© 2005 Slate & Shell

Dictionary of Basic Tesuji

Volume 2:
Tesuji for Defending

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 the purpose they serve.

This second volume covers tesuji that are useful for defending, including things like escaping, making shape, taking sente, solidifying a base, and linking up. The other three volumes deal with tesuji used in attacking, 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.

This ePub reader does not support full scripting, so diagrams may not be interactive.

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) 2005 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.

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
1425 Westshire Lane
Richmond, VA 23238
www.slateandshell.com

Translated by Steven Bretherick

Edited by William Cobb

Cover design by Laurie M. Crammond

Conversion to SmartGo Books by William Cobb

ISBN of print edition: 1–932001–23–9

Table of Contents

Dictionary of Basic Tesuji, Volume 2: Tesuji for Defending

About the Author

Copyright Page

Introduction

Tesuji for Connecting

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

Tesuji for Developing

Tesuji for Escaping

Tesuji for Making Shape

Tesuji for Taking Sente

Tesuji for Managing Stones Lightly

Tesuji for Striking Back

Tesuji for Defending Against Multiple Threats

Tesuji for Solidifying a Base

Tesuji for Linking Up

Tesuji for Resisting with Ko

Brilliant Tesuji in Classic Games

Buy This Book

About SmartGo Books

Introduction

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 the purpose they serve.

This second volume covers tesuji that are useful for defending, including things like making shape, striking back, taking sente, managing stones lightly, and solidifying a base. There is also a final chapter on some brilliant tesuji seen in classic games. The other three volumes deal with tesuji used in attacking, 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.

Tesuji for Connecting

Connecting means to link up stones. In almost every case, stones that are connected become much more useful and will doubtless exert a strong influence on the nearby surroundings. Current usage in Japanese is a bit vague, but often a distinction is made between moves that prevent a cut (tsugi) and moves that prevent separation (tsunagi). The Japanese word watari has long been used to describe linking up along the side, and this frequently requires complicated tactics. We’ll cover linking up in detail in a later section.

Diagram 1: Solid Connection

＞＜

Black connects tightly with Black 1, transforming two isolated stones into a single group and creating a powerful shape. There is now no fear of any counterattack so Black can next aim to attach at A, sealing White in. If White avoids the seal-in with B or C, Black extends along the top to D, securing a base.

Black 1 is the most fundamental connection.

Diagram 2: Hanging Connection

＞＜

The hanging connection at Black 1 seeks to gain a little extra on the upper side, be it ever so slight. It aims to follow up with the seal-in at A or the press at B, and if White defends, Black can play C, one line further than in the previous diagram. However, it gives White a forcing move at D, and White has the possible idea of invading at E and linking up with F.

Diagram 3: Large Knight’s Move Connection

＞＜

In addition to the two preceding diagrams, the large knight’s connection in this diagram is joseki for this shape. Part of Black’s design here is that if White cuts with A, Black builds huge outside influence with B through F. If White plays the hane at G, Black can extend to F. If White plays elsewhere, Black can choose between strengthening the right side with Black H, White G, Black F, or strengthening the top with Black G, White H.

Diagram 4: Inviting a Cut

＞＜

It’s always desirable to get your stones working toward the center, that is, toward the outside. Black 1 is a connection that is focused not so much on defending the cut at A as on developing quickly on the outside. If White A, then Black B, White C, and Black connects at D, solidifying Black’s outside influence.

With Black 1 on the board, the threat of attaching at E next and sealing White in becomes more severe.

Diagram 5: Emphasizing the Attachment

＞＜

This way of connecting places a touch more emphasis on aiming at the attachment at A. If White cuts at B, Black once again plays C, giving up a single stone.

After an eventual Black A, if White plays the hane at D, then Black E, White F, Black G, White H, Black I. After Black A, White should actually play E then play elsewhere after Black D. In that case Black 1 provides a defense against a cut at White J.

Diagram 6: Overplay

＞＜

Playing Black 1 without first preparing would be an overplay. If the ladder is favorable, White can play the hane at 2, then garner survival for the corner stones with 10. Instead of 7, Black’s playing at White 8 would not be very promising—White can live after blocking at Black 7.

If the ladder is unfavorable, then instead of White 2, White can bump at Black 3 and get good fighting chances after Black at White 2, White A.

Diagram 7: Poised for a Fight

＞＜

There are cases when building thickness as in Diagrams 4 and 5 will end up being too generous if White can play first on the upper side. In such cases a promising idea for Black is to extend with 1, announcing a willingness to fight with White A, Black B. There are times when you don’t need to connect a cutting point directly.

Diagram 8: Bar Connection

＞＜

Black 1 falls in the tsunagi category. This is an absolute connection with no defects, allowing Black to aim for a subsequent counterattack, but it could create a heavy group—Black needs to judge whether or not this group as a whole might come under attack. If so, then instead of connecting, it is necessary to try something else, such as the counter-peep at A, or the bump at B, which gives Black a better opportunity to make eyes along the side.

Diagram 9: Diagonal Connection

＞＜

Black 1 is a thin connection and not desirable except when you expect that can be put to particularly good use. White can freely force with A, B, C, or D so White will have a thick shape and can attack strongly. In this shape, Black can aim for E.

Diagram 10: Jump Connection

＞＜

Connecting with the one space jump of Black 1 is a fundamental technique for play in the center. Instead, peeping at Black A for example, followed by White B and Black C, would give Black a thin shape and strengthen White.

A one space connection is fine as long as you carefully watch for the possibility of a wedge by your opponent. The safety of this connection is quite high, second only to a diagonal move.

Diagram 11: Knight’s Move

＞＜

As a technique for connecting, a knight’s move in the center has many weaknesses, and with opponent’s stones nearby there are any number of possibilities by which your opponent can aim to cut. For example, after Black 1, White can cut with White A, Black B, White C. Depending on the position, White might also aim to cut with White B, Black A, White D. In this position, instead of Black 1, the shoulder hit of Black E would be better.

Diagram 12: Jump Connection

＞＜

Starting with this diagram, we’ll look at four examples of connection from Gokyo Shumyo.

White 1 resolves the position. Now the two white stones are connected, and the three black stones on the upper side are dead. Rather than plodding along a single space at a time with White A or B, flying ahead with White 1 is a tesuji that makes miai of connecting to either of the stones.

Diagram 13: Wedge

＞＜

This could also be considered a tesuji of the “play at the center point of symmetry” type. If White A then Black B, or if White C, Black D—either way, Black links up. Therefore the best White can manage is to capture three stones in sente by giving atari with B, followed by Black A, White D, Black C.

sets up miai of cutting points on the left and right, but the wedge at Black 1 defends against both threats.

Diagram 14: Wedge

＞＜

This is the same tesuji as the previous diagram. Black wedges with 1 and if White 2, then Black 3. Instead of White 2, if White 4, Black 5 is good.

In this shape, instead of Black 3, it seems that Black might be able to fight by pulling back at White 4 and answering White at Black 3 by pushing through with A—but there follows White B, Black 5, White C, after which the corner is not alive and Black loses the capturing race.

Diagram 15: Sacrifice

＞＜

This is a composition based on the ideas in Diagrams 13 and 14. There is no way to connect the black stones on the left and right other than to start by pulling a stone out of atari with Black 1. Instead of Black 1, if Black 3, White has A; instead of Black 1, if Black B, then White can play at Black 3.

After Black plays the sacrificial line with 1, then after White 2 and Black 3, if White A, Black C is good. Instead of White 2, if White B, Black can connect at 3.

Problem 1: Angle Wedge

Black to Play

＞＜

When your stones cannot connect on their own, you should look for ways to connect by exploiting a weakness of your opponent’s. In this case, White’s weakness is a shortage of liberties.

Diagram 1: Terrible

＞＜

When you are cut by a wedge, there are usually various possibilities to sacrifice your outermost stones.

In this case, however, Black 1 and 3 are terrible. If this is the best you can do, it would be better to play elsewhere, saving these moves as ko threats. Playing out moves that have no hope of success just makes your opponent’s task easier.

Diagram 2: Squeeze

＞＜

Black can first make the sacrifice larger with 1 and 3, then squeeze with 5 through 9. By pushing once with 7, Black ensures that Black A will be forcing later. Before coming back to defend, first giving atari with White 10 is the correct order.

Black need not necessarily feel dissatisfied with this result, but there is a way to save the two stones.

Diagram 3: Black 3 and 5 is the tesuji.

＞＜

After Black 1, throwing in a cut with 3 is a tesuji that is a bit difficult to find. If White 4, Black connects with the diagonal wedge at 5. If Black plays at 5 without the exchange of Black 3 and White 4 first, White could play an atari at A.

Instead of White 4, White can play B, Black at White 4, giving up the three stones in order to connect outside, but after capturing the three stones, Black will have a cut at C.

Game Example 1: Hanging Connection

Game Record 1: 2nd Pro Top Ten Game 1.
White: Takagawa Shukaku; Black: Fujisawa Shuko

＞＜

The way you choose to connect changes according to surrounding positions. A shape that you know to be bad locally may well be the best from a whole board perspective.

The hanging connection at White 1 is usually bad because it leaves Black a chance to hane at A. However, in this case it is the best move, making miai of gripping a stone with B and attaching at White 3. After 9, White has been able to turn the tables and launch an attack.

Variation 1: Net

＞＜

Should Black defend the lower side with 2, White can give atari with 3 and give chase through 17, which neatly catches Black in a net.

Variation 2: Thin

＞＜

White 1 clearly threatens to catch Black in a ladder starting with A. However, after Black defends at 2, White’s follow-up on the lower side with 3 is thin. It seems likely that this entire white group will come under attack.

Likewise, instead of White 1, playing the hanging connection at B is a lukewarm move that provides little support for a follow-up at C. And after Black 2, if White D, then Black A, and White simply hasn’t got the strength to fight.

Problem 2: Empty Triangle

White to Play

＞＜

A connection is a defensive move, but as much as possible it is desirable to simultaneously aim at a counterattack. Which shape will connect while also having some effect on both the left and the right?

Diagram 1: Honest to a Fault

＞＜

White 1 is absolutely secure. After this, the diagonal move at White A will guarantee one eye, and White can aim for a ko after the double hane of White B, Black C, White D—White need not fear coming under a sharp attack here.

However, White 1 puts no real pressure on Black either. It is poor in counterattacking potential. This is too ordinary a way to connect.

Diagram 2: Aiming for the Open Skirt

＞＜

The hanging connection at White 1 seems stylish at first, but actually offers less eye potential than the previous diagram. After the hane at Black A, there is not even one eye on the side. However, if Black ignores the situation, White can aim for the ko with White B, Black C, White D, and later on after a White invasion at E, the stone at White 1 may well be of some assistance. Instead of White 1, White F would be terrible after Black G.

Diagram 3: White 1 and 3 is the shape.

＞＜

Sliding to White 1, exchanging this move for Black 2, then playing the empty triangle at White 3 is the most resilient way to connect. In this shape the double hane of White A, Black B, White C succeeds unconditionally so White can threaten to take away the base of Black’s corner stones.

The hane at White D will also be sente. The possibility arises that White will be able to live independently on the side without relying on an escape into the center.

Problem 3: Knight’s Move

White to Play

＞＜

A defensive move has more value if it sets up a follow-up counterattack. You want to put your stones to the most effective use in defending. Even better is a case in which you can set up two possible points at which to counterattack.

Diagram 1: Bar Connection

＞＜

White 1 takes away a liberty while connecting, making the block at A more of a threat. That said, after Black defends with A there is nothing more for White to do here. If White plays the pincer at 3, the attack grinds to a halt after Black 4, and since Black retains the possibility of playing at B the attack lacks impact.

Diagram 2: Rushing to Block

＞＜

After forcing with the cap of White 1, it seems that White will be able to block at 3. However, after settling the shape with Black 4 and 6, Black can link up with 8, and now more than ever there is a cutting point at A. It is questionable whether White can afford to block at 3 at the cost of taking a loss on the upper side. Instead of 2, Black could just defend at B—there is no particularly compelling move for White on the upper side.

Diagram 3: White 1 is the shape.

＞＜

The safest approach is for White to connect while developing freely with 1, making miai of the press at 3 and the block at A. If White attacks from above with 3, then it is no longer necessary to be concerned about the possibility of Black linking up with B.

Instead of White 1, White C or D may seem pretty much the same, but after these moves the press at White 3 has much less impact.

Problem 4: Knight’s Move Connection

Black to Play

＞＜

How should you protect the cutting point? Among the various possibilities for connecting, there is one that in this situation is clearly the only move. And the reason for that is …

Diagram 1: Solid Connection

＞＜

If Black plays the solid connection at 1, he will have no worries in the future. But this is clearly not a very ambitious move, and if we imagine that White may jump to A followed by a peep at B, Black’s shape may seem a bit overconcentrated.

Since the liberty at C is still open, there is no need for Black to connect solidly.

Diagram 2: Hanging Connection

＞＜

If Black plays the hanging connection at 1, White will peep at 2; if Black plays the hanging connection at White 2, White will peep at Black 1. Either peep is a quite effective forcing move, and Black cannot avoid making a heavy, clumsy shape.

Instead of Black 1, connecting with Black A or B would not only be thin, but vulnerable to a white peep at C.

Diagram 3: Black 1 is the tesuji.

＞＜

The knight’s move connection at Black 1 is considered joseki. After White A, Black has the ladder starting with B. Black is also prepared to resist a white peep at B with a counterattack at C. It is hard for White to find anything to aim for here. If White D, of course Black E.

This connection is just as solid as the one in Diagram 1, and has a bit more impact on the center.

Game Example 2: Knight’s Move Connection

Game Record 2: 11th Judan Preliminary.
White: Fujisawa Shuko; Black: Kato Masao

＞＜

When playing in the midst of your opponent’s strong influence it is necessary to play lightly to manage your weak stones. Avoid direct fighting, and look for ways to quickly settle or lightly develop and escape.

Black 1 and 3 are played with a specific follow-up attack in mind. The loose connection at White 6 is light and appropriate in this particular situation. White A would also be a knight’s move, but Black would push out with the attachment at C.

Variation 1: A Heavy Connection

＞＜

If White connects at 1, then after Black 2 and 4, it seems that both the left and the right will come under attack. Even if White tries the attachment at 7, Black plays 8 and White has run out of useful forcing moves.

Variation 2: Cut from Behind

＞＜

Should White 1 try to seal Black in, Black cuts from behind with 2, drawing White into a fight in which Black’s thickness on the upper side will be effective.

After Black 6, White needs to respond with 7. If White ignores the situation, Black can get out with Black A, White 7, and the atari at Black B.

Problem 5: Knight’s Move Connection

White to Play

＞＜

White has a classically light shape. Rather than trying to build a thick position from these stones, White would like to find a way to make a manageable position and end in sente.

Diagram 1: Solid Connection

＞＜

Connecting at White 1 is normal. If Black 2, pressing with White A in the future will give White further thickness. Instead of White 1, if White B, White’s shape feels a bit redundant. Instead of White 1, if White C, just the fact that Black has the possibility of peeping at B is enough to make the situation a bit distasteful. White 1 is the only way to connect solidly.

However, this white influence will break down if Black plays D. It will be hard to attack effectively.

Diagram 2: A Matter of Balance

＞＜

The knight’s move connection at White 1 is light. That said, after Black jumps to 2 it seems White’s position is focused too much on the right side—the balance of White’s outer influence is disturbed. Black A will be severe. Meanwhile, on the right side, where White has placed his emphasis, Black still has the diagonal move at B. Being forced with White C, Black D will be hard to take.

Diagram 3: White 1 is the shape.

＞＜

White 1, a knight’s move connection that also exerts some power on the upper side, is a nice way to play. If Black 2, White can play elsewhere—if Black plays A next, blocking with White B is not bad. Instead of Black 2, if Black C, White can attach at D. White 1 is a play for influence across the whole board. The white group as a whole is light.

Problem 6: Attachment

White to Play

＞＜

When you have a cutting point, the best response isn’t necessarily a connection. You might prepare a trade that will give up the cutting point but get more in return. It is good to get in as many forcing moves as you can before connecting.

Diagram 1: Commonplace

＞＜

Of course there are many cases in which simply connecting with White 1 is good enough. But in this shape White is aiming at the attachment at A, a threat which will lose its urgency after White connects. After White A, Black B, White C, Black won’t connect at D.

Once White plays 1, playing at E emerges as a tesuji for Black.

Diagram 2: White 1 is the tesuji.

＞＜

Before connecting, White attaches at 1, and forces with the sequence through Black 6. Now White can connect with 7 and be greatly satisfied. Black can hardly give up the two stones as long as the possibility of cutting remains, and if Black answers with 2, the sequence through White 7 is forced.

Instead of 2, if Black plays the hane at White 5, White extends to A—the cutting point is eliminated as part of the natural flow of play.

Diagram 3: Trade
10: connects

＞＜

Fighting spirit may well lead Black to cut at 2. White forces with 3 and 5, throws in at 7 and connects at 13, leading to a trade of territory for influence. The result is about equal. Instead of 6, Black can try forcing with the atari at White 9, but after White A, Black 6, White at Black 8, the result is the same.

Game Example 3: Blocking Extension

Game Record 3: 2nd Meijin League Match.
White: Rin Kaiho; Black: Kato Masao

＞＜

If your opponent’s cut no longer succeeds, this has the same effect as connecting. But as the situation changes, your planned response to the cut may need to vary.

When White pushes at 4, Black responds with a hane at 5. Black has a cutting point at A but is not worried because White has a cutting point at B. When White protects his cutting point with 6, Black 7 is a connection that also helps out on the right side of the board.

Variation 1: Net

＞＜

With in place, if White cuts at 1, Black 2 and 4 neatly catch White in a net. Instead of 2, Black could also give atari with A and give up two stones with White 3, Black B, White C, Black D. There is nothing particularly wrong with this for Black—in fact, this would be better than a capture that left behind bad aji. But at any rate, White is unlikely to cut at 1 immediately. It will remain as a possibility for later.

Variation 2: Game Continuation

＞＜

Continuing from the game record, White jumped to 8, preventing Black’s idea in the previous diagram and looking to attack Black on a large scale. Black plays 9 before defending with 11, preparing to respond to White A with Black B, White C, Black D.

As the surrounding positions shift, the attacker’s aim and the defender’s planned response change accordingly—this is the essence of practical play.

Buy This Book

Buy the full book at gobooks.com

© 2005 Slate & Shell

About Go Books

We welcome your suggestions and feedback at books@gobooks.com. Please let us know which Go books you’d like to see included in SmartGo Books.

Go Books for Macintosh: Read about Go on your Mac. Use “Register Your Purchases” to access your books on other platforms.

Go Books is just one of several acclaimed SmartGo apps for iPad and iPhone:

SmartGo Kifu: The complete tool to study Go. With 101,000 pro games, 2,000 problems, joseki matching, and computer play.

SmartGo Player: Play a quick and challenging game of Go against the computer. SmartGo automatically adjusts the handicap to keep the game challenging, for beginners as well as seasoned players.

For up-to-date SmartGo info, we encourage you to follow @smartgo on Twitter. For information on books only, follow @gobooks.