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Tesuji that Separate, that Prevent the Connection of the Opponent’s Stones
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, but
the 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 to
use 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 separating
that don’t locally require “tesuji” per se.
Diagram 1: Jump-Descent
A
2
Because Z! is high, w2 is the strong-
1 D est way to separate White. Playing
B E at A would give White sabaki (mak-
C
ing flexible shape lightly) chances
with B. Instead of w2, if C, White
can play at w2; or, if Black D then
White E fortifies a weak group.
Diagram 2: Solid Descent
A
If Black descends to A in this case,
1 2 White B is good enough to give
B Black trouble. In such cases, the
sideways bump with w2 is effective.
Black should bump the side he
doesn’t mind making stronger.
White to Play
B
This is a typical tesuji for making your opponent
1 A heavy. Black plays the diagonal attachment at w1,
3 2 forcing White to stand at Z@, then Black attacks
with w3. Just playing w3 first lets White jump to the
3-3 point at A—White is happy to make a trade
here. After the exchange of w1 for Z@, if White jumps
into the corner with A, Black descends to B. The
corner stones would be under pressure and the side
Diagram 1: heavy.
Diagonal Attachment
Diagram 2:
Pushing Along
Black to Play
B
A 4 2 3 C 6 8 Pushing and cutting directly with w1 and w3 leads
1 5 7 nowhere. White connects with Z$, and Black has
no good follow-up, so the cutting stone becomes a
gift. About the best Black can do is to force with w5
and w7 , but this does not make up for the loss
incurred by solidifying the upper side.
However, instead of Z$, if White A, then Black B,
Z$, Black C, leads to a ko.
Diagram 1: A Gift
8 4 5
Giving atari with w1 seems like erasing aji, but the
B 2 3 6 double hane with w3 and w5 creates new aji. White
1 7 can cut once with Z^, but then needs to come back
A
to defend at Z*. The profit in the corner remains up
for grabs.
Black has not disturbed the upper side, so pressing
with A or checking with B both remain powerful
possibilities.
Diagram 2:
w5 is the tesuji.
Black to Play
2
Bumping with w1 makes miai of the cut at A and
4 1 A the hane on top of White’s stone with w3. However,
3 descending to Z@ is quite large, and Black’s chance
to make an eye on the side is now completely gone,
so this is actually not so promising for Black.
One problem is that while w3 is forcing, there is no
clear follow-up move that makes shape for Black.
These black stones will likely come under attack.
Diagram 2:
Double Threat
F E
The diagonal attachment at w1 looks to play the
1 C hane at A next, so it demands a response. If White
G A A, Black continues the attack with B, an active way
D
B to play that attempts to remove the possibility of
White C while maintaining an attacking posture.
White may feel that standing with A is heavy, and
can instead try jumping to D, a lighter way to
manage the group that involves a ko after Black E,
Diagram 2: White F, Black A, White G.
Diagonal Attachment
Black to Play
B
C 2 If Black connects at w1 from fear of being cut, White
1 A
D can play the belly attachment at Z@, a tesuji to win
the capturing race. If Black A, White B.
It follows that in order to win the capturing race in
the corner Black will need to block at C. But how
can Black handle the atari at D?
Diagram 1:
Belly Attachment
5 3
1 D
After Z@, Black gives atari from the weak side with
4 w3, setting up a squeeze. Black links up and gives
C 2 atari again with w5. Reading out the finish after this
B
A is also important.
Instead of w3, if Black connects at Z$, of course
White can capture three stones with A. Instead of
w3, if Black gives atari at B, then Z$, Black C, White
D, and Black has not gained much.
Diagram 2:
w3 is the tesuji.
26
TESUJI FOR TAKING SENTE
Game situations often arise in which you are willing to take a bit of a loss
locally in order to take a big point elsewhere. There may be a proper move
available 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 play
elsewhere. But in cases where ignoring a local situation leaves you open to a
heavy blow it is necessary to take some sort of temporizing measure to soften
the blow. These are tesuji played in order to take sente. If you accept too
large a loss in order to get sente, the value of sente itself is lessened.
Diagram 2:
What White Wants
Black to Play
Diagram 2:
w1 is the tesuji.
A 3 1
It follows that White has no choice but to capture
2 with Z@, though the atari at w3 swallows up the
single white stone. After this, if White connects
B
the two stones and Black plays A, White needs to
play another move in the corner—otherwise
Black kills with B. This is miserable for White.
Instead of the hane at |, capturing with Z@ would
be a proper move.
Diagram 3: Sente
141
TESUJI FOR SOLIDIFYING A BASE
From the opening through the middlegame, whether a base can be taken away
or solidified is an extremely important issue. In many cases this requires
only basic techniques, hardly worthy of being called tesuji, but still you need
to learn certain defensive shapes to prevent attacks that would chase you out
into the center.
In creating a base, you should strive to make one that is as large as possible
with the best possible aji and at the same time to create weaknesses in your
opponent’s camp. In some cases, the issue will revolve around making shape
or getting sente. Let’s look as some fundamental examples.
F E C 1 3
There is also a shape in which White slides with
D B A 2 the diagonal jump to Z!, leaving behind a loophole
in his own position. This shape is useful when
White would rather not solidify Black’s right side
with 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
Diagram 3: D, White E, Black F is a severe attack.
Diagonal Slide
169
Problem 5: Hanging Connection
White to Play
B
C The corner is alive even if White does not play
3 there. White can play a move like Z! to reinforce
D the upper side. But then Black can capture two
1 2
stones in sente, which means that White can no
A longer aim for the cutting point at A, and besides
the 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,
Diagram 1: Tenuki Black can start a ko later with the atari at D.
B
C The connection at Z! is sente. w4 guards the cut-
ting point at A while also attacking, an attempt to
recover the loss incurred by letting White live in
6 5 3
4 2 1 the corner. In this shape the descent to Black B is
A sente (threatening C), and this has a big effect on
the fighting on the upper side.
Instead of Z!, Z# or White at w2 would lead to
much the same result.
Diagram 2:
Lives, But Loses Points
A C
D B
Crouching down to defend the two stones with
E Z! is the correct shape. If we then follow the same
sequence as before, even if Black plays A
6 5 3 1
4 2 followed by the attachment at B, White lives with
White C, Black D, White E.
This small finesse in living in the corner com-
pletely neutralizes the descent to Black A, which
is otherwise a rather unsettling forcing move.
Diagram 3:
Z! is the tesuji.
175
Classic Game 2:
Meijin Inseki’s Masterpiece
243
Game Example 1:
12 Attachment
7 9
Occasionally you can omit an
6 5 extension along a side and attach
4 3 to a stone of your opponent’s,
2 1
8
with the aim of making his
position overconcentrated. This
is a fast way to play.
The attachment at Z! is an imag-
A inative move. Black crawls,
11 10 starting with w2, after which w8
is the key point. White considers
that he has converted the corner
Game Record 1 into territory, while Black’s
Go Seigen vs. the Young 8 dans territory on the side is not so
White: Go Seigen large because White can still play
Black: Shimamura Toshihiro the slide to A. The result is about
equal.
A
There is nothing glaringly wrong with enclosing the
C corner with Z!, but the checking extension to Black A
1 will be severe, and Black B is still a good point.
B Meanwhile, if White plays elsewhere instead of Z!,
the approach at Black C is a perfect point.
3
1 2
Variation 1: Leisurely 4
1
This is a tesuji that jumps into the middle of an
area your opponent has surrounded, making miai
of running out or diving into the 3-3 point. Choose
this 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 the
corner or of sealing you in—if either of these is
Diagram 2: particularly effective, this technique is not good.
3-3 Point from the
Inside From outside the area your opponent has sur-
1
rounded, you make miai of diving into the 3-3
point or developing. This idea could also be
categorized as a tesuji to draw near.
In general, moves that aim at an open corner from
the side are played low; in cases in which being
pressed low would be disadvantageous, you
should probably consider something else.
Diagram 3:
3-3 Point from the Outside
87
TESUJI FOR REDUCING LIBERTIES
Tesuji to reduce liberties can be broadly divided into two categories—those
whose main idea is to take away resilience in your opponent’s shape, and
those that sacrifice. Nearly all of the examples of sacrifices consist of adding
a stone to a stone on the second line in order to sacrifice both, but tesuji to
take away your opponent’s resilience take a number of forms, and can be
hard to find. In particular, in capturing races in which there are internal
liberties, it is easy to fall into the trap of focusing so intently on taking away
your opponent’s liberties that you inadvertently take away your own. In a
capturing race, you need to save internal liberties, and ko captures, for the
very end.
One fundamental technique for reducing liberties
is to sacrifice with a throw-in. The basic principle
1 2 is that, in sacrificing Z! and forcing Black to cap-
3
ture with w2, you compel Black to come in contact
with |, in effect reducing a liberty.
Instead of Z!, if White just routinely gives atari
at Z#, Black at Z! gives Black four liberties. In-
stead of Z!, if White at w2, Black connects at Z!,
Diagram 1: Throw-In again with four liberties.
3 B The belly attachment at Z! is a classic example
D 1 A
2 of a key point for resilience.
C
No matter where else White plays, Black would
win 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 at
Z#, then after Black at Z!, White A, Black B,
Diagram 2: Attachment White C, Black D is fine.
White to Play
4 1 3 B C
2 If White A, then Black B. If White B, then Black
A. There is only one possible way to prevent
A Black A, so White’s only hope is to find a good
way to stop Black B.
However, the placement at Z! doesn’t provide a
real solution when Black plays w2 and w4. Instead
of Z!, if White plays the hane at C, Black links
up with Black A and it’s over.
Diagram 1: Miai
2 1 A 3
B White can make a ko by playing the hane at Z!
5 and, after w2, playing a hane at Z#, taking advan-
4 tage of the special properties of the corner. If w4,
White gives atari with Z% and we have a ko.
However, instead of w4, of course Black will first
capture the ko once. Also, the connection at Black
B will serve as a ko threat. Winning this ko will
not be easy for White.
Diagram 2: Making a
Ko
7 6 5 A 3
2
Starting by making the ugly shape with Z! is the
1 correct sequence. After forcing Black to connect
4 at w2, White plays the hane at Z# to prevent Black
from linking up. After Z% and Z&, White is two ko
threats 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 at
Diagram 3: A—this is a direct ko.
Z! is the tesuji.
157
Problem 4: Empty Triangle
Black to Play
3 A
1 C 2 It may seem as though w1 has no value, but in fact
D B it is the only way to alleviate Black’s shortage of
liberties. Once you play this move, it becomes ap-
parent that Z@ and w3 are miai.
Instead of w1, if Black at Z@, White can play the
angle wedge at w1, and Black dies after Black A,
White B. Instead of w1, if w3, then White at w1,
Black C, White D, and there is no way for Black
Diagram 2: to live.
Empty Triangle
5
After Black creates a three stone group to sacrifice
A 3 with w1, Black has two forcing moves—w3 and
2 Black A. Instead of w1, if w3, then White at w1;
1
4 instead of w1, if Black A, then White at w1, and
there is no way for Black to live. Gripping Black’s
stones from below by White at w1 is a good move
that alleviates the shortage of liberties of White’s
three stones, so Black plays w1 to eliminate this
Diagram 3: resource.
Descent to First Line
215
Tesuji for Destroying Eye Space
You play on your opponent’s key point to divide his area in two, defeating
his aim of making two eyes. Or, just as your opponent is on the verge of
making two eyes, you strike at the weak point and create a false eye. Killing
techniques all follow these fundamentals. What’s important is to develop the
power to discern the key point in your opponent’s shape. Make sure you
don’t become confused by shapes that appear similar on the surface but are
actually different. You can often apply the proverb “the opponent’s key point
is your key point” because your opponent’s move to live is quite frequently
the move you should play to kill.
Let’s start by looking at some examples of fundamental tesuji.
A 3 B 2 1
After White makes the placement at Z!, Black
dies. If w2, Z#. Instead of Z!, if White captures at
A, Black lives by blocking at Z#. Instead of Z!, if
White extends inward to Z#, Black captures with
B, threatening to either make two eyes in the
corner or to make a second eye along the side. Z!
is the solution, hitting the key point for dividing
Black’s area into two eyes.
Diagram 1: Placement
A
C 2 1 w1 is, among other things, the 1-2 key point. If
B Z@, w3 takes a liberty from the outside. Due to the
special characteristics of the corner White cannot
3
play A. If White plays B to avoid the snapback,
Black plays C, and White does not have enough
room to live.
Instead of Z@, if White B, Black can just quietly
play C.
Diagram 2: Placement
A 3 B
1 2
w1 attaches at the 2-2 point. Now if Z@, then w3;
instead of Z@, if White at w3, then Black at Z@—
either way, White dies unconditionally. Instead
of w1, if w3, then White at w1, Black A, White B,
and White lives by pinning Black down in the
corner. Instead of w1, if Black at Z@, then White
at w1. Instead of w1, if Black A, then White at w3.
Only w1 eliminates all White’s chances to struggle
Diagram 3: Attachment on with a ko.
45
Problem 12: Attachment and Descent
Black to Play
6 5
2 1 3 A There is no doubt that the attachment at w1 is a
4 vital point. White is forced to play Z@, and Black
links up with w3 and w5. However, it is not enough
to kill White after White forces with Z^ followed
by A.
Instead of w1, if Black crawls to w5 instead, White
gives way at w3 and lives. Instead of w1, if Black
tries jumping in at Z^, White lives at w3.
Diagram 1: Alive
A 5 3
4 1 6
For the time being, w1 is a vital point. Instead of
2 Z@, if White blocks Black’s retreat at w3, the cut
at Z@ is decisive. However, after Z@, if Black
rushes to play w3, White lives neatly with Z$ and
Z^. The atari at White A is forcing so the eye on
the side cannot be taken away.
Rather than linking up, Black should exploit
White’s shortage of liberties.
Diagram 2:
Links Up on the Edge
3 A
B 5 1 4
Black plays the descent to w3, looking to respond
2 to White A with a play at Z$. If White plays Z$ to
solidify his eye in the center, Black next pushes
in once with w5. Now if White B, Black links up
at A, and this time White’s eye on the side is
ruined.
Instead of Z$, if White at w5, then Black at Z$,
ruining White’s eye shape while linking up.
Diagram 3: w3 and w5
are the right order.
105
Problem 5: Diagonal Move
Black to Play
B 2 A
3 1
If Black plays the hane at w1, there is no question
that 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 wiggle
free by moving the captured stones with a play at
w3.
Diagram 1:
Loses Two Points
2 3 1
After the diagonal move at w1, the three white
stones are captured. Even if White forces with
Z@, Black defends with w3. This shape is clearly
superior to the previous diagram by two points.
Because this is a more ambitious way to capture
White, it grants White a considerable number of
ko threats, but it would be unbearable to give away
two points.
Diagram 2:
w1 is the tesuji.
7 1 5 4
3 2 A The hane at w1 is too greedy. After White plays
8 6 the diagonal attachment at Z@, Black loses the
capturing race. Instead of w1, even if Black just
descends to w5, he still loses the capturing race
after the diagonal attachment at Z@.
With w1, Black is hoping for a block by White at
w7, followed by w5, White at w3, and Black A, but
that is not likely to come to pass.
Diagram 3: Greedy
183
Tesuji for Forcing Removal
These are tesuji in which you force your opponent to remove stones by winning
a capturing race. In order to take the stones off the board, your opponent
needs 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 stones
that 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 4
A 2 C
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 a
territory of five points. If White does not make
these exchanges, Black will defend at w2 and have
six points of territory. A couple of simple forcing
moves gain White a point. Instead of w2, if Black
at Z#, then White at w2 and Black C lead to a
Diagram 1: Placement ko—this is trouble for Black.
C 3 B 4 1 D
A 2
White makes the placement at Z!, and has already
made 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 and
White C will occur, so Black will have seven
points of territory. However, with Z! there, Black
will have to capture at D and will have only six
points. If White can make the connection at C
Diagram 2: Placement before Black D, Black will get only five points.
A B 3
4 1 2 After White attaches at Z!, Black needs to play
w2 and w4 in order to live unconditionally. In this
shape, Black will eventually need to capture the
two 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 good
defense with a clamp at Z#—Black will get seven
Diagram 3: Attachment points of territory.
206
Classic Game 2:
Game-Reversing Tesuji
255