0201 Tesuji Dictoinary Selected

8/7/2019 0201 Tesuji Dictoinary Selected

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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, butthe 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 touse 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 separatingthat don’t locally require “tesuji” per se.

T ESUJI FOR SEPARATING

A1 2

B

Diagram 3: Sideways Bump

A2

1 DB EC

Diagram 2: Solid Descent

21 B

CA

Diagram 1: Jump-Descent

Jumping to w2 separates the whitestones on the left and right. Jumpingout with A instead would allowWhite B; a diagonal move at Black C would allow White to link up atw2. Black will now solidify territorywhile attacking to the left and right.

Because Z! is high, w2is the strong-est way to separate White. Playingat A would give White sabaki (mak-ing flexible shape lightly) chanceswith B. Instead of w2, if C, Whitecan play at w2; or, if Black D thenWhite E fortifies a weak group.

If Black descends to A in this case,White B is good enough to giveBlack trouble. In such cases, thesideways bump with w2is effective.Black should bump the side hedoesn’t mind making stronger.

Tesuji that Separate, that Prevent the Connection of the Opponent’s Stones



37

Problem 9: Jump

White to Play

The basic principle of pressing is to get out onestep in front of your opponent and press his headdown. However if you hurry to press youropponent’s head down, there are many cases inwhich you put wind in his sails instead.

C 2

1 AB

3

4

Diagram 3:Z! is the tesuji.

The jump to Z! is the move. If Black gives atariwith A, White can press down with the ko startingat B. If Black is going to play here he must choosethe slide at w2. Spreading out with Z# is fine; if surrounding conditions permit, White can consider

the pincer at w4.White still has the possibility of attaching at C toseal Black in. This is thanks to jumping out an extrastep at Z! .

4 25 3 1

A

6

Diagram 2: Too Hasty

It’s hard to expect success after hastily blockingwith Z! . Black crawls with w2and w4and then canplay w6. This is fine for Black. Instead of w2, Black can also play an asking move with an atari at A.

Neither the slack move in the previous diagram northe hasty move in the current diagram can be calledtesuji. Look for a moderate approach that dimin-ishes White’s weaknesses while pressing Black.

2A B

1

3

4

Diagram 1:One Step Behind

Z! lets Black run out with w2, leaving White a stepbehind. Instead of Z#, it’s tempting to try to pincer

Black with a move around w4, but White doesn’thave eyes yet, so playing this way would be riskyand depends on surrounding circumstances. Afterw4, White can press at A, but this does not have abig impact.

Instead of w2, jumping to B fails due to a shortageof liberties.



120

T ESUJI FOR M AKING YOUR O PPONENT H EAVY

A 1 CB 2

3

Diagram 3: Bump

“Light” and “heavy” are among the more difficult go terms to understand. Onesimple expression of the concept is this: “heavy” refers to a lump of stones thatcannot easily be sacrificed. Therefore, when you attack, you want to make the

opponent’s stones heavy so that he is less likely to be able to set up a trade.These tesuji are apt to be overlooked, but as your skill increases they becomemore and more necessary.

However, be careful that you don’t strengthen your opponent instead of makinghim heavy. If you do, your attack will not succeed.

A

1 B2

C 3

Diagram 2:Pushing Along

Pushing along against White with w1forces Z@, thenw3attacks while taking profit along the side. Usuallythis white shape could be considered thickness, butin this case Black already has \ in place as a pincer.Rather than thick, White is heavy. Instead of w1, if Black A, then White at w1, Black B, White C, andthe attack has no effect.

Bumping with w1 forces White to stand with Z@,after which Black defends with w3. Instead of w1, if simply A, B, or something similar, White can gofor a trade in the corner with C.

Usually when you play from the inside to make youropponent heavy, you make moves that also serveone or more defensive purposes.

B1 A

3 2

Diagram 1:Diagonal Attachment

This is a typical tesuji for making your opponentheavy. Black plays the diagonal attachment at w1,forcing White to stand at Z@, then Black attackswith w3. Just playing w3first lets White jump to the3-3 point at A—White is happy to make a tradehere. After the exchange of w1for Z@, if White jumpsinto the corner with A, Black descends to B. Thecorner stones would be under pressure and the sideheavy.



Problem 10: Double Hane

150

Black to Play

1A 4 3 C B D

2E

Diagram 3: Resurrection

Attacking a weakness directly doesn’t alwayswork out well. Eyeing it from afar while getting

benefits elsewhere is usually good enough.

BA 4 2 3 C 6 8

1 5 7

Diagram 1: A Gift

Pushing and cutting directly with w1 and w3 leadsnowhere. White connects with Z$, and Black has

no good follow-up, so the cutting stone becomes agift. About the best Black can do is to force with w5and w 7, but this does not make up for the lossincurred by solidifying the upper side.

However, instead of Z$, if White A, then Black B,Z$, Black C, leads to a ko.

Diagram 2:w5 is the tesuji.

8 4 5B 2 3 6

1 7A

Giving atari with w1seems like erasing aji, but thedouble hane with w3and w5creates new aji. Whitecan cut once with Z^, but then needs to come back to defend at Z*. The profit in the corner remains upfor grabs.

Black has not disturbed the upper side, so pressingwith A or checking with B both remain powerful

possibilities.

Instead of Z* in Diagram 2, if White greedily goesfor the corner territory with Z! in this diagram, thisis the time for Black to push and cut with w2 andw4. If White A, Black B captures the corner. If WhiteC, Black captures a stone in a ladder.

If Black plays the atari at B before w2and w4, Whitecaptures at D, and Black loses the forcing move atE.



171

Problem 12: Attachment

Black to Play

If you play a double threat that is toounsophisticated, you may actually incur a loss.

In this situation, how can you use the cutting ajiin the corner to make shape?

24 1 A

3

Diagram 2:Double Threat

Bumping with w1 makes miai of the cut at A andthe hane on top of White’s stone with w3. However,descending to Z@is quite large, and Black’s chanceto make an eye on the side is now completely gone,so this is actually not so promising for Black.

One problem is that while w3is forcing, there is noclear follow-up move that makes shape for Black.

These black stones will likely come under attack.

A 3 B2 5 4

1 C

Diagram 3:w1 is the correct order.

Black first plays the attachment at w1. If Z@, Black gives atari at w3 before bumping with w5. It goeswithout saying that this result is better for Black than Diagram 1.

Instead of Z@, if White descends to w3, Black startsa trade by playing the hane at Z@. Instead of Z@, if White at w5, Black forces at Z$, White at w3, Black A, White B, and Black blocks with C.

1 A3 2

4

6 57

8

Diagram 1: Settled

Black would rather not lose the possibility of playing the atari at w1 followed by making shapewith w3 and w5. It is highly likely that Black willget to play A in sente, and this point is quite largeboth in terms of territory and of being a key pointfor both sides in making a base.

Forcing White to make the extension at Z$ is notsomething Black really wants to do, but after w5,this group is out of any immediate danger. However,White is happy to be able to push with Z^.



181

T ESUJI FOR T AKING AWAY YOUR O PPONENT ’S BASE

Diagram 1:Solid Extension

A1 B

ED

C

Diagram 2:Diagonal Attachment

F E1 C

G AD

B

Diagram 3:Knight’s Move

D 1A

BE C

Attacking from above aims to seal in; attacking from below aims to take awayyour opponent’s base and chase him out into the open. In many cases, whiletaking away your opponent’s base you also reduce his territory and increase

your own. What’s more, while attacking you will likely solidify yoursurrounding territory. If your opponent makes a mistake, or ignores your attack,you may be able to capture his group. However, as a matter of principle youshould avoid chasing an opponent into your own moyo. You will incur a largeloss by doing so, and it will be extremely difficult to generate an attack soeffective that it makes up for this loss.

Extending to w1takes away White’s base while alsoprotecting the corner territory. If Black did not play

w 1, White could slide to A. Even if Black thendefends at B, White gets some breathing room.

After w1, if White develops toward the center withC, there are no immediate attacking chances againstthis group. If White ignores w1, D and E are theshape points for Black’s continuing the attack.

The diagonal attachment at w1 looks to play thehane at A next, so it demands a response. If WhiteA, Black continues the attack with B, an active wayto play that attempts to remove the possibility of White C while maintaining an attacking posture.White may feel that standing with A is heavy, andcan instead try jumping to D, a lighter way tomanage the group that involves a ko after Black E,White F, Black A, White G.

In terms of territory, the most profitable way toattack is with w1. However, White can aim for thewaist of the knight’s move at A, so this is a bit thinfor Black. Further, there is no particularly severefollow-up that Black can aim for.

White can tenuki. Jumping to B just gives Black agood chance to respond with C. White can wait untilBlack plays D and then jump to E.



214

Problem 5: Spiral Ladder

Black to Play

Diagram 3: Ladder

611 10 8

9 7

Ultimately, this tactic is a ladder, but when itarises unexpectedly as the result of a squeeze, it

is frequently called a spiral ladder.

Diagram 1:Belly Attachment

BC 21 A

D

If Black connects at w1from fear of being cut, Whitecan play the belly attachment at Z@, a tesuji to winthe capturing race. If Black A, White B.

It follows that in order to win the capturing race inthe corner Black will need to block at C. But howcan Black handle the atari at D?


5 31 D4C 2

BA

After Z@, Black gives atari from the weak side withw3, setting up a squeeze. Black links up and givesatari again with w5. Reading out the finish after thisis also important.

Instead of w3, if Black connects at Z$, of courseWhite can capture three stones with A. Instead of w3, if Black gives atari at B, then Z$, Black C, WhiteD, and Black has not gained much.

After White connects at Z^, w7and w9neatly catchWhite in a ladder. Even here, if Black carelesslyplays at ZA Sinstead of w9, he gets hit with an atari—be careful!

The Japanese name for spiral ladder, guru gurumawashi , is a rather unsophisticated way to describespinning something in a circle—but when you seeit in action, the name is rather apt.



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Game Example 4:Diagonal Move

If you develop your group, youprevent attacks before they can

occur, while also building thick-ness of your own. Frequently youtake a point that lets you glaremenacingly in many directions.

The diagonal move of Z! allowsWhite to aim for both the press atA and an attack on the black group

on the left; an invasion on thelower side now begins to seempossible as well.

To consider an alternative forWhite, Z! would also be a goodpoint, calculated both to helpstabilize White’s group while alsogiving a greater punch to anyinvasion on the lower side.

However, the press at w2quicklyleads to a clear, easily understoodposition. About the best White

can do is to spread out with Z#through Z&; however, w8not onlyconnects the upper and left sides,but even offers Black the hopethat he might make some territoryhere.

Viewed this way, Z! in the gamerecord is more than just a

developing move. It is a vital point to determine whether each of three groupswill become thin or thick. As such, it prevents the game from becominginstantly bad for White and prepares to conduct a protracted resistance.

Game Record 42nd Meijin Title Match, Game 6

White: Sakata EioBlack: Fujisawa Shuko

A1

Variation: A shoulder press by Black would be vicious.

2 34 56

78

1



89

T ESUJI FOR T AKING SENTE

Game situations often arise in which you are willing to take a bit of a losslocally in order to take a big point elsewhere. There may be a proper moveavailable if you are willing to spend a move, but if you misapprehend the

situation a proper move may well end up being slack.Of course, if you play nothing at all in a local area you have sente to playelsewhere. But in cases where ignoring a local situation leaves you open to aheavy blow it is necessary to take some sort of temporizing measure to softenthe blow. These are tesuji played in order to take sente. If you accept toolarge a loss in order to get sente, the value of sente itself is lessened.

2

B C1 A

Diagram 1: Tenuki

If your opponent’s threat is not too severe, you

can just ignore it and play elsewhere. This is justbasic common sense, and requires no tesuji per se . For example, the two space jump at w1 aimsto enclose the corner next with A. But White canstill live in the corner after this and so can ignorethe threat, switching to the upper side to play [email protected] of w1, if Black plays B, the threat of C istoo severe for White to ignore.

21

AB

Diagram 3: Peep

To prevent White from escaping at A, capturingwith Black A would be the proper move, but a bitslack in this case. In this shape, Black should peepwith w1, and if White responds with Z@, Black

can play elsewhere. With w1on the board, if Whitetries to escape with A, Black can capture with anet at B. The value of being able to play elsewhereis greater than the loss incurred by solidifyingWhite on the upper side.

Instead of w1, if Black pulls back to Z@, then Whiteat w1, Black A, and Black ends in gote. That said,if Black just ignores the situation and playselsewhere, the jump to White A or an invasion atWhite B would be quite large. Therefore, Black plays the block at w1, threatening to cut at C. If White now plays Z@and Z$, Black can play else-where, having lessened the urgency of thesituation. White for his part can also skip thecapture at Z$.

A 1 CB 3 2

4

Diagram 2: Block



132

T ESUJI FOR STRIKING BACK

If your opponent comes at you with a line of play that is slack, you canrespond by ignoring it or by playing a tesuji to take sente; on the other hand,if your opponent makes an overplay or a bad move you can counterattack

directly. That is, you can move from defense to attack—this is what we willcall “striking back.” The situations and shapes in which these tesuji ariseactually have little in common, and in fact many of them could be classifiedunder Tesuji That Attack. But it is possible to gather together a number of tesuji in which you seize a momentary opportunity to launch a counterattack.

First, let’s try looking at two or three examples.

G E B CF

H JD 1 I

A

Diagram 1:Light Sabaki

Jumping to Z ! is a light way to manage thesituation. If Black A, then White B, Black C,White D seems about right. If Black E, then WhiteF, Black G, White A. White plays lightly, dodgingBlack’s attack. Instead of Z! , extending to WhiteH would be heavy; after Black A, White is headedfor trouble. Instead of Z! , if White I, Black makesthe empty triangle at J, and it is surprisingly hardfor White to manage the situation.

1 2A 4

35

Diagram 2:What White Wants

White might play the hane at Z! , hoping for w2.Then Z# and Z%make shape with perfect timing.Black is pushed low on the right, and White cansettle with a single move at A.

However, Z! is an actually overplay. If Black strikes back, things will not go this way.

1 7 58 3 6

2 4


The hane at w2 is the tesuji to strike back. Thepoint is that after White gives atari with Z#, thereis no continuation for White. If White lives withZ%, Black is happy to seal in with w6 and w8.Instead of Z%, if White at w8, Black cuts at Z&.

Unlike the previous diagram, Black is takinginfluence and giving up profit, but there is nodoubt that this result is good for Black.



141

Problem 6: Cut Inside

Black to Play

White has just played the hane with | . Thismove is intended to remove bad aji from thecorner. But actually Black can take advantageof a momentary opening to land a blow thatrenders White’s hane useless.

1 2 BA

Diagram 1:Lacking Spirit

Playing the block at w1as an automatic responseto White’s hane is the epitome of unspirited play.

After White connects with Z@, not only have anyaims Black may have had in the corner beenremoved, Black also has less of a free hand intrying to attack the white stones in the centerbecause there is now a cutting point at A.

Black would like \ to perform one more task.Cutting at Z@is meaningless after White B.

2 1 53 4


Throwing in a cut with w1 is severe. If Whiteconnects with Z@, Black extends to w3, with thepoint that w5will be atari thanks to the cut at w1.| offers no help at all in this line of play.

Capturing the three cutting stones is unquestion-ably good for Black.

A 3 12

B

Diagram 3: Sente

It follows that White has no choice but to capturewith Z@, though the atari at w3 swallows up thesingle white stone. After this, if White connectsthe two stones and Black plays A, White needs toplay another move in the corner—otherwiseBlack kills with B. This is miserable for White.

Instead of the hane at | , capturing with Z@wouldbe a proper move.



169

T ESUJI FOR SOLIDIFYING A BASE

From the opening through the middlegame, whether a base can be taken awayor solidified is an extremely important issue. In many cases this requiresonly basic techniques, hardly worthy of being called tesuji, but still you needto learn certain defensive shapes to prevent attacks that would chase you outinto the center.

In creating a base, you should strive to make one that is as large as possiblewith the best possible aji and at the same time to create weaknesses in youropponent’s camp. In some cases, the issue will revolve around making shapeor getting sente. Let’s look as some fundamental examples.

A 1B C

Diagram 1: Slide

There is nothing tricky about the knight’s moveslide to Z! . This move not only exploits Black’sopen skirt to reduce Black’s territory, it alsoperforms valuable duty in solidifying White’sbase. If White does not play here, Black canchoose from among Black A, B, or C, drivingWhite out into the center where he will have toplay on dame (neutral) points just to escape.

B 1 CD A

Diagram 2:Large Knight’s Move

The large knight’s move slide is much the sameas the small knight’s move slide. However, it is abit more ambitious and a bit thinner as well. Forexample, after Black defends at A, he has afollow-up with the placement at B. Crawling oncemore with White C removes the threat of theplacement, but ends in gote.

Before White plays Z! , Black D would be a bigmove that looks to attack.

F E C 1 3D B A 2

Diagram 3:Diagonal Slide

There is also a shape in which White slides withthe diagonal jump to Z! , leaving behind a loopholein his own position. This shape is useful whenWhite would rather not solidify Black’s right sidewith White A, w2, White B, Black at Z#. Instead

of w2, if Black B, then White C. Instead of Z#,White could conceivably play elsewhere. How-ever, without Z#, then Black B, White C, Black D, White E, Black F is a severe attack.



175

Problem 5: Hanging Connection

White to Play

When you have a choice of ways to live, analternative that gives you a somewhat biggerspace while creating weaknesses for your

opponent is better. Likewise, it is better tochoose a way to live that does not causeproblems for your other groups in the vicinity.

BC

3

D1 2

A

Diagram 1: Tenuki

The corner is alive even if White does not playthere. White can play a move like Z! to reinforce

the upper side. But then Black can capture twostones in sente, which means that White can nolonger aim for the cutting point at A, and besidesthe loss of territory is too big—this is not promis-ing for White at all. If White lives with Z#, Black can still force with B. Instead of Z#, if White C,Black can start a ko later with the atari at D.

BC

6 5 34 2 1

A

Diagram 2:Lives, But Loses Points

The connection at Z! is sente. w4guards the cut-ting point at A while also attacking, an attempt torecover the loss incurred by letting White live inthe corner. In this shape the descent to Black B issente (threatening C), and this has a big effect onthe fighting on the upper side.

Instead of Z! , Z# or White at w2 would lead tomuch the same result.

A CD B

E

6 5 3 14 2

Diagram 3:Z! is the tesuji.

Crouching down to defend the two stones withZ! is the correct shape. If we then follow the samesequence as before, even if Black plays Afollowed by the attachment at B, White lives withWhite C, Black D, White E.

This small finesse in living in the corner com-pletely neutralizes the descent to Black A, whichis otherwise a rather unsettling forcing move.



243

Classic Game 2:Meijin Inseki’s Masterpiece

Game Record 21706

White: Inoue InsekiBlack: Honinbo Dochi

Dosaku’s disciple KuwabaraDosetsu became the head of the

Inoue family and became thethird Inoue Inseki. The secondInseki (Yamazaki Dosa) had beenDosaku’s younger brother.

Dosetsu Inseki later becameMejin Godokoro (Minister of Go)and so is called Meijin Inseki. Heassembled a history entitled Dengonroku (Record of OralHistory) as well as a book of lifeand death problems, Hatsuyoron ,and spent considerable effort intraining Dosaku’s heir, KamiyaDochi. During Dochi’s training

the two played a ten game match with Dochi taking Black in each game. Thetenth game is known as Inseki’s Masterpiece.

In the game record, Black has just played the cross-cut at \ . White’s nextmove is a surprising one, and a forceful way to handle the situation.

C 9A B

D 7 8E

1 23 4 6

5

Game Continuation

With the extension to Z! , Whitesuddenly grabs the upper hand.Usually White would extend to A,

but after w2, White would face adifficult fight. Instead of w2, evenif Black pushes through at Z&, fol-lowed by White A and Black B,White plays C and now Black needs to play D, so White can sealhim in with White at w2, Black E,White at w6. This would not begood for Black.

With Z( , White finds a stylish wayto live.



16

Game Example 1:Attachment12

7 96 54 32 1

8

A

11 10

Game Record 1Go Seigen vs. the Young 8 dans

White: Go SeigenBlack: Shimamura Toshihiro

Occasionally you can omit anextension along a side and attachto a stone of your opponent’s,with the aim of making his

position overconcentrated. Thisis a fast way to play.

The attachment at Z !is an imag-inative move. Black crawls,starting with w 2, after which w 8is the key point. White considersthat he has converted the corner into territory, while Black’sterritory on the side is not solarge because White can still playthe slide to A. The result is aboutequal.

There is nothing glaringly wrong with enclosing thecorner with Z !, but the checking extension to Black Awill be severe, and Black B is still a good point.Meanwhile, if White plays elsewhere instead of Z ! ,the approach at Black C is a perfect point.

31 2

4

Variation 2:The Issue in the Center

Instead of w 8 in the game record, if Black plays for territory with w1and w3, the hane at Z$ stifles Black’s

position in the center. With such large scale influenceas a base, White has freedom to choose any strategyhe likes. w 8in the game record is a clearer way to

play—it lets Black take sente and play first on theremaining large opening points.

A

C1

B

Variation 1: Leisurely



87

T ESUJI FOR INVADING

An invasion is a technique for destroying potential territory. It is the obverseof surrounding, but as a technique it has more of the characteristics of fightingthan of opening play. An invasion is often played in association with a tesujito link up, or a tesuji to develop into the center, and in that sense an invasionis often a tesuji that makes multiple threats. As invasions take away territory,they also steal the opponent’s base. Therefore, an invasion is often a tesujithat launches a fight.

First let’s look at some examples of key invading points in the corner and onthe side.

1

Diagram 1: 3-3 Point

The key point in the corner is the 3-3—hence the proverb “if the 3-3 point is open, there is a move

there.” In star-point openings, it is rare that thecorner territory is protected in the opening. If youenter at the 3-3 point, you can usually destroy thecorner territory easily. However, you will also

probably get sealed into the corner and your opponent will gain thickness outside; the correctness(or otherwise) of this invasion can only be judged

by looking at the whole board.

1

Diagram 2:3-3 Point from the

Inside

This is a tesuji that jumps into the middle of anarea your opponent has surrounded, making miai

of running out or diving into the 3-3 point. Choosethis option when playing the 3-3 directly would

be too cramped or could lead to damage to some position or positions on the outside. However,your opponent has a choice of defending thecorner or of sealing you in—if either of these is

particularly effective, this technique is not good.

1

Diagram 3:3-3 Point from the Outside

From outside the area your opponent has sur-rounded, you make miai of diving into the 3-3

point or developing. This idea could also becategorized as a tesuji to draw near.

In general, moves that aim at an open corner fromthe side are played low; in cases in which being pressed low would be disadvantageous, youshould probably consider something else.



120

T ESUJI FOR R EDUCING L IBERTIES

Tesuji to reduce liberties can be broadly divided into two categories—thosewhose main idea is to take away resilience in your opponent’s shape, andthose that sacrifice. Nearly all of the examples of sacrifices consist of addinga stone to a stone on the second line in order to sacrifice both, but tesuji totake away your opponent’s resilience take a number of forms, and can behard to find. In particular, in capturing races in which there are internalliberties, it is easy to fall into the trap of focusing so intently on taking awayyour opponent’s liberties that you inadvertently take away your own. In acapturing race, you need to save internal liberties, and ko captures, for thevery end.

1 23

Diagram 1: Throw-In

One fundamental technique for reducing libertiesis to sacrifice with a throw-in. The basic principleis that, in sacrificing Z! and forcing Black to cap-ture with w2, you compel Black to come in contactwith | , in effect reducing a liberty.

Instead of Z !, if White just routinely gives atariat Z #, Black at Z ! gives Black four liberties. In-stead of Z !, if White at w 2, Black connects at Z ! ,again with four liberties.

3 BD 1 A

2C

Diagram 2: Attachment

The belly attachment at Z ! is a classic exampleof a key point for resilience.

No matter where else White plays, Black wouldwin by playing at Z !, but if White takes this key

point, he wins by a move.

Instead of Z !, if White simply plays the hane atZ #, then after Black at Z !, White A, Black B,White C, Black D is fine.

3 2 1

A

Diagram 3: Hane

Resolving the shape with the hane at Z !is goodmove order. By threatening to link up, Whiteinvites Black to take away his own liberty withw 2. After blocking with Z #, White wins by onemove. Playing conventionally, this would be a

race of three liberties against four; Z !turns thetables.

Instead of Z! , if White plays the hane at w2, Black blocks at Z !, and after White A, the capture byBlack at Z #takes away a white liberty.



157

Problem 4: Bad Shape

White to Play

Black is threatening to link up in two differentways. White needs to find some way to stopone of these threats in sente. This position isfrom GuanziPu .

4 1 3 B C2

A

Diagram 1: Miai

If White A, then Black B. If White B, then Black A. There is only one possible way to preventBlack A, so White’s only hope is to find a goodway to stop Black B.

However, the placement at Z !doesn’t provide areal solution when Black plays w2and w4. Insteadof Z ! , if White plays the hane at C, Black linksup with Black A and it’s over.

2 1 A 3B

54

Diagram 2: Making aKo

White can make a ko by playing the hane at Z !and, after w 2, playing a hane at Z #, taking advan-tage of the special properties of the corner. If w 4,White gives atari with Z %and we have a ko.

However, instead of w 4, of course Black will firstcapture the ko once. Also, the connection at Black B will serve as a ko threat. Winning this ko willnot be easy for White.

7 6 5 A 32

14

Diagram 3:Z !is the tesuji.

Starting by making the ugly shape with Z !is thecorrect sequence. After forcing Black to connectat w 2, White plays the hane at Z # to prevent Black from linking up. After Z %and Z &, White is two kothreats better off than in the previous diagram.This difference can be enough to decide the out-come of a game.

Note that White can end this ko by connecting atA—this is a direct ko.



177

Problem 4: Empty Triangle

Black to Play

Black has a gote eye along the side, so in order to live he needs to make an eye in sente in thecenter. Where is the key point to alleviate hisshortage of liberties?

6 3 A

2 4 5 1

Diagram 1: Inside Cut

The intent of w 1is to first solidify the eye on theside while waiting to see how White will attack.The cut inside at Z @is the key point. If w 3, thenZ$ and Z ;̂ instead of w3, if Black at Z$, then WhiteA. Either way, Black dies.

Instead of w 3, if Black at Z ^, White A threatens both to capture in a snapback and to connectoutside.

A1 3 6

2 4 5

Diagram 2:Reinforcing the Center

It follows then that Black needs to make an eyein the center in sente, but if Black just plays w 1toexpand his area, he is once again cornered by thecut at Z @.

Instead of w 1, if Black A, then Z $. Instead of w 1,if Black at Z $, then White at w 1, threatening tonext steal the eye with White at w 3.

3 1 2

Diagram 3:w 1is the tesuji.

It seems to be giving ground, but the emptytriangle at w 1is the key point. If Z @, w 3lives witha bent four shape. Instead of Z @, if White pushesin at w 3, Black can ignore him and just secure theeye on the side.

w 1falls on the key point for the \ stones that areshort of liberties—the “mid-point of three stones.”



215

T ESUJI FOR USING SHORTAGE OF L IBERTIES TO L IVE

Living by exploiting your opponent’s shortage of liberties, or by alleviatingyour own shortage of liberties—these themes arise when the stones for bothsides become entangled in close combat. In some cases, there may be relatedcapturing races you need to read out. In these situations, lines of play thataim to make eye shape or to expand living space do not work. You need tofocus on shortage of liberty situations for yourself and for your opponent.There are quite a few situations in which the key point turns out to be rather unexpected, and the success rate of taking a somewhat circuitous route ishigh.

51 3

2 4A

B

Diagram 1: Angle Wedge

The sequence of w 1through w 5is a procedure tomake the eye creating move at Black A an atari.

If Black plays any other move, then when Black plays A, White can play the thrust at B, and Black will be unable to exploit White’s weakness

because Black himself is short of liberties.

3 A1 C 2

D B

Diagram 2:Empty Triangle

It may seem as though w1has no value, but in factit is the only way to alleviate Black’s shortage of liberties. Once you play this move, it becomes ap-

parent that Z @and w 3are miai .

Instead of w 1, if Black at Z @, White can play theangle wedge at w 1, and Black dies after Black A,White B. Instead of w 1, if w 3, then White at w 1,Black C, White D, and there is no way for Black to live.

5

A 321

4

Diagram 3:Descent to First Line

After Black creates a three stone group to sacrificewith w 1, Black has two forcing moves— w 3andBlack A. Instead of w 1, if w 3, then White at w 1;instead of w 1, if Black A, then White at w 1, andthere is no way for Black to live. Gripping Black’sstones from below by White at w 1is a good movethat alleviates the shortage of liberties of White’sthree stones, so Black plays w 1to eliminate thisresource.



105

Problem 12: Attachment and Descent

Black to Play

This is a famous position from Xuanxuan Qijing(GenGen Gokyo in Japanese). With a subtlesequence, Black increases White’s shortage of liberties while relieving his own.

6 52 1 3 A

4

Diagram 1: Alive

There is no doubt that the attachment at w1 is avital point. White is forced to play Z@, and Black

links up with w3and w5. However, it is not enoughto kill White after White forces with Z^ followedby A.

Instead of w1, if Black crawls to w5instead, Whitegives way at w3and lives. Instead of w1, if Black tries jumping in at Z^, White lives at w3.

A 5 3

4 1 62

Diagram 2:Links Up on the Edge

For the time being, w1 is a vital point. Instead of Z@, if White blocks Black’s retreat at w3, the cutat Z @is decisive. However, after Z @, if Black rushes to play w3, White lives neatly with Z$ andZ^. The atari at White A is forcing so the eye onthe side cannot be taken away.

Rather than linking up, Black should exploitWhite’s shortage of liberties.

3 AB 5 1 4

2

Diagram 3: w3and w5are the right order.

Black plays the descent to w3, looking to respondto White A with a play at Z$. If White plays Z$ tosolidify his eye in the center, Black next pushesin once with w5. Now if White B, Black links upat A, and this time White’s eye on the side isruined.

Instead of Z$, if White at w5, then Black at Z$,ruining White’s eye shape while linking up.



183

Problem 5: Diagonal Move

Black to Play

7 1 5 43 2 A

8 6

Diagram 3: Greedy

When you capture stones, some ways to captureare more profitable than others. That said, if you are too greedy, you may suffer a reversal,

so you need to read the situation out completely.This position is from Gokyo Shumyo .

B 2 A3 1

Diagram 1:Loses Two Points

If Black plays the hane at w1, there is no questionthat the white stones are captured. That said, it is

painful to be forced by the hane at Z@. Instead of w3, even if Black blocks at A, after White B, Black will still need to defend at w3. For White’s part,(after w1) there is no chance for him to wigglefree by moving the captured stones with a play atw3.

2 3 1


After the diagonal move at w1, the three whitestones are captured. Even if White forces withZ@, Black defends with w3. This shape is clearlysuperior to the previous diagram by two points.

Because this is a more ambitious way to captureWhite, it grants White a considerable number of ko threats, but it would be unbearable to give away

two points.

The hane at w1 is too greedy. After White playsthe diagonal attachment at Z@, Black loses thecapturing race. Instead of w1, even if Black justdescends to w5, he still loses the capturing race

after the diagonal attachment at [email protected] w1, Black is hoping for a block by White atw7, followed by w5, White at w3, and Black A, butthat is not likely to come to pass.



Tesuji for Forcing Removal

206

These are tesuji in which you force your opponent to remove stones by winninga capturing race. In order to take the stones off the board, your opponentneeds to play extra moves—when these fall inside what should have been

your opponent’s territory, you gain points.The basic ideas behind these tesuji are to maximize the liberties of the stonesthat will be captured, or to prevent your opponent from making an eye, etc.They require a sharp eye for the resilient shapes. These tesuji are not showy,but they are effective.

B 1 3 4A 2 C

Diagram 1: Placement

White makes the placement at Z! and forces the

exchanges through w4. Doing this means Black will need to play both A and B, giving Black aterritory of five points. If White does not makethese exchanges, Black will defend at w2and havesix points of territory. A couple of simple forcingmoves gain White a point. Instead of w2, if Black at Z#, then White at w2 and Black C lead to ako—this is trouble for Black.

C 3 B 4 1 DA 2

Diagram 2: Placement

White makes the placement at Z! , and has alreadymade a profit after forcing with the hane at Z#.Instead of Z! , if White just plays the hane at Z#,Black connects at A. Eventually Black B andWhite C will occur, so Black will have sevenpoints of territory. However, with Z! there, Black will have to capture at D and will have only sixpoints. If White can make the connection at Cbefore Black D, Black will get only five points.

A B 34 1 2

Diagram 3: Attachment

After White attaches at Z! , Black needs to playw2and w4in order to live unconditionally. In thisshape, Black will eventually need to capture thetwo stones to avoid a seki, so we can consider

that Black has six points of territory. Instead of Z! , if White first plays out White A, Black B,then when White attaches at Z! , Black has a gooddefense with a clamp at Z#—Black will get sevenpoints of territory.



Classic Game 2:Game-Reversing Tesuji

Game Record 21653

White: Yasui SanchiBlack: Honinbo Sanetsu

After the death of Sansa, lead-ership of the Honinbo school

passed to the young Sanetsu,who was instructed by the Mei-

jin Godokoro Nakamura Doseki.In later years, Sanetsu applied tobecome Meijin Godokoro, butYasui Sanchi II objected and achallenge match ensued.

However, that six game matchwas played at the rate of onegame per year. There are present-ly some who doubt whether thiswas a true challenge match at all.It is also unclear under what

handicap the match was played, but in any event the sixth game was playedwith Sanetsu taking Black.

White has just linked up with | , and Black’s stones on the left are threatened.

Game Continuation

5 46

7

8

A 2

1 13 14 12

11 9 15 310 16

The descent to w1 is a brilliantmove. Instead of this move, if Black A, Z* kills uncondition-ally. After the sequence throughZA O, the result is a ko, but Whitehas no adequate ko threat.

It may have been during thisgame that Matsumoto Higono-mori, who was watching thisgame, said “the Honinbo has alosing position” in response towhich Sanetsu said “go is my

way of serving the Shogun” andredoubled his efforts. The sixgame match ended in a draw.

0201 Tesuji Dictoinary Selected

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