[Welcome to Sensei's Library!]

StartingPoints
ReferenceSection
About


Aliases (info)
SmallGap

Paths
Mistake

Referenced by
TooClose
BQM23
IntermediateDistance
63Point
AttackFromADistance
44PointJosekis
Reification

 

Small gaps
  Difficulty: Beginner   Keywords: Tactics

The small gap is a particular feature of double-figure kyu players' games, which stronger players instinctively avoid in most cases. It usually arises from some kind of play that is too close.

[Diagram]
Black plays poorly

Here's a typical sequence, in which Black is not doing at all well. There are several reasons for that. But look first at the result.


[Diagram]
So near and yet so far

Concentrate on the two BC stones. They are separated only by a diagonal jump; and yet WS cuts the communication between them extremely effectively.


[Diagram]
Too many cutting points

This kind of play, with B1, is rarely effective because White can make so many cutting points in Black's formation with the plays at a and b. After W2 creating further chances at c and d, it is unlikely that Black would kill White in a handicap game: too many possibilities for White.


[Diagram]
Widening the gap

Playing B1 here is the kind of play that in fact makes it easier for Black to attack successfully. If White a Black can choose b or c: in either case the fact that B1 is one line further away is helpful to Black.


[Diagram]
Still too close

If on the other hand Black doesn't understand the basic principle and plays B1 and B3, White will be able to cut. Black should be able to think of playing B3 at a instead.


[Diagram]
Still too close - continuation

This, for example, is an unreasonable fight for Black since White at a is now strong.


[Diagram]
So near and yet so far, again

Another way to get the feeling that Black has effectively forced White out through a small gap, is to consider this re-ordered sequence (tewari). In this case B1 (a raw peep), and the bad exchange B3/W4, are exactly doing that.

Charles Matthews


Bill: Just to add to that last paragraph, dividing your opponent's forces is strong (unless they are already strong). On top of that, the smaller the gap through which you push, the stronger the push that divides them. The basic reason for that is that it is easier for them to connect if you do not separate them. The driving tesuji makes use of this idea.


Discussion of initial sequence

[Diagram]
Better play

If black wants to attack the white stone, he should prefer to stay a bit further away from it. Black 3 (separating the two white stones) or black a (attaching against the stone one is 'not' attacking) are better ways to go about this. Another alternative is to exchange B1 for W2 to reduce white's options in the corner, and then splitting. However, white still has the option of invading at b in an attempt to sacrifice her two stones at the top.[1]


[Diagram]
Better play (2)

If black does play B1, go logic calls for black to cut at B3 next. The resulting fight is hard for both, but more so for white, so probably white has to give way by playing W8 at B9, allowing black to play at W8 and make a thick wall. - Andre Engels



[1] There is a modern joseki here.

[Diagram]
Joseki

Without the black stones nearby, up to W10 has become a joseki (post-Ishida). I haven't seen this in a book, just the variation with W6 at B7 to take central influence.

The interesting thing here, of course, is that W10 seems to contradict directly what is said earlier on this page.

Naturally there is a reason for this, in pro play. Black most often continues by capturing at a (honte) removing a possible shortage of liberties. Then White can play at b.

Charles



This is a copy of the living page "Small gaps" at Sensei's Library.
(OC) 2003 the Authors, published under the OpenContent License V1.0.