© 2006 Slate & Shell

Dictionary of Basic Tesuji

Volume 3:
Tesuji for the Opening, Capturing Races, and Life and Death Problems Part One

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 third volume covers tesuji that are useful in the opening, in capturing races, and in life and death situations. The other three volumes deal with tesuji used in attacking, in defending, in life and death situations, 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.

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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) 2006 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: 1–932001–25–5

Table of Contents

Dictionary of Basic Tesuji, Volume 3: Tesuji for the Opening, Capturing Races, and Life and Death Problems, Part One

About the Author

Copyright Page

Introduction

Tesuji for the Opening

Tesuji for Making a Position

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

Tesuji for Drawing Near

Tesuji for Enlarging

Tesuji for Reducing

Tesuji for Surrounding

Tesuji for Invading

Tesuji for Capturing Races

Tesuji for Extending Liberties

Tesuji for Reducing Liberties

Tesuji for One Eye vs. No Eye

Tesuji for Playing Ko

Tesuji for Life and Death Situations

Tesuji for Securing Eye Shape

Tesuji for Gaining Enough Space to Live

Tesuji for Using Shortage of Liberties to Live

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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 third volume covers tesuji that are useful for the opening, for capturing races, and for life and death problems, including things like making shape and surrounding, extending and reducing liberties, and securing eye shape. The other three volumes deal with tesuji used in attacking, in defending, in more life and death situations, 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 the Opening

Tesuji for Making a Position

Tesuji for making a position in the opening involve establishing relationships and developing. Given a stone or stones already on the board, how far can we expand while maintaining a relationship? We will use the basic techniques for development in a beginner’s manual as the basis for explaining how to build a position along the side in the opening.

The proverbial “two up, three over” was a fundamental rule in classical go, which was concerned mainly with development along the third line. In modern go, which views the opening with a more three dimensional perspective, there are frequent exceptions to this rule. We’ll examine various such principles, while considering a whole board perspective.

Diagram 1: Basic

＞＜

First, let’s start with the basics for making relationships. Black 1 is the most certain way to ensure a relationship with the stone already on the board—it joins with it to create a single, indivisible unit. However, this is the least effective move in terms of development. Security of connection and effectiveness of development are goals that are always in opposition to each other. There are four equivalent moves, including A, B, and C.

Diagram 2: Diagonal Move

＞＜

When you factor in the principle that you and your opponent alternate moves, the diagonal move to Black 1 secures a connection. If White A, Black B, if White B, Black A. However, once again if there are no enemy stones in the vicinity, this shape does not make very efficient use of your stones. From a single stone there are four possible diagonal moves: Black 1 plus C, D, and E.

Diagram 3: One Space Jump

＞＜

Connection with this shape is nearly certain. By leaving out a move at A, this move is not bad from the standpoint of efficiency either. This is a fundamental tesuji for expansion, but when your opponent’s stones come nearby, you must watch out for the possibility of being cut by a wedge by White at A.

From a single stone there are four possible one space jumps.

Diagram 4: Knight’s Move

＞＜

This shape for expansion takes its name from the movement of the knight in shogi (Japanese chess). When your opponent starts to get stones in the vicinity, the relationship between these stones can become a bit wobbly, but you can spend a move to defend, or use your opponent’s cut against him, or react flexibly to get superior positioning for your stones. From a single stone there are eight possible knight’s moves.

Diagram 5: Two Space Jump

＞＜

This is the jump shape again, but one line wider. If there are opposing stones in the vicinity, you still need another move to maintain the relationship between the stones. This shape is midway between a move for development and a move for connection and is frequently used when there are many opposing stones nearby and you have a stone that is difficult to defend on its own. When you are near the side of the board, this is a fundamental technique for developing.

Diagram 6: Large Knight’s Move

＞＜

This is the knight’s move shape again, but one line wider. The connection is fairly weak—the emphasis of this move is on development. It is usually not used to develop from a single stone, and it is often played in cases in which the side of the board can be used to bolster the thinness of the connection. When it is used to develop from a single stone, it is important to choose the best alternative from among the eight possible choices.

Diagram 7: Three Space Jump

＞＜

In principle, it is unreasonable to expand from a single stone by jumping three spaces to Black 1, or playing a very large knight’s move at A. For example, if Black 1, White separates with B—Black cannot maintain the relationship between his two stones. Beyond this it is necessary to consider as a separate situation those cases when it is possible to make use of the special characteristics of the side of the board when making a three space extension.

Diagram 8: Second Line

＞＜

Next, let’s explore how the edge of the board reinforces the development of a position and supports tesuji for development.

Black 1 is on the second line from the edge of the board. Occupying the edge of the board by playing at A does not allow you to make use of the edge, but playing at Black 1 creates a point, A, which your opponent cannot occupy. That is, it creates territory for you.

Diagram 9: Third Line

＞＜

Black 1 is on the third line. It creates two points, A and B, which your opponent cannot occupy. That is, with one move you create two points of territory. This territory is also a base so when you play on the third line where it is relatively easy to make a base, you do not need to expend as much nervous energy worrying about the connectivity between your stones. Playing on the second line, the amount of territory you make per move is too small.

Diagram 10: Fourth Line

＞＜

Black 1 is on the fourth line. This position is vulnerable to a slide by White at A. However, if this ends up being Black’s territory, Black has made three points with one move so while it is less stable than a move on the third line, it is also a more enterprising attempt to make use of the edge of the board.

Modern openings focus on the third and fourth lines.

Diagram 11: Fifth Line

＞＜

Black 1, on the fifth line, is far from the edge of the board, and if White dives below on the third line at A, Black will lose his base. However, there are times when a move on the fifth line makes sense as a way to maintain balance on the board as a whole, or as a technique to pressure an opponent’s stone already played on the third line. It is nearly impossible to make use of the edge of the board when playing on the sixth line or further away.

Diagram 12: Small Knight’s Move
2: elsewhere

＞＜

In the corner, you can make use of the edge of the board on two sides, which makes it easy to create a base and territory there. If you can make two consecutive moves in a corner it is possible to achieve an ideally developed position.

This is the knight’s move enclosure, Black 1 occupies the third line from the right side and Black 3 occupies the third line from the upper side. This is also the tightest, most solid shape possible.

Diagram 13: One Space Enclosure
2: elsewhere

＞＜

Black 3 is on the fourth line from the edge, leaving open the possibility that your opponent will slide under on the second line. While this is a weakness, Black is also creating a cliff facing the right side so Black can fight aggressively there. Black focuses on influence rather than territory—this is an enterprising way to develop.

Black can also get the same shape by playing Black 3 followed by enclosing with Black 1.

Diagram 14: Large Knight’s Move
2: elsewhere

＞＜

Black 1 and 3 are both anchored on the third line to offer a solid defense, but because Black develops with a large knight’s move, the connectivity between the stones is weak. If opposing stones come nearby, this shape may be broken apart. On the other hand, if Black can turn this into territory it is larger than the corner enclosures above. Also, if your opponent attacks one weakness in this shape, the other weaknesses disappear.

Diagram 15: Two Space Enclosure
2: elsewhere

＞＜

Black 3 is floating on the fourth line, and the connection between the stones is weak so this is a rather loose enclosure. However, these stones are in a good position to make influence, and given the right game situation, this shape can be put to good use. This is a somewhat scattered shape, but it often turns out that its weak points are hard to nail down. This is an enclosure that focuses 70% on influence, 30% on territory.

Diagram 16: High Knight’s Move
2: elsewhere

＞＜

After playing at the 5–3 point with 1, Black has a choice between playing the high knight’s move with 3 or the knight’s move enclosure at A. If Black starts by playing the 5–4 point at 3, he has a choice between playing the high knight’s move at 1 or the one space enclosure at B. After playing 1 and choosing between 3 and A, Black is simultaneously choosing the direction of development for the enclosure as well as whether to emphasize influence or territory.

Diagram 17: Pillbox
2, 4: elsewhere

＞＜

By using three moves, Black can secure a large territory in the corner while also creating a one space enclosure facing each side. However, while he is doing so the opponent can make three moves elsewhere; it is not necessarily the case that spending moves to make a completely solid position ends up being advantageous.

This is a shape that creates influence that can be used for fighting; Black plays this enclosure looking to fight back and gain territory later.

Diagram 18: 3–3 Point

＞＜

As opposed to enclosures that spend two moves in order to secure the corner, Black can look to make the corner his area of influence in one move by playing either the 3–3 point at 1 or the star point at A. Black 1 is on the third line from either direction so there is no more solid move from the standpoint of taking territory or making a base. On the other hand, this move is poor in developmental possibilities, and Black’s development can be sharply curtailed by the shoulder hit at A.

Diagram 19: 3–3 Point Enclosure
2: elsewhere

＞＜

Rather than making an enclosure from the 3–3 point, it is more important to develop in the vicinity of A or B. Then the next step is to play Black 3 or Black C to create a three dimensional shape and prevent the reduction at White D. Instead of 3, Black E would be the same locally. Being able to choose the direction to reinforce based on the situation on the rest of the board is one of the special features of playing at the 3–3 point.

Diagram 20: Star Point

＞＜

Black 1, on the star point, occupies the fourth line from both sides and therefore emphasizes development more than territory. If White invades at the 3–3 point at A, Black’s territory will be taken away, but this is usually not a disadvantage: Black can choose the direction he wants and build solid influence with Black B or C. As with the 3–3 point, the start point makes the corner an area of influence in a single move.

Diagram 21: Development
2: elsewhere

＞＜

To develop from the star point, rather than enclosing the corner directly, it is more important to extend in the vicinity of the point below the side star point. In playing the star point, Black is aiming for influence rather than territory.

As with the 3–3 point, Black can choose which direction to extend, either to 3 or A.

Diagram 22: Star Point Enclosure
2, 4: elsewhere

＞＜

If Black plays the large knight’s move at 3, White can still invade at the 3–3 point at A and take away the corner territory. The shortcoming of the star point is that Black needs to play a third move, defending at 5 or at B, in order to complete the shape.

Black 3 is usually not played in isolation; rather it is more frequent that Black first develops in the vicinity of C, then plays 3 as a follow-up.

Diagram 23: Narrow Enclosure
2: elsewhere

＞＜

The small knight’s move at Black 3 holds back a bit in terms of development in order to emphasize defense of the corner. Black A is an enclosure that provides an additional degree of outside influence, but leaves behind a weakness at the 3–3 point. If Black absolutely wants to make certain territory, the move is Black B, but this move has very little developmental potential.

Problem 1: Wide Checking Extension

Black to Play

＞＜

When you have a position that combines a solid base with influence—a thick position in other words, you can throw caution to the winds and play a wide extension, inviting a fight.

Diagram 1: Four Space Extension

＞＜

Considering only influence, Black 1 is about the furthest extension that would be possible. However, White can then play the checking extension at 2, a good move that reinforces the corner. Since White has also made territory in the upper right, this extension is hard for Black to play.

Diagram 2: Black 1 is the shape.

＞＜

Black can extend all the way to 1. If White responds with 2, Black can play 3, protecting the upper side. If Black can lay claim to an area this large, he can counter the territory White gets on the two sides. This setup is already close to being secure territory.

Diagram 3: Heading for a Fight

＞＜

If White plays 2 to prevent Black from geting a good setup, Black can attack by jumping to 3. If a fight develops, Black’s thickness on the right side is sure to become useful. Instead of 3, Black can also try attaching at White 8 to destroy White’s corner territory.

Problem 2: Large Knight’s Move Extension

White to Play

＞＜

White wants to extend on the upper side while keeping an eye on Black’s moyo on the left side. The position calls for a good sense of balance.

Diagram 1: Sideways Attachment

＞＜

The sideways attachment at White 1 is an enterprising move, but in this case it is not good. When Black already has in place, it allows Black to secure too much territory. White gets to create influence in sente, but the white moyo on the upper side is limited in scale.

Diagram 2: Low

＞＜

The position after White extends to 1 feels too low—it is hard to get excited about playing this. That said, instead of 1, White A would be open to an invasion—in the words of the proverb, “there is an invasion in a three space extension.” White would eventually need to come back to defend this weakness.

Diagram 3: White 1 is the shape.

＞＜

The high two space extension to White 1 is promising. This stone can serve as a supporting army for an invasion at A. In this position it is still too early for Black to consider taking advantage of the opening at B. Instead of 1, White C would be a bit thin.

Problem 3: Extension to a Large Point

Black to Play

＞＜

It goes without saying that the midpoint on the upper side is large, but an extension on the right side is also quite large. If possible, Black would really like to play both.

Diagram 1: Usual

＞＜

The extension to Black 1 seems common sensical, but then White will get to play 2. After this, Black will play A or B. If Black A, White has a good reducing move at C. If Black B, play will probably continue with White D, Black E.

Diagram 2: Black 1 is clever.

＞＜

Playing the high extension at Black 1 is another idea. If White 2, then Black 3, and Black has succeeded in playing on both sides. After this, if White A, Black can fight with Black B. Even if White does not invade, Black B will be a good point.

Diagram 3: Large Scale

＞＜

If White switches to the right side with 2, Black plays the checking extension at 3. Black has been able to play on a larger scale than if Black 1 had been at A.

Even when playing to take a large point, there are a number of ways to play based on the whole board situation.

Problem 4: Five Space Extension

Black to Play

＞＜

How far can Black extend on the upper side? It is important to know the limit.

Diagram 1: White can choose.

＞＜

After Black plays the approach move at 1, if White defends with A, Black can get an ideal shape by extending to White 2—but White will split the upper side with 2. Black has given up territory on the right side so losing the moyo on the upper side is hard to take.

Diagram 2: Six Space Extension

＞＜

Black has considerable influence on the right side so it might seem that Black can extend as far as 1. But this allows White to invade with 2, then make a base with the two space extension to 4. Now Black’s influence cannot be put to good use.

Diagram 3: Black 1 is the limit.

＞＜

The five space extension to Black 1 is the furthest Black can go.

Instead of 1, Black can also consider approaching with Black A, and if White B, Black gets a good setup with Black C through I. This is a bolder way to play.

Problem 5: Three Space Extension

Black to Play

＞＜

This is a position in which to apply the principle of “two up three over”—you can extend three spaces from a wall of two vertical stones. Do not confuse this position with one in which the exchange of and is not on the board.

Diagram 1: Locally Ideal

＞＜

If Black can play 1 and 3, he will have an ideal shape. But instead of White 2, White will split the upper side at Black 3. Because Black has already played the exchange of for , the three black stones are heavy. If Black has not yet made this exchange, Black can play 1, and if White 2, Black plays , White plays , and Black plays 3.

Diagram 2: Black 1 is the shape.

＞＜

Black 1 is a three space extension from the wall of the two stones. If White invades immediately at A, Black gets a good result after Black B or Black C. Therefore, White will play the checking extension at White D, aiming to play the invasion at A later.

Diagram 3: Extending for a Moyo

＞＜

If Black has a stone in the upper left and wants to build a moyo, the high extension to Black 1 achieves the right balance. Should Black instead play 1 at A, White can reduce with a cap at B.

Problem 6: Three Space Extension

Black to Play

＞＜

What extension should Black play on the upper side? There are times when it is better to hold back and build up your power.

Diagram 1: The Limit

＞＜

With a three stone wall Black can move out as far as 1 without worrying about any immediate invasion. After White adds a stone with 2, however, the invasion at A will be troublesome. After Black adds a defensive move this position will be overconcentrated.

Diagram 2: Black 1 is the proper play.

＞＜

If Black holds back and plays 1 to begin with, neither White A nor White B will be forcing. Extending all the way to the limit is not necessarily the most profitable way to play.

Diagram 3: Three Up, Four Over

＞＜

With this slightly different white shape, extending four spaces with Black 1 is not bad at all. If White A, Black can capture with Black B; if White C, Black can defend by attaching at D. Instead of Black 1, Black E would seem overconcentrated in this case.

Problem 7: High Five Space Extension

White to Play

＞＜

Where should White extend on the upper side? White should consider both the low position of and White’s influence.

Diagram 1: Low

＞＜

The low five space extension to White 1 is not right. Black 2 is a wonderful point that both erases White’s influence on the right side and helps build Black’s moyo on the left. However, any extension more narrow than White 1 is out of the question.

Diagram 2: White 1 is the shape.

＞＜

This position calls for the high five space extension to White 1. The slide to Black A would be too low and would be a thin position that would allow White to aim for White B or White C later. The cap at Black D would be hard to play.

Diagram 3: Extending Too Far

＞＜

Extending further to White 1 would allow Black to invade at 2, after which White’s influence dissipates like a morning mist. Because Black’s position on the left side is so strong, instead of 1, if White A, Black B would be severe.

Problem 8: High Two Space Extension

Black to Play

＞＜

What is the best way to think about Black’s extension along the upper side? When the opening development has proceeded this far, the choices are limited.

Diagram 1: High Three Space

＞＜

The high three space extension to Black 1 allows White 2, taking the border point for both moyos while also supporting a white invasion at A. Black cannot be satisfied with this result. Black has no room to expand his moyo on the left side.

Diagram 2: Black 1 is the shape.

＞＜

Black 1 sets up a solid position so that White A has less impact. If White does not play A, Black can aim for an invasion at B. This extension both builds a moyo and prepares to fight.

Diagram 3: A Moyo in the Background

＞＜

When Black has in place and can hope for a three dimensional moyo, then of course the three space extension to 1 is better. Instead of Black 1, Black A would not reach back far enough toward Black’s influence, and White could play the erasure at B.

Problem 9: Extra Large Knight’s Move Extension

White to Play

＞＜

How should White extend along the upper side? The answer should create a balanced position while also preparing for a good follow-up.

Diagram 1: Floating

＞＜

The two space jump to White 1 allows Black to play the checking extension at 2. White gets a floating group and cannot be satisfied with this result. White wants to aim for the attachment at A, but Black can block with Black B, White C, Black D.

Diagram 2: Neither This Nor That

＞＜

After White 1, not only would an invasion at Black A be severe, but after Black just defends the corner with B, there is no good way to reinforce the white group. That said, instead of 1, if White plays White C, Black D leaves White scattered.

White 1 is the shape.

＞＜

White 1 is a balanced extension. White has a forcing move at A so it should not be hard to find a way to manage his group if Black invades at B. Because White has a follow-up at C, it is also easier for White to play the attachment at D.

Game Example 1: Attachment

Game Record 1: Go Seigen vs. the Young 8 Dans.
White: Go Seigen; Black: Shimamura Toshihiro

＞＜

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.

The attachment at White 1 is an imaginative move. Black crawls, starting with 2, after which Black 8 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 monkey jump to A. The result is about equal.

Variation 1: Leisurely

＞＜

There is nothing glaringly wrong with enclosing the corner with White 1, 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 1, the approach at Black C is a perfect point.

Variation 2: The Issue in the Center

＞＜

Instead of Black 8 in the game record (at White 4), if Black plays for territory with 1 and 3, the hane at White 4 stifles Black’s position in the center. With such large scale influence as a base, White has freedom to choose any strategy he likes. Black 8 in the game record is a clearer way to play—it lets Black take sente and play first on the remaining large opening points.

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