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Get Strong at Go Series, Volume 3

Get Strong at Joseki 2

by Richard Bozulich in collaboration with Furuyama Kazunari

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 5–3 point (mokuhazushi) and 5—4 point (takamoku) 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. It also contains many new josekis that have appeared in professional games over the last 15 years, making it the most up-to-date joseki book available.

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 2 is the second of a three-volume series on joseki. Volume 1 deals with the 3–4 point (komoku) josekis, and Volume 3 with the 4–4 point josekis.

Copyright Page

Get Strong at Go Series, Volume 3
Get Strong at Joseki 2

by Richard Bozulich in collaboration with Furuyama Kazunari

Copyright © 1996 by Richard Bozulich

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: 4–906574–053-X

Converted for SmartGo Books by John Mifsud.

Contents

Get Strong at Joseki 2
Get Strong at Go Series, Volume 3

Preface

Copyright Page

Some Important Terms and Concepts

Introduction: Eight Basic Joseki

Part One: After the Joseki and 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 100

Problems 101 to 110

Problems 111 to 122

Part Two: Choosing the Right Joseki and Playing after the Joseki

Problems 123 to 130

Problems 131 to 140

Problems 141 to 150

Problems 151 to 160

Problems 161 to 172

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Preface

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 three parts. The first part is a quick, superficial survey of the basic 5–3 point (mokuhazushi) and 5—4 point (takamoku) josekis. But the meat of the book is in the two problem sections. Part One contains 122 problems on joseki variations and how to play after the joseki. This part is intended to flesh out the introductory survey and prepare the reader for the second part. You should approach these problems as if you were faced with the situation in an actual game.

Part Two contains 50 problems on choosing the right joseki and the right follow-up. 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.

Most 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.

Finally, I would like to thank Furuyama Kazunari, a former Nihon Ki-in insei, who helped me write this book by selecting all the problems and providing the explanations.

Richard Bozulich
January 1996

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

Here is an example illustrating these concepts. 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 White is left with a clump of six stones without any eye-making potential after Black 5. 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
Eight Basic Joseki

Before starting the problem sections you should review the basic josekis in this section. You should also refer to them when solving the problems in Part One and Part Two. It is divided into two parts:

The 5—4 point (takamoku)
Josekis 1 to 3

The 5—3 point (mokuhazushi)
Josekis 4 to 8

Joseki 1: Attaching on the Inside

Dia. 1

If Black wants to take territory at the top, he will play 2.

Dia. 2

White usually settles his stones with 3 and 4, followed by Black’s extension to 6. This is one of the most common 5—4 point josekis. Next, White can play at A or B. He can also leave his stones as they are and play elsewhere. White C used to be a joseki move, but it isn’t played anymore. Instead of 3, it is also possible for White to play elsewhere.

Dia. 3

There are situations in which White might want to establish a presence at the top. In such a case, he would play 3. The sequence to White 7 would then follow.

Joseki 2: Attaching on the Outside

Dia. 1

Black attaches on the outside with 1. White 2 is the standard response. After this, Black has two choices: A and B.

Dia. 2

When Black draws back at 3, White will play at 4. Cutting with Black 5 is the joseki move. The sequence to Black 9 follows, after which White can play at A (or B) or switch to another part of the board.

Dia. 3

Drawing back with 3 is also a joseki, but professionals don’t play it very often. Up to Black 11, White gets territory while Black gets influence on the outside.

Dia. 4

Cutting on the inside with 5 used to be a joseki. The result to Black 9 was thought to be even, but today professionals agree that this result is clearly good for White.

Joseki 3: The Knight’s Move

Dia. 1

The knight’s move of Black 2 aims at getting influence on the outside. White usually responds by attaching at either A or B. It is also possible for White to ignore Black 2 and play elsewhere.

Dia. 2

When the ladder is favorable for White, he should attach at 3. The sequence to Black 10 might follow. White gets profit while Black gets outside influence.

Dia. 3

If White attaches on the left with 3, the sequence to Black 6 is one possible variation. Black could also play 6 at A or B. When Black plays 6 at A, White C is optional. However, Black B forces White to defend at C.

Dia. 4

Black 4 and 6 are also a joseki, played when the right side is important. After White 11, Black could play 12 at A. Black 12 emphasizes the center, while Black A emphasizes the top. (See Problem 172).

Joseki 4: The Pressing Move

Dia. 1

When Black has played the marked stone on the 5—3 point (mokuhazushi), he aims for influence at the top. White 1 is the usual approach move, but approach moves at A and B are also played.

Dia. 2

The aim of the pressing move of Black 2 is to make outside thickness while forcing White to make territory submissively on the third line.

Dia. 3

Making territory on the third line with 3 and 5 is the usual response. Black can next play around A to make a moyo at the top. This is a basic joseki.

Dia. 4

In response to White 3, Black could also jump to 4. After White 11, Black will probably extend to A, ending the joseki.

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

Problems Part One: After the Joseki and Joseki Variations

Problem 1

White to play
7: elsewhere

After Black 6 in Dia. 2 of Joseki 1, White plays elsewhere with 7 and Black puts pressure on White with 8. How should White defend?

Answer 1

Correct Answer

White 1 is the vital point. This move generates a lot of eye shape, so, after Black 2, White doesn’t have to worry about this group anymore and he can play elsewhere again. However, he could also play at A or B.

Alive
4: elsewhere

Even if Black continues to threaten the white group with 1 and 3, White can play 4 elsewhere again and he is still alive. This should demonstrate how rich in eye potential the white group is after White 1 in the correct answer.

Failure

When Black plays the marked stone, his primary intention is to make thickness. White 1 aids Black in this goal: the more moves White plays, the greater Black’s thickness becomes.

Problem 2

Black to play
3: elsewhere

When Black attaches at 2, White plays 3 elsewhere. Black then exchanges 4 for White 5. Where should Black play next?

Answer 2

Correct Answer

Black should descend to 1, preventing the two white stones from making a base on the edge. White should then extend lightly to 2 and be willing to sacrifice his two stones above if necessary. Black 3 is also an important move. If Black omits it, White can play at A, aiming at B. Black’s stones in the corner would then be in trouble.

Variation

If Black wants sente, he should make a diagonal connection at 1. Unlike the correct answer, Black need not extend along the top. White 2 is the usual move, but a wide extension to A is also possible.

Problem 3

Black to play

Black 1 and 3 are another variation of Problem 2. How should Black play after White 4?

Answer 3

Correct Answer

Today, this is considered a joseki. Black 3 may appear a little strange, but…

Old joseki

This used to be considered a joseki. The reason it has been discarded is that White has a possible forcing move at A. The correct answer eliminates this problem.

Failure for White

If White plays 1, his group loses liberties, so it becomes heavy. After White 5, Black A is a big aim.

Problem 4

White to play

Instead of cutting at A, as in Dia. 2 of Joseki 2, Black ataris at 1. How should White respond?

Answer 4

Correct Answer
4: takes

In response to the marked stone, White should capture with 1. When Black ataris at 2, White 3 is a light move, allowing White to get good shape with 5 and 7.

Failure

White 1 is a serious mistake. White’s shape becomes overconcentrated. Compare this to Dia. 2 in Joseki 2.

Problem 5

Black to play

Dia. 2 in Joseki 3 shows Black ending this joseki by playing at A. However, Black might want to take sente and omit A. Before playing elsewhere, he should make a forcing move. Where is this forcing move?

Answer 5

Correct Answer

Black should exchange 1 for White 2. Now he can take sente and play elsewhere. However, his position is not as thick as when he plays the joseki move at A. Playing this way depends on the whole-board position. If Black were to play another move around here after White 2, he would play at B, and not at A.

A New Joseki

Black 1 is a new move played by Takagi Shoichi 9-dan against Sanno Hirotaka 9-dan in the 1994 Ryusei title.

Problem 6

Black to play

If White does not like the correct answer to Problem 1 and is willing to fight, he can attach at 2. How should Black respond to White 4?

Answer 6

Correct Answer

Black should connect with 1 before forcing with 3. The extension of White 2 is also correct. After this, the sequence to White 8 follows. Black 9 at A is also possible.

White’s failure
7: takes

Trying to capture a stone with White 2 is a bad move; it allows Black to make thickness too easily. Because Black is so thick, the cut at 6 is unreasonable.

Alternative

If Black finds the fight in the correct answer not to his liking he can simply jump to 1 and make a moyo at the top.