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4-5 point 4-3 approach inside contact tenuki
  Difficulty: Advanced   Keywords: Joseki

[Diagram]
White's tenuki

There is a well-explored family of tenuki joseki that are played when White ignores BC here to play elsewhere. There is also a related family when White replies, but with a play at the circled point.


[Diagram]
Black's moves

Black's common play when White plays tenuki (totally) is at a here; Black at b is also played, while Black at c is rather rare in pro games.


[Diagram]
Black's move at a

When B1 is played, White probably makes the W2/B3 exchange even if she intends to treat the two stones lightly after that. Then W4 or d is normal, or a play in the direction of e.


[Diagram]
Black's move at b

In this case White may answer at e or f, bringing up an order of play question that is still unresolved in current pro games where both are seen.


[Diagram]
Black's move at 'b': variation 1

In this case W4 is a kind of inducing move, and leaves behind some aji for White. White may or may not develop the three stones on the upper side next.


[Diagram]
Black's move at 'c'

This isn't common in pro play, but did occur in 2002 in a game Ryu Shikun-Honda Kunihisa.


[Diagram]
Black's move at 'c', continuation

This is the set continuation, with White declining the bait (B5) and making shape in the centre with W8 and W10. Next Black at p connects, and White needs to protect the cutting point somehow.



[Diagram]
Black's move at 'b': variation 2

Playing W2 this way allows B5 here, meaning that Black doesn't have to crawl. But the aji of W2 is more serious now.


[Diagram]
Black's move at 'b': variation 3

Dieter

Charles There are other variations here. W4 at B7 here is certainly known. W8 in this diagram is a Cho Hun-hyeon play.



[Diagram]
Black's move at 'b': variation 4

But these moves appear to be more common (B2 can also be played on the fourth line, at the marked point).



[Diagram]
White's transfer to the left side 1

In case W2 here is played, which might not be described as a genuine tenuki, B3 is somewhat more often chosen in pro games than a (though both are common); and it is natural for White to follow the pattern of variation 1 above.


[Diagram]
White's transfer to the left side 2

If Black plays the other way with B3, B5 to make good shape is a characteristic play, doing more to defend Black's eyes than a would, but clearly having less impact on the upper side group.

Charles Matthews



This is a copy of the living page "4-5 point 4-3 approach inside contact tenuki" at Sensei's Library.
(OC) 2003 the Authors, published under the OpenContent License V1.0.