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34PointHighApproach

 

3-4 point high approach, two-space high pincer, ogeima
Path: 34PointHighApproachTwoSpaceHighPincer   · Prev: 34PointHighApproachTwoSpaceHighPincerOnePointJump   · Next: 34PointHighApproachTwoSpaceHighPincerOgeimaKajiwaraSVariation
  Difficulty: Dan level   Keywords: Joseki

[Diagram]
Ogeima

This is the major variation. W1 here was invented by Fujisawa Kuranosuke.


[Diagram]
Main line

B6 here is now almost always played: the alternatives at a and b are nowadays considered to be inferior. The continuation with W7 at a gives Black too much in the way of outside influence (see below).

There is also Kajiwara's variation with B2 at B4. There is also Cho Chikun's variation where White plays W5 at c.

Black's tenuki after W1 has been seen in pro games: 3-4 point high approach two-space high pincer, ogeima, tenuki.


[Diagram]
Main line (continued)

The normal moves are as shown here, completing the joseki. For a while the relative timing of the W1/B2 and W3/B4 exchanges was considered a critical issue[1], but (it seems) no longer. B2 at b is a variant which is stronger in the corner. The exchange of W3 for B4 is a loss for White, as it greatly weakens the aji of his solitory stone, but it means that W5 indirectly covers the cutting point at c. B6 is of course not played if Black already has a stone in the area.


[Diagram]
Variation

W5 can be played here instead, provided the ladder works for White. The first time it appeared (perhaps) was in a game between Miyazawa Goro and Ishikura Noboru. Can the latter therefore be considered to have invented the variation ?


[Diagram]
Variation (continued)

As far as I (Dieter) understand, there are two issues in this joseki:

  • Will Black be able to make up for the local loss by playing effective ladder breakers for the ladder at a (which obviously works for White, or else she wouldn't play 1 in the previous diagram)?
  • Will Black be able to close off with b and cooperate well with the upper left ?


[Diagram]
Vulgar

W1 here is considered vulgar. White seems to end in sente, but if she takes it, Black can play Black a-White b-Black c-White d in sente, completely enclosing White in the corner, The result is considered better for Black.



[1]

[Diagram]
Critical line?

This is a possible critical line for the supposed timing issue. W1 before W3 is natural, simply because W3 is locally a bad play, weakening the marked white stone (it is only played at all to strengthen White's cutting point). The question is, what if Black now plays B4 to cut, the shape to the right having been fixed by W1/B2?

This position has occurred in a game, Cao Dayuan vs. Sakata Eio 1987-04-27.


[Diagram]
One critical line

After these plays and White a, Black b, White c, White has died inside and has much influence outside.


[Diagram]
Another critical line?

Another possible critical line occurs when White pushes in the centre first, as here; and Black makes the bamboo joint B2 to thwart White's later play in the corner (now if White a, Black b and White has less eye shape). That invites W3 and induces the cut B4.

This was played in a Korean game (Seo Neung-uk vs. Cheong Su-hyeon 1990-12-07); variations are given in Jungsuk in Our Time.



Dieter: May I point to Deviating From Joseki In Games 1.


I have a question to this variation of the 34OneSpaceHighApproachTwoSpaceHighPincerOgeima?. Answers are welcome.

[Diagram]
Joseki or not?

Is B4 a joseki move? If so, how does White deal with B5?


[Diagram]
Hashimoto's play

Charles Matthews B1 here is Hashimoto Shoji's move from 1975.


[Diagram]
Continuation

Now B1 at W6 is usual. Connecting with B1 here did occur in a game Sun Yiguo?-Li Chunhui? (amateurs in the Wanbao Tournament) 1995-01-13, with these plays to follow.


[Diagram]
Hashimoto's play - continuation

After W2 I expected B3, W4, B5. May be I have seen it as an example in IshidaSJosekiDictionary. Thank you for your comment. Hans


Authors:



Path: 34PointHighApproachTwoSpaceHighPincer   · Prev: 34PointHighApproachTwoSpaceHighPincerOnePointJump   · Next: 34PointHighApproachTwoSpaceHighPincerOgeimaKajiwaraSVariation
This is a copy of the living page "3-4 point high approach, two-space high pincer, ogeima" at Sensei's Library.
(OC) 2003 the Authors, published under the OpenContent License V1.0.