Download e-book for kindle: 38 Basic Joseki by Kyoshi Kosugi, James Davies

By Kyoshi Kosugi, James Davies

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5. Here Black 1 and 3 are appropriate. Because of the nearness of Black Δ there is no sense in playing 1 at 2 to build a wall. Dia. 6. If Black pushes through and cuts, White will usually capture the cutting stone, making good shape on the outside. Black has the corner, but he also has gote. This is not bad for White—note the endgame point left for him at ‘a’. 56 Dia. 7. It is possible for White to resist Black 3 with White 4, but is not really so smart of him to do so. Even though he can fight a little bit on the outside with Δ, he will soon have to play ‘a’ to live in the corner.

3. Sometimes White plays 6 as shown here, so as to be able to play ‘a’ later. White 6 gets in the way of Black ‘b’. and so is suitable if White wants to build territory on the lower side, but it is not as solid as White ‘c’. By and by Black may annoy White by playing ‘c’ himself, aiming at ‘d’ in the corner. 32 Dia. 4. After the kaketsugi at 5 White need not always extend at ‘a’. In this situation he might choose to make a shimari at 7 instead. Dia. 5. Thinking of this, Black can play 6 and 8, (or 6 and ‘a’, or 6 and ‘b’), instead of just ‘a’.

White can still play ‘c’ later on to take the corner. Dia. 3. Instead of 8 in Dia. 2, White can play the double hane shown here if he likes. The sequence may continue this way, although 13 at ‘a’, (to take sente), and 15 at ‘b’ are other possibilities. White has a higher wall than before, but Black is also stronger, and he may be able to put Black 9 to use later. 45 White plays tenuki Dia. 4. If White lets Black have the next play after the basic joseki, then Black will play the tsuke at 1, and White 2 to 8 are the correct response.

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38 Basic Joseki by Kyoshi Kosugi, James Davies


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