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NamedJoseki

 

3-4 point high approach one-space low pincer
Path: PincerPath   · Prev: 44PointLowApproachThreeSpaceHighPincer   · Next: 34PointHighApproachOneSpaceHighPincer
    Keywords: Joseki

[Diagram]
Low small pincer

There are four well-known answers to the low pincer BC.



Moving out with a, attaching to 3-4 with b and attaching to the pincer stone with c (see 3-4 point low approach one-space low pincer contact on top, by transposition).

Ishida says that d is experimented with. In fact it is more common now than c.



Bill: f has also been played.

Why is e bad? -- Migeru
The answer can be found below, at [1].

1. Moving out: kosumi

[Diagram]
Moving out

Black seems to have two standard answers: the extension to a and attaching with b.



1.1. Extension

[Diagram]
Moving out

White can now attach at a or press at b.


1.1.1 Attach

[Diagram]
Joseki

W8 is tesuji.


[Diagram]
Follow-up

White has an interesting ko to follow up with, if Black plays tenuki after the previous diagram. If Black a, White b makes a picnic ko. If Black c, White a is humiliating for Black.


1.1.2. Press

[Diagram]
Joseki

White gets influence along the left side and sente. Black's profit in the corner is considered superior locally, so W3 has to be effective in the context of the whole board.

See BQM34. Labelled 'obsolete joseki' in the Kobayashi Koichi Dictionary. B2 leaves bad aji here, W3 seems to be aji keshi therefore. Nowadays B2 is at a.


1.2. Attach

[Diagram]
Joseki

White can play a for central influence or b for preventing Black's connection.

Charles Matthews B3 at c is also joseki, a more recent idea and currently much more popular.

Dieter: Aha ! That is the natural move and I have been wondering what was wrong with it. Strange that that one is a more recent idea.


[Diagram]
Old joseki

The old joseki was this, with White playing tenuki after B6 despite the cutting point at c. If Black cuts there White treats the stones including W3 and W5 as disposable.


[Diagram]
A new variation

This is a variation with the 'new' B1 that has been played by top players. We probably assume Black wanted a framework on the left side here, making W4 an important point in the centre.


[Diagram]
Cho Hun-hyeon's line

This line has been played in a number of games of Cho Hun-hyeon (on the side of White).


[Diagram]
Cho Hun-hyeon's line (continuation)

White must continue to run out after W10, Black a, naturally. White has made a ponnuki on Black's 'framework' side. White has a quite thin development on both sides.



2. Attachment + cut

[Diagram]
Joseki

Black cuts at B2 and W3 is forced. Next there are the old continuation at a and a rather new one at b.

For B2 at b see lower down.



2.1. Stretch

[Diagram]
Extends

When Black extends, W2 wedge is tesuji.



2.1.1. Atari from above

[Diagram]
Joseki 1

This is one standard sequence. At W7, White can choose this peaceful variation: she can also turn at B10, depending on a ladder (see below). Black gets corner territory and influence on the left side. White gets influence on the upper side and sente.

John Fairbairn::Isn't this the wrong order of moves? Surely White defers W7 until Black has played B10?

Charles Matthews John is correct. The order of plays shown is a well-known mistake seen up to shodan level.


[Diagram]
Joseki 1

GoranSiska The correct order of moves is this one.



2.1.1.1. Hamete

[Diagram]
Kosumi

GoranSiska An interesting move (but hamete) that has potential use in some situations


[Diagram]
Kosumi continuation

GoranSiska Black trades the corner and some stones to get development on both sides.


[Diagram]
Kosumi non-joseki

GoranSiska An idea I had when I was about 2 kyu. Territorially the position is the same as in 2.1.1. Atari from above, but I felt that having B4 one line higher (then B10 in 2.1.1.) adds to the depth of the presumed black moyo on the left. At 1 dan level I discarded the "joseki". Will anyone care to speculate as to why?



[Diagram]
Variation: the ladder question

At W7 in the previous diagram, White can turn at W1 here. Everything depends on the ladder at B6.


[Diagram]
Variation: ladder question

If the ladder doesn't work for Black, instead of playing a he must extend at B1. After W4, there is a peaceful play for Black at b and a fight at a.



2.1.2 Atari from below

[Diagram]
Ladder question

Here, it depends on whether White can cut at a and capture the black stone in a ladder.

Charles Matthews See pushing battles in joseki 8 for a fuller treatment.


[Diagram]
Joseki: The ladder works for White

If the ladder works, Black submits with B1 and B3, getting a low position but keeping sente.


[Diagram]
The ladder doesn't works for White

I'm not too sure, but I think this variation is too good for Black. (variation by Dieter)


[Diagram]
The ladder works not for White

Black crawls on one side but gets ahead on the other (variation by Dieter)


[Diagram]
Variation at 3: two ponnuki

This variation occurs in the 11th Tianyuan title match, game four between Ma XiaoChun and Chang Hao. Locally, White's profit is considered better than Black's influence along the left side but Black takes sente.



2.2. Atari

[Diagram]
Joseki

Against B1 and B3, W4 is tesuji. An exchange takes place with Black taking corner territory and sente and White influence towards side and center. The result is considered slightly better for White locally but playable for Black in many circumstances.


[Diagram]
Not joseki

W4 here is not so good. The marked stone is under little pressure and Black will find it easy to dispose of the situation.


3. Attachment + hane

[Diagram]
Black plays on both sides

This is a well-established line too. Next White plays a (simple), or b, c which are both complex.

Recently there have been experiments with 4, also.



4. Tenuki

This is not a pincer that White can easily ignore: from the point of view of joseki and tenuki one can ignore White tenuki as a sensible continuation. It is played, though, in a small proportion of pro games. See 3-4 point high approach one-space low pincer, tenuki - the interesting point there is that Black's connection under isn't the most common way to play.

Authors


[1]

[Diagram]
1-space jump bad

Bill: W1 does not prevent the connection with B2, and is considered bad for that reason.

If White resists:


[Diagram]
Resistance is futile

[Diagram]
Resistance is futile (ii)

Through B10 White cannot live in the corner.


[Diagram]
Kosumi is good

With the kosumi present, Black cannot cut at the marked point after W7. --Dieter




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This is a copy of the living page "3-4 point high approach one-space low pincer" at Sensei's Library.
(OC) 2003 the Authors, published under the OpenContent License V1.0.