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No commercial distribution without permission. Contact [email protected] available at: http://waterfire.us/joseki.htm.
Copyright 2006-2007 by Andre Ay.Copyright 1998-2005 by Gary Odom.Portions copyright 2000-2001 by Stefan Verstraeten.Takamoku Produced with Moyo Go Studio: www.moyogo.com
1
The takamoku (high) point(5-4). With its emphasis oninfluence, the 5-4 pointcomplements the 4-4(hoshi) point in creating aninfluence-oriented fuseki.
White approaches with 'a *'or 'b'. White 'b *' is playedwhen Black has support atthe top.
After White play tenuki 'c',Black can choose a shimari.
There are several 5-4 trickplays, often involvingunfathomable reading, withpitfalls at any point. Somesimple variations of trickplays are covered here.
Black responds with 'a *','b *', 'c *', 'd *' to 'f *'.
Black 'c' is the mostappropriate response giventhe influence orientation ofthe 5-4, but also the mostcomplicated one.
'e' and 'g' are trick plays.Black 'g' takes thickness forcorner territory.
g7, f6, e5, d4, c3, b2, a1
White reponses continueswith 'a *' or 'b *'.'c' is a mistake.
White continues with 'a *'to 'c'.
Black continues with 'a *'.
If a Black extension such as'a' already exists, Blackcontinues with 'b'.Playing 'c' without having ais premature.
White continues with 'a *'or 'b *', or plays elsewhere('c *'). 'd' is a mistake.
* GOOD VARIATION *
Black may play elsewhere('a'). Black 'b' and 'c' arelocal continuations.
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Takamoku Produced with Moyo Go Studio: www.moyogo.com
2
Black plays elsewhere.White can press with 'a','b' or 'd'. White 'a'emphasizes the right side,while 'b' and 'd' are purereduction moves.
White 'c' can be played ifWhite values the top.
Black can protect at 'a' or'b'.
White plays 9 with supportin the top-left corner.
A Black extension to thered dot before White 10 isa first-rate fuseki point.
Black continues with 'a'.Black should not ignoreWhite 10 by playing
elsewhere ('b').
White 20 can be considereda forcing move.
Black ignores White'schecking extension, amistake.
White invades.
Black continues with 'a',and lets White connectunderneath. Black 'b' isunreasonable.
Black 11 is unreasonable.
White 9 is a simplereduction move.
Black 11 is a tesuji at thevital point of White's shape.
* GOOD VARIATION *
White plays elsewhere.
Black continues with 'a' or
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3
'b *'. Black 'a' aims forinfluence, while 'b' aims tobuild a presence on theright.
White continues with 'a' or'b'.
White continues locally with'a', or switches elsewhereagain ('b').
White plays elsewhereagain.
Amazingly, White playselsewhere again.
Black continues with 'a'.Black 'b', making a falseeye, is not recommended.
There is still a cutting pointin Black's outside wall. Thisoutcome should not favorBlack (with three Whitemoves elsewhere).
Black should not play 20here unless White can bekilled.
Black 21 is a possiblecontinuation.
White continues with 'a'.White 'b' does not work.
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4
White 24 is a mistake.Black continues with 'a'.Black 'b' is a mistake.
Black's double contact playis a tesuji.
Black 24 is a mistake.
Black 8 emphasizes theright side.
White continues with 'a *'or 'b'.
'A *' is correct, 'B' is a trickplay which is notrecommended.
White continues with 'a *'or 'b'.
Black continues with 'a *'.Black 'b' is a mistake indirection.
'A' is correct, 'B' is amistake.
Black continues with 'a *'.Black 'b', 'c' and 'd' areunreasonable.
* GOOD VARIATION *
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5
'A' is less bad than 'B'.
Black may be better off attop, but the original aim ofbuilding the right side isruined.
Black 12 is change indirection from emphasis onthe right, and as such amistake.
'A' or 'B'.
'A' is correct, 'B' is gettingtricked.
'A' is correct, 'B' is gettingtricked.
'A' is correct, 'B' is amistake.
The triangled stone is nowtoo near to the wall.
Still a cut on A.
White 9 is an emergencymeasure, and notrecommended as anordinary play. White is toolow.
Black 'a', keeping Whitelow, is good enough. IfBlack wants to play tough,'b'.
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6
Black plays 7 when Blackalready has support at topas shown.
White has been had. Thisvariation demonstrates whyWhite enters at the 3-3point rather than play the3-4 when Black has anextension at top as shown.
'A' or 'B'.
White 6 is a strategy whenBlack has the lower rightcorner and White wants tomake a significantextension to the lower side.
White plays 6 when Blackalready has an extensionas shown.
Black continues with 'a', 'b*' or 'c *'.
Black continues with 'a' andends in sente. Black 'b' isnot recommended, as Black
gets a narrow extensionand ends in gote.
Black 7 results in a narrowextension and ends in gotefor Black.
Black 9 nine is one spacetoo close.
White continues with 'a *'.White 'b' is a mistake inorder.
Black continues with 'a' or
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7
'b *'.
White 10 is a continuation.
* GOOD VARIATION *
Black plays elsewhere.White continues with 'a' or'b'.
White 6 is a mistake inorder.
White continues with 'a'.White 'b' is a mistake.
In Comparision with theresult with 5-1-1-2-2-1,one can see, that after themistake White 6, there isnow no aji of connectingWhite 8 to 4.
White 10 is a mistake.
White is getting short ofliberties.
And the Black stones canconnect with 15.
Black continues with 'a *'.Black 'b' is notrecommended.
Joseki continues with 'a *'.White 'b' is from aprofessional game, but notrecommended.
White continues with 'a *'for influence, or 'b' to livepeacefully in the corner at
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8
a loss of influence.
* GOOD VARIATION *
White 12 gives a peacefulresult.
White continues with 'a'.White 'b' is unreasonable.
Next, Black playselsewhere. The markedcutting point is small early
in fuseki.
White cannot cut at 14.
White 'a' results in a ko,but the stakes are toohigh. White 'b' and Blackwins the fight outright.
Black has first shot at theko. White loses.
White can provoke a ko byplaying at the marked spot,but a White loss isinevitable.
White 10 was played bySakata Eio against RinKaiho in the 2nd game ofthe 1965 Meijin Title match.
Black gets a favorableresult.
Black continues with 'a'.Black 'b' is notrecommended.
White continues with 'a'.White 'b' is notrecommended.
White 14 is notrecommended. The corner
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9
ends in a seki. Black has afavorable position on theright, while the top equalsout at best for White.
Black must have the ladderto play this way. Even so,White gets a ladder blockmove in the lower leftcorner.
Black 7 is notrecommended. Black buildsthickness in gote, givesaway a large corner in theprocess, while White'spincer stone retains itspurpose.
White failed to establisheye-shape, Black got morepoints.
Black 3 aims to buildinfluence, but this couldalter. A favorable ladder forBlack is desirable, but notnecessary.'A' is correct, 'B' is amistake.
Black continues with 'a *',possibly 'b *'.
White continues with 'a *'(joseki).
After White 'b *', White islow.
White 'c' is not joseki.
Black continues with 'a *','b', 'c *' or 'd'.Black must have the ladderto play 'a'.
outcomes:
a1 - Black outside (Blackmust have the ladder)b2 - Black insidec3 - Fightingd4 - Black avoids basicpatterns, and may trickWhite
Black plays 7 to take theoutside. Black must havethe ladder to catch White 6to play this way.
* GOOD VARIATION *
Black must have the ladder.
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10
White continues at 'a' withjoseki. To play elsewhere('b') invites a loss. If Whitedoes it once, he might welldo it twice more, get a koand have good position onthe whole board.White 'c' is a mistake.
White plays elsewhere.
This is Black's continuationto try to seal White in, butWhite trades the corner forthe side with 'a'.
White 'b' is v

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