This EPUB is provided without Digital Rights Management (DRM), allowing you to read it on your EPUB reader of choice. We trust that you use this EPUB file for your personal use only. Buying the book at gobooks.com ensures that authors and publishers get paid, and makes it possible for us to convert more books to digital format.

This EPUB contains interactive go diagrams, which not all EPUB readers handle correctly. You can get a download link to a more compatible EPUB version containing only static diagrams at gobooks.com/support.html.

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

This EPUB includes problem diagrams. If your EPUB reader supports interactivity, you can tap on the diagram to verify that you found the right solution. To get a hint, tap on the status box in the top right of the problem.

To make sure the solution diagram of a problem is hidden, switch to a view that shows one page at a time (e.g. portrait layout).

Get Strong at Go Series, Volume 2

Get Strong at Joseki 1

by Richard Bozulich

Kiseido Publishing Company
Chigasaki, Japan

Buy the full book at gobooks.com

Most books on joseki list endless variations, leaving it up to the readers to fend for themselves in applying these josekis to their games. This joseki book is unique; not only does it show you the most important 3–4 point (komoku) josekis that are likely to arise in your games, it also shows you how to apply them in actual situations, which joseki to select, and how to continue the joseki in the middle game.

The material is presented as a series of problems. This format is an ideal way to study joseki. Instead of memorizing variations, your attention is focused on an important joseki move or idea. Memorization then comes effortlessly, making this the perfect book for all players.

Get Strong at Joseki 1 is the first of a three-volume series on joseki. Volume 2 deals with the 5–4 point (takamoku) and 5–3 point (mokuhazushi) josekis, and Volume 3 with the 4–4 point josekis.

Copyright Page

Get Strong at Go Series, Volume 2
Get Strong at Joseki 1

by Richard Bozulich

Copyright © 1995 by Richard Bozulich and Kiseido Publishing Company

All rights reserved according to international law. No part of this book may be reproduced by any mechanical, photographic, or electronic process, nor may it be stored in a retrieval system, transmitted, or otherwise copied for public or private use without the written permission from Kiseido Publishing Company.

Published by
Kiseido Publishing Company
Kagawa 4–48–32
Chigasaki-shi, Kanagawa-ken
Japan 253–0082

ISBN of the printed version: 978–4–906574–52–1

Converted for SmartGo Books by John Mifsud.

Contents

Get Strong at Joseki 1
Get Strong at Go Series, Volume 2

Preface

Copyright Page

Some Important Terms and Concepts

Introduction

Part One: Joseki Variations

Problems 1 to 10

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

Problems 11 to 20

Problems 21 to 30

Problems 31 to 40

Problems 41 to 50

Problems 51 to 60

Problems 61 to 70

Problems 71 to 80

Problems 81 to 90

Problems 91 to 99

Part Two: Choosing the Right Joseki

Problems 100 to 110

Problems 111 to 120

Problems 121 to 124

Part Three: How to Play After the Joseki

Problems 125 to 130

Problems 131 to 140

Problems 141 to 150

Problems 151 to 160

Problems 161 to 170

Problems 171 to 178

Go Books from Kiseido

Buy This Book

About SmartGo Books

Preface

Learning josekis will make you strong!

Studying josekis is an excellent way to increase your go strength. Josekis contain countless examples of all kinds of tesujis, examples of making good shape, and examples of good style. However, studying josekis does not mean memorizing josekis; rather, you should approach the study of josekis to gain an appreciation of the good moves they contain, in the same way you would study the games of master players. You may not immediately understand why joseki moves are good, but then you will see the same kind of move played in another context. Slowly you will begin to gain an appreciation and an understanding of these moves. Eventually, you will find yourself making these good moves instinctively without thinking.

If you are a not-so-strong kyu player, the level of difficulty should not deter you from studying the material in this book. The problems are interesting, and what you will gain in your first reading is exposure to a lot of interesting problems and the ideas contained in them. Exposure is an important part of any learning process.

This book is divided into four parts. The first part is a quick, superficial survey of the basic 3–4 point (komoku) josekis. The meat of the book is in the three problem sections. Part One contains 99 problems on joseki variations. This part is intended to flesh out the introductory survey and prepare the reader for the second and third parts. You should approach these problems as if you were faced with the situation in an actual game.

Part Two contains problems on choosing the right joseki. This is an important topic that is usually ignored in most joseki books. In some of the problems in this section, the answers cannot be found in the josekis in the first part; you are required to come up with an innovative move. Part Three ends the book with 51 problems on how to play after the joseki.

Many of the problems in this book are part of a series of problems in which various lines are explored. The answers are usually short, avoiding long, drawn-out variations. In this way the reader can concentrate on the important ideas of the joseki being studied.

The reader is not necessarily expected to solve these problems; rather he or she is expected to look at each problem, think about it carefully, come up with an answer, then compare his or her answer with the one given. If you go through the whole book in this way, by the end you will have developed your judgment and intuition so that you can handle yourself confidently in actual play with the josekis we have discussed.

Some Important Terms and Concepts

There are a number of Japanese and English terms that are used throughout this book. Each of these terms has a specific meaning in go, and the reader should review them before starting the problem sections. As the reader progresses through the problems, these terms and the concepts they represent will become clearer.

moyo

A moyo is a framework of territory, involving stones extending from the corners to the sides of the board. Some moyos are huge, while others are modest in size.

Dia. 1

In Dia. 1, the four white stones in the upper left form a moyo. The four black stones in the upper right form an even larger moyo, where black has mapped out territory along both sides from his corner enclosure. If Black were to play at A with his next move, he would have mapped out a huge moyo in the upper right quadrant of the board.

sabaki

Sabaki is a very important term in relation to joseki because sometimes you will be outnumbered, so your aim is not to make territory; rather, you want to make good shape, rich in eye potential, so that your stones, if attacked, can easily make eyes in the area where they are are attacked or move out into the center of the board. In making sabaki, it is not unusual to sacrifice some of the stones under attack.

light

A light move is one which makes a flexible shape. Moves that make sabaki are often referred to as light.

heavy

Stones which are heavy cannot easily make eye shape and are, therefore, vulnerable to attack. If a group of stones ends up as heavy, then these stones have failed to make sabaki.

Dia. 2

＞＜ ▶︎

In Dia. 2 Black has mapped out a moyo at the top. If White wanted to reduce the size of this area, one way he could begin is to probe at 1. If Black blocks at 2 –

Dia. 3

＞＜ ▶︎

White will cut with 3 in Dia. 3 and play forcing moves with 5 and 7. What does White do now?

Dia. 4

＞＜ ▶︎

The diagonal connection of White 1 in Dia. 4 looks like an efficient move because it defends the two cutting points at A and B. In spite of this, it is a bad move.

Dia. 5

＞＜ ▶︎

Black will peep with 1 and 3 in Dia. 5 and, after Black 5, White is left with a clump of six stones without any eye-making potential. These stones are now ‘heavy’ and will be forced to run away. As they do so, Black will attack, gaining both territory and influence.

Dia. 6

＞＜ ▶︎

Since White 1 in Dia. 4 results in a heavy shape, it has failed to make sabaki. The correct way for White to play is with a ‘light’ move like 1 in Dia. 6. White 1 is called a light move because it doesn’t defend against the cuts at A and B. In other words, it regards the marked stones lightly and is willing to sacrifice them.

Dia. 7

＞＜ ▶︎

If Black does cut with 1 in Dia. 7, for example, White can make shape with eye-making potential with the moves to 8. Here we can say that White has made sabaki.

Dia. 8

＞＜ ▶︎

Black could also cut at 1 in Dia. 8. In this case, White could defend at 2. Black must defend at 3 and White extends to 4. White has driven a wedge between the two black positions at the top. He also has at least one eye at the top with easy access to the center. Again White has made sabaki.

thick

A position is called ‘thick’ if it has few or no defects; i.e. cutting points. Thick positions are very useful in that they can be used effectively for attacking. On the other hand, it is hard for the opponent to attack them. A thick position could be defined as one against which it is not possible to make sabaki.

aji

Aji refers to the latent possibilities that exist in a position. Although these possibilities may never be realized, their existence dictates the course of the game and enables certain moves to be made.

Dia. 9

＞＜ ▶︎

In Dia. 9, the marked white stone in the corner is dead, but it still has aji. Because of this stone’s aji, White need not fear Black’s pushing through at A, so he can jump to 1, rescuing his three stones at the top.

Dia. 10

＞＜ ▶︎

If Black does push through and cut with 1 and 3 in Dia. 10, White ataris with 4. After Black defends with 5, the aji of the marked stone comes to life and White captures Black’s stones on the right with 6 and 8.

Introduction
Eleven Basic Joseki

Before starting the problem sections you should review the basic joseki in this section. It is divided into two parts:

The one-space high approach

＞＜ ▶︎

The one-space high approach of White 1 against the black stone on the 3–4 point emphasizes speed and influence. A brief survey of the essential josekis that develop from this move is given from Joseki 1 to Joseki 6.

The small-knight approach

＞＜ ▶︎

The small-knight approach of White 1 against the black stone on the 3–4 point emphasizes safety and territory. By attaching at point A, White can easily secure his stones. A brief survey of the essential josekis that develop from this move is give from Joseki 7 to Joseki 11.

Joseki 1: Attaching on the Inside

Dia. 1

＞＜ ▶︎

When Black attaches at 1, the hane of White 2 is the usual response, and Black will draw back with 3. This is called the tsuke-hiki joseki (attach and draw back) in Japanese.

Dia. 2

＞＜ ▶︎

White can continue by making a solid connection at 4. Black extends along the right with 5, and White extends to 6.

Dia. 3

＞＜ ▶︎

There are times when Black might want to play the diagonal move of 5 on the fourth line. White might also want to extend to 6 on the fourth line instead of on the third line as in Dia. 2.

Dia. 4

＞＜ ▶︎

The diagonal connection of White 4 is another variation of this joseki. When White plays this move, he can extend one line farther with 6.

Dia. 5

＞＜ ▶︎

Black could also peep at 5, then, after White 6, play the diagonal move of 7 (or jump to A as before). White would again extend to 8.

Joseki 2: The Avalanche

Dia. 1

＞＜ ▶︎

In answer to the attachment of Black 1, the pattern of White 2 and 4 is known as the nadare or Avalanche joseki.

Dia. 2

＞＜ ▶︎

Black 1 avoids complications and makes sure profit in the corner; White gets outside thickness. White might exchange A for Black B before making shape with 4. Black 1 at C is also a joseki.

Dia. 3

＞＜ ▶︎

When Black wants influence along the top left, he will play the two-step hane of 1. Black 7 is the vital point. Next —

Dia. 4

＞＜ ▶︎

The joseki continues up to 12. White takes the right side while Black takes the top. Next, if Black A, White B.

Dia. 5

＞＜ ▶︎

The hane of Black 1 is the start of the Small Avalanche joseki. White 6 is the key move. After Black captures with 9 —

Dia. 6

＞＜ ▶︎

Black gets a ponnuki on the right with 11 and 13, while White gets a ponnuki along the top with 12 and 14. The result is even.

Joseki 3: Attaching on the Outside

Dia. 1

＞＜ ▶︎

If Black wants to get thickness down the right side, he will attach on the outside with 2 in answer to 1. The sequence to White 5 is a joseki.

Dia. 2

＞＜ ▶︎

After White 5 in Dia. 1, Black could continue by taking profit in the corner with 1 and 3. This is also a joseki.

Dia. 3

＞＜ ▶︎

If getting thickness down the right side is important, Black will hane with 1. After Black 5, A is the vital point for both sides.

Dia. 4

＞＜ ▶︎

Black can make thickness on a grander scale with the two-step hane of 1 and 3. Even through Black captures with 9, there is still a lot of aji left in the stone at 4.

Dia. 5

＞＜ ▶︎

White can counter Black’s plan for thickness by extending to 1. Black will then cut with 2 and take the corner with the sequence to 8. Eventually, White will have to make shape at 9.

Dia. 6

＞＜ ▶︎

White might try to complicate the position by attaching with 2, but Black 3 keeps the position simple. This is consistent with Black’s plan to get thickness down the right side.

Joseki 4: The Knight’s Move

Dia. 1

＞＜ ▶︎

Black 2 is a quiet move which maps out territory on the right.

Dia. 2

＞＜ ▶︎

White next attaches at 2. The moves to White 6 are a joseki.

Dia. 3

＞＜ ▶︎

Extending to 5 is also a joseki. After White 6, Black extends to 7, taking territory on the right side.

Dia. 4

＞＜ ▶︎

Black 1 is a tight move. After 4, Black will extend to 5. The moves to White 6 are a joseki.

Joseki 5: The One-Space High Pincer

Dia. 1

＞＜ ▶︎

The pincer of Black 2 strongly attacks White’s approach move at 1.

Dia. 2

＞＜ ▶︎

Against Black’s pincer at 1, attaching with 2, followed by the sequence to 15, is a popular joseki.

Dia. 3

＞＜ ▶︎

The diagonal move of White 2 aims for influence. After White 6, Black takes profit at the top with 7.

Dia. 4

＞＜ ▶︎

White can also jump towards the edge with 1. The moves to White 5 are a joseki.

The full book contains six more joseki before the problems start.

Part One: Joseki Variations

Problem 1

White to play

＞＜ ▶︎

When White connects with the marked stone, Black pincers with 1. What should White do?

Answer 1

Correct Answer

＞＜ ▶︎

When Black pincers with the marked stone, White should attach with 1. Black hanes with 2. White forces Black to defend with 4. White can also play 7 at A. This is an even result.

A strong pincer

＞＜ ▶︎

If Black is strong on the left and if White has played the marked stone, Black 1 is a strong pincer. White attaches with 2, and Black cuts through with 3 to 7. After 11, White plays 12 and 14 so that he can play A in sente later on.

Problem 2

White to play

＞＜ ▶︎

When Black peeps at 1, White 2 is the start of another joseki. How should White answer the hane of Black 3?

Answer 2

Correct Answer

＞＜ ▶︎

White should hane on top with 1. Black crawls to 2 and White makes shape with 3 and 5.

White’s Failure

＞＜ ▶︎

Blocking with 1 is a mistake. Black ataris with 2, then hanes with 4, taking a large profit on the right.

Problem 3

White to play

＞＜ ▶︎

There are times when White might want to play lightly with 1 instead of connecting at 2. How should White respond to Black 2?

Answer 3

Correct Answer

＞＜ ▶︎

White should atari with 1 and push up at 3. Black plays 4 and White makes thickness by connecting with 5.

Black plays elsewhere

＞＜ ▶︎

If Black plays elsewhere, White will play at 1, confining Black to the corner. If Black next crawls with 2 and 4, White makes magnificent thickness in the center with 3 and 5.

Problem 4

White to play

＞＜ ▶︎

White wants to break out into the center, so he plays the shoulder hit of 1. After Black 2, what are White’s next two moves?

Answer 4

Correct Answer

＞＜ ▶︎

White 1 and 3 are a tesuji. This shape is known as guzumi. This tesuji is often useful when you are trying to escape into the center.

Variation

＞＜ ▶︎

White could also live at the top by playing at 1. If Black blocks White’s exit into the center, White takes territory at the top with 3 to 9, then extends to 11 on the right.

Problem 5

White to play

＞＜ ▶︎

White plays 1 when he wants to get thickness facing the left. How should he respond to Black 2?

Answer 5

Correct Answer

＞＜ ▶︎

Assuming that the left side is important for White, he must block Black’s intrusion with 1. After forcing with 2, Black extends to 4, expanding his influence on the right.

Continuation

＞＜ ▶︎

White jumps to 1 and the sequence continues up to Black 8. Black gets a big profit on the right, but White gets influence facing the left and ends in sente.

Problem 6

White to play

＞＜ ▶︎

When Black draws back with the marked stone, White plays elsewhere. Cutting with 1 is natural, but after the exchange of White 2 for Black 3, what is White’s best move? Assume that the ladder is favorable for White.

Answer 6

Correct Answer

＞＜ ▶︎

White should hane at 1, threatening a ladder at A. If Black cuts at 2, Black plays 3 and 5. Now he is threatening two ladders, one at B and another at A.

White’s failure

＞＜ ▶︎

Trying to live at the top with 1 is very bad. White might be able to live, but the thickness Black gets in the process would be overwhelming.