Modern Fuseki and Juseki Volume 1: Parallel Fuseki by Sakata Eio, Noninbo-Judan

By Sakata Eio, Noninbo-Judan

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Now Black will make a living form with the kosumitsuke of 3 and White naturally extends to 4. 45 Dia. 5: An old joseki After the kikashi of Black 1, Black plays the kosumitsuke at 3. This is an old joseki and after Black 3, White has the move of 4 which he may play. Dia. 6: White develops on both sides Following Dia. 5, Black plays 1 and 3 then captures the one White stone with 5. Now, in order to make himself stable, White captures Black 1 with 6 and 8, while Black stabilizes himself by playing 9.

Dia. 52: Good placement It is bad for White to extend to 4 because after the exchange of 5 and 6, Black fully extends with 7 making a good relation with the shimari in the upper right corner and so Black keeps the advantage of good placement. Next Play: How should White play? In conclusion, after Black plays 1, there is no other way except for White to cut with 2. Black 3 and 5 are natural. Where should White play 6? This is not difficult, as it is often seen in many games. 55 Fig. 4: (20-24) The ate of White 20 is the correct answer and this kind of move is useful in many instances.

We will now study the most common variations of this joseki. Dia. 1: Natural The intention of White is to play 3 when Black makes the kakari of 2 against White 1. After White 3, it is natural for Black to play `a' or `b'. 44 Dia. 2: White 1 is a move which places emphasis on the lower part of the board and especially takes into consideration the situation of White '. Situations such as this are often seen in actual games and Black must not tenuki. Dia. 3: Common It is common for Black to play kosumi at 1 and then jump to 3.

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