prepared. White A through E is one response.

Diagram 9: Push and Cut

Black pushes with 2 to cut with 4. This again is such an obvious tactic that it is well to think that White has some sort of counter in mind. White should be able to fight with moves such as A or B. Instead of Black 2, Black can also defend at C, looking for a chance to attack White on a larger scale.

Diagram 10: Double Hane

In many cases Black can only play the double hane at Black 2 and 4 if the ladder is favorable. First come White A and Black B. Now White C doesn’t work; and if White D, Black fights by pushing with C.

Instead of Black 4, if Black A, White at Black 4, Black E, it is true that this too is a cut, but White can also throw in a cut at B and squeeze. Black’s cutting stones are likely to end up a burden.

Diagram 11: Knight’s Move

In this shape Black avoids an initial direct contact with White. If Black plays 4 instead of Black 2, White will push him down with the block at White 5. So Black leaps out with the knight’s move at Black 2, inviting the fight after White pushes and cuts with 3 and 5.

Instead of Black 2, there are times when it’s better for Black to play somewhere around A, forcing White to play on dame points to link up.

Narrowly speaking, cutting tesuji consist of carefully contrived sequences to break apart connections that seem as if they should be secure: diagonal moves, knight’s moves, one space jumps. For connections that are thinner than that there are usually multiple ways to cut. The problem, then, becomes finding the best way to cut in terms of the surrounding stones and the resulting impact on the whole board.

As an example of a thin connection, let’s look at the various ways to cut a two space jump and see what the conditions are for the success of each method. This may get a bit abstract.

Diagram 12: Attach and Block

Black attaches and blocks with 1 and 3, creating cutting points at A and B. However, if White connects with something like C and the ladder after a black cut at B favors White, Black needs to completely reconsider Black 1 and 3. If the ladder favors Black, White will play D or E.

Diagram 13: Attach and Hane

Black 1 and 3 anticipate White will play 4 at Black 5. Then Black at White 4, and even if White can capture in a ladder with A, Black will cut at 11. White should play 4 and 6; even if Black cuts at 7, White can trade with White 8 and 10. Next White can reinforce with B, and Black A in response leaves Black over-concentrated, given the position of .

Diagram 14: Attach and Cut

Black 1 and 3 are a cut in name only. White 4 and 6 are extremely powerful, and even after cutting with Black 9, Black is thin. Instead of White 4, White can also give atari at Black 5, and after Black at White 4 White can give up a stone with A. Even if this shape occurs in the center of the board, this cut is almost always wrong.

Diagram 15: Attach and Pull Back

Attaching with Black 1 and then pulling back with Black 3 makes miai (points of equal value) of A and B. This is one of the fundamentals of cutting through the two space jump. Losing after Black A would be too big so White will choose one of A, C, or D, allowing Black to cut at B.

If White 2 is at Black 3, Black defends at E. This just makes Black stronger.

Diagram 16: Attach and Bump

Attaching and bumping with Black 1 and 3 (or Black 3 and 1) aims next to cut at Black 5 or A, but this is poor style. White’s extension to B would be practically forcing so if Black cuts at A White can push with B and then grip the cutting stone with C. If Black cuts with Black 5, then White B, Black D, White E, and White moves out—not promising for Black.

Diagram 17: Attach and Hane

Black 1 and 3 are an effective way to cut, especially in this case because if White plays 4 at Black 5, after Black responds at White 4, if White A then Black has a nice counter-atari at B. White 4 and 6 aim at an exchange. Following Black 11 in the diagram, White is quite playable after making the hanging connection at C. Instead of Black 7, cutting with Black D would have a bad relationship with .

Diagram 18: Attach and Cut

This Black 1 and 3, as in Diagram 14, give White a chance to take the initiative and make sabaki. In most cases this method is not successful. No matter what the situation, playing along the side away from the cut with White 4 and 6 is correct—especially in this position, where White A would be forcing so a black cut at B would not work. It is that has been separated.

Problem 1: Atari

Black to Play

An atari is often a preparatory tesuji that induces a shortage of liberties and sets up the next aim. This problem diagram is from Gokei Genmyou.

Diagram 1: Double Atari

There are several atari available, but Black 1 fails after White 1. Black A also fails—after White B, Black has no good follow-up.

Settling the position by pushing with B, C, or D would throw away any aji (latent possibilities in a situation) Black has. While the shape is still unfinished, Black needs to find the vital point to create a shortage of liberties and land an effective blow.

Diagram 2: Black 1 is Correct

Black gives atari with 1. At first glance this seems to miss the vital point, but it sets up the atari at Black 3 after White connects with 2. If White A, Black B, and White has two cutting points.

However, if Black first trades the connection at C for D and then plays Black 3, White will respond at A, and Black can only capture the four stones in the center.

Diagram 3: Diagonal Wedge

If White connects at 2, the diagonal wedge at Black 3 is a skillful continuation. Because he is short of liberties, White cannot capture this stone, and this again creates two cutting points.

Instead of White 2, it’s conceivable that White will try to play at Black 3, but Black can calmly block at White 2. After Black 1, White is paralyzed.

Problem 2: Diagonal Wedge

White to Play

Cutting with this sort of wedge is a very basic tesuji. Often it’s a hidden aim set up by another move.

Diagram 1: Black gets out.

Extending to White 1 allows Black to get out with 2, after which White will need to wait until later for a chance to attack. More direct measures with White A allow Black to work his way out with the atari at B.

There is a tesuji that simultaneously protects the weak point at B and exploits the vulnerability of Black’s triple diagonal move (the stones).

Diagram 2: White 1 is the tesuji.

White wedges with 1, preventing Black A while making miai of the cutting points at Black 2 and White 3.

If Black 2, White cuts with 3 and Black cannot cause any trouble. If Black B, White connects at A and there is no follow-up. If Black gives atari at C there is no major impact on White. All the conditions for a successful tesuji have been met.

Diagram 3: Typical Attack and Defense

In the development of the original problem situation above, when White attaches at 1, Black should first force with the diagonal attachment at 2—this defends against White’s wedge. Black gets good shape after the hanging connection at Black 6. White should avoid this. So, instead of White 1, White should choose a looser attacking move such as White 5 or A, or else try to settle the shape immediately with B.

Game Example 1: Cross-cut

Game Record 1: 1st Prime Minister’s Cup Title Match. White: Ohira Shuzo; Black: Fujisawa Shuko

A cross-cut offers your opponent many forcing moves so it is usually not a good way to separate. Rather than a focused attack on a single target, this technique is best used to separate as part of an overall strategy.

After Black prepares with 1, this overall board situation is perfect for a cross-cut. White has no choice but to give up a number of stones.

Variation 1: Thickness in the Center

After giving atari with White 1, White can easily link up by playing the atari and connection White 3 and 5.

However, after Black 6, White must answer at 7. Now Black 8 converts the center group into a territorial moyo, and there is no way White can win.

In actual play, positional judgment of the whole board is more important than local fighting.

Variation 2: Exchange

In the actual game, White used a sacrifice strategy with White 1 and 3, letting Black get the clamp with Black 4 in exchange for center thickness. This alternative leads to a prolonged battle.

Instead of White 3, if White connects at Black 6, then Black at White 5, White at Black 4, Black A; now if White 3, Black B kills everything.

Game Example 2: Empty Triangle

Game Record 2: 12th Honinbo Title Match, Game 4. White: Takagawa Shukaku; Black: Fujisawa Hosai

Black 1 and 3 cut in a way that makes an empty triangle. This is an aggressive choice, but since Black reduces his own liberties it is necessary to carefully read out all the possible variations.

In this case this cut is a big success, making use of Black’s thickness on the left and the right. Before this, instead of , White should have played the hane at A or the knight’s move at B.

Playing at C instead of Black 1, or playing at D instead of Black 3 would fall in with White’s plans.

Variation 1: Hane Inside

Playing a hane inside such as at Black 1 is also a fundamental cutting technique. But in this case Black’s efforts go unrewarded—White 2 and 4 grab a stone in a ladder. If the ladder favors Black, White cannot play .

Variation 2: Game Continuation

Continuing from the game record above, White cuts with 1 and then gives Black bad shape by forcing with the atari at White 5. But the counterattack can go no further. Black links up with 14, and White is cut in two and on the verge of collapse.

Problem 3: Knight’s Move

Black to Play

There are times when advancing a single space at a time won’t get to the opponent’s line of connection in time. In such cases, you can sometimes be successful diving in and relying on help from your surrounding stones.

Diagram 1: An Effective First Line Stone

Blocking with Black 1 is the usual idea here, but this allows White to play the double hane with White 2 and 4, making good use of on the first line. To prevent from becoming effective, Black needs to find a non-contact move that breaks this flow.

Diagram 2: Black 1 is the tesuji.

Black can dive in with the knight’s move at 1. If White 2, Black descends to 3, reaching the key point one step before White and blocking the attempt to link up. After this if White tries to hane inside with A, Black cuts with B and captures a stone on either the left or the right.

Instead of White 2, if White tries at Black 3, of course Black answers at White 2.

Diagram 3: Help is nearby.

Black’s biggest worry is that White might cut off his retreat with White 2 and 4. But in this position Black has help nearby in , and can grip a stone with Black 5.

Instead of White 2, White A threatens to push and then cut with White 2. This is a good try at resistance, but Black B, White C, and Black reinforces at White 2. There is still some bad aji, but there is nothing White can do immediately.

Problem 4: Diagonal Attachment

Black to Play

Moves that would usually be vulgar can be tesuji when the situation is unusual. How should Black attack White’s position in the upper right? Assume the ladder favors Black.

Diagram 1: Insufficient

If Black wants to attack on a large scale, Black 1 would be the move, striking at the key point. However, after White 2, it seems Black has insufficient attacking resources. For example, if Black continues with 3 and 5, White has 6. Instead of Black 5, if Black A, White blocks at Black 5 and is practically settled.

Rather than attacking this white group as a single piece, it would be more effective to attack by cutting it apart.

Diagram 2: Black 1 is powerful.

Black 1 would usually be laughably vulgar, but here it’s a severe cutting resource. Even if White tries to play away from the contact with White 2, Black 3 and 5 bite into White’s position, and after the cut at Black 9, White is pitifully scattered.

If instead White 2 is at Black 5, Black responds at Black 3. Instead of White 2, if White A, Black can just push out with Black 5.

Diagram 3: Strongest Resistance

White’s strongest response is to give way once with White 2 and then block with White 4. After Black 5, White descends to 6, looking to resist by exploiting the aji in the corner. Black can fight by reinforcing with 7. It’s also possible to play a different sequence—instead of Black 3, Black can play a hane at White 6, and if White responds at A, then push through with Black 3 and 5. However, after Black plays at White 6, White is likely to respond at B.

Problem 5: Diagonal Attachment

Black to Play

Playing in a way that closes up liberties is likely to be criticized as vulgar, but there are some positions in which a vulgar looking move is the only way to succeed. In this position there is a tesuji that cuts and a tesuji that separates. Both are effective.

Diagram 1: Snuffed Out

Cutting and descending with Black 1 and 3 gets snuffed out by the block at White 4. Instead of Black 3, the cross-cut at A comes to mind, but then White at Black 3, Black B, and White connects, getting a resilient shape.

Instead of Black 1, if Black cuts at B, after White A, Black C, White D, Black E, White comes back to White 4 and gets a perfectly safe defensive setup.

Diagram 2: Black 1 is the tesuji.

If Black plays the diagonal attachment at Black 1, it becomes clear that White 2 and Black 3 are miai. Cutting with Black 3 leads to a winning capturing race. Instead of White 2, if White tries at Black 5, then Black at White 2, White at Black 3, Black A leads to a fight that should be good for Black. If White plays 4 at White 6, then Black at White 4 is a calm response.

If Black is not satisfied with these results, then there is also a way to fight by splitting White in two.

Diagram 3: Black 1 is powerful.

Extending to Black 1 moves to the center while glaring at two weak points. White 4 and 6 are the most vigorous way to resist, and Black 7 leads to a fight.

Instead of White 4, A would give White poor shape—this is out of the question. Instead of Black 7, cutting at A would lead to a difficult capturing race after White 8, Black B, White at Black 9, but this fight is not promising at all for Black.

Problem 6: Thrust and Cut

Black to Play

The thrust and cut is a crude technique, and there are practically no situations in which it succeeds directly. When it appears, it is nearly always as a subplot in a concerted tactical plan.

Diagram 1: Thrusting Directly

Thrusting directly as with Black 1 here does not generally succeed, and if it does, it’s only because your opponent has overlooked it. It follows therefore, that for the thrust and cut to be effective as part of a tesuji it is necessary to take some preparatory measures.

Instead of Black 1, both A and B lack power.

Diagram 2: Black 1 and 3 are tesuji.

Black flies ahead to make the placement at Black 1. If White blocks with 2, Black can thrust with 3 and the two stones are cut off. Instead of White 4, if White plays at Black 5, Black plays A, and the corner territory changes hands while White is left without a base.

Also, instead of White 2, if White A or White at Black 3, Black links up at White 2—in either case, White’s result is awful.

Diagram 3: Bad Aji for White

Therefore, White can try to fight back by meeting Black 1 with 2. Continuing, Black will realize that Black A, White B, Black C, White D is just what White wants so Black will choose the more promising course of descending to 3 and seeing how White responds.

White has nothing better than to respond with 4, but the sequence starting with Black A remains so White is saddled with bad aji.