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B Q M 13
Avoiding Taisha Joseki
Suppose I want to practice taisha joseki. It seems to me that I have never played it in my life. And now I want to see what's in it. It is possible that I will like this type of fight. But my opponent plays 1. This is not any taisha. Taisha refers to White's play at the circled stone. B 1 is one of Black's options. -- BillSpight Usually I proceed
In the diagram white has a wall and black is low, so it is not completely unsatisfactory. In fact, it is joseki so far. Black should continue at 'a'. A White magari there is big. -- Bill But playing this several times suddenly I was enlightened and saw ...
... that basically white can play 2 here and try to develop at both sides of the black group. Is this better?
The position reached is a common result if white starts with a one point low pincer instead of playing taisha, so it's certainly an option to consider.
-- Matthew Woodcraft
As Matthew says W 2 in Dia 30 transposes to the low pincer. It is worth remembering that the low pincer ('a' here) is normally based on a W position in the upper right. On the other hand the Taisha ('b' here) is normally chosen based on a W position in the lower left. So the transposition should be used when W can benefit from such a significant change in strategy.
When we reach this far after W connects with the marked stone, Ishida calls the continuation shown here the basic pattern (although a lot of alternatives have been passed up to get to the marked stone and he gives 5 alternatives just to W 2!). With 6 (or 'a') W begins the main strategic idea of driving B down the board. For this to be fruitful W needs some help in the lower left. --DaveSigaty I think the above remark by Dave is actually 1000 times more valuable than knowing whether or not you are playing taisha. You choose your moves in the opening according to the stones already played, and applying basic strategic principles. If your choice happens to be one falling under the category "taisha" in your joseki dictionary, that's fine, and knowing the variations in order not to fall for any trick move, may be a powerful tool. On the other hand, if you want to play a move that feels right, but you can't remember having seen it in any joseki variation, so you play another move because that one does appear in such a variation, you have stopped playing Go at that very moment. --Dieter This is a copy of the living page "B Q M 13" at Sensei's Library. (C) the Authors, published under the OpenContent License V1.0. |