3-4 point high approach inside contact
Difficulty: Beginner Keywords: Joseki
![[Diagram]](../../diagrams/2/bee97d1bcd812f75a9e2a90128adb29c.png) | Joseki |
here is one of the most common of all joseki plays.
![[Diagram]](../../diagrams/42/b93bc3918af139bb5c7c9cc7ae98d500.png) | Joseki |
here is certainly expected. The nadare joseki can occur at this point if White plays at hoshi (a) in place of .
Although less common, it is also possible for white to play nobi at b in some cases, as this reverts to a variation of the 3-4 point distant high approach, corner keima joseki. This is sometimes done when white wants sente. Calvin
![[Diagram]](../../diagrams/45/45d1eabbfb49b18358e17e5b65ac04b6.png) | Joseki |
is usual. Playing at a was an innovation of Kitani Minoru, and still occasionally is seen in pro games: it implies a highly territorial attitude. See 3-4 point high approach inside contact, sagari.
![[Diagram]](../../diagrams/12/1e5cb756409efffef864357ac08b967b.png) | Joseki |
At this point White is expected to connect solidly with a or by a hanging connection at b. These are both standard plays and equally common; they have slightly different implications but in both cases White will extend along the top side next.
White at c is part of the Takemiya 'cosmic style' and is possible in the overall context of some strategies.
Another strategy that is sometimes seen, is for White to play tenuki at this point, usually in the upper right. White hopes to be able to clarify the position in that corner before deciding between a and b. Of course, this does run the risk that Black plays next in this corner, usually by cutting at a. See 3-4 point high approach, inside contact, tenuki variation.
![[Diagram]](../../diagrams/19/285e0f554df96daba8824923421fa1ef.png) | Joseki |
Assuming like this, is the standard modern play but at a and b are also quite possible.
The advantage of is that it finishes the position here in one play. at c leaves behind some weaknesses (Takahashi Shigeyuki (B) vs. Go Seigen 1936-04-14) and isn't now considered joseki.
White extends to 6 or d, or even one line further, in accordance with the needs of the position. That completes the joseki.
Playing as a pincer on the upper side is also possible as a special plan.
![[Diagram]](../../diagrams/39/bfccea029ecadb126394007858e376a7.png) | White's framework |
If is the hanging connection, is definitely to be played one line further away.
White's resulting formation is loose - deep invasion by Black is quite possible - but it has good prospects for future development.
There are numerous possible variants here. may be elsewhere, as in the previous diagram, but also the peep at a leading to some difficult variations if White resists, or the clamp at b (an oldish joseki).
[1] A special plan
![[Diagram]](../../diagrams/49/74d922ad045b551db51548f3342575c7.png) | A special plan |
Black can play at if White's extension frustrates Black plans at the top. White's compensation is to fence in Black and create substantial thickness. For both players, knowing how to handle White's thickness is key to playing this variation.
A word about : the connection can also be at a. is a little better than b. (Compare with getting ahead with a one-point jump.)
If Black plays atari at instead ...
![[Diagram]](../../diagrams/38/ef8318f498374f2bbf141c9864dd5da2.png) | A special plan |
... and capture a big corner. at a would be soft. The stone loses half its purpose.
![[Diagram]](../../diagrams/22/61eebc8cf7d3e839246185ddd5d661fe.png) | Soft |
here is also soft. Black plays a good empty triangle and White has either a cutting point (after White a) or bad shape (after White b)..
Authors
This is a copy of the living page
"3-4 point high approach inside contact" at
Sensei's Library.
2004 the Authors, published under the OpenContent License V1.0.
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