3-4 point, 5-4 approach, one-space low pincer, moving out

    Keywords: Joseki

Table of contents Table of diagrams
Moving out
Moving out
Joseki
Follow-up
Alternative joseki
Joseki
Joseki
Old joseki
A new variation
Cho Hun-hyeon's line
Cho Hun-hyeon's line (continuation)

BQM209
[Diagram]

Moving out

Black seems to have two standard answers: the extension to a and attaching with b according to Ishida's Joseki Dictionary. Essential Joseki by Rui Naiwei shows c as a possible Black response to W1.


1.1. Extension

[Diagram]

Moving out

White can now attach at a or press at b.

AJP: I was stunned to find that Kogo's lists a as inferior for white. See [100].

Bill: Since when is Kogo's authoritative? A quick search on GoBase does not seem to support that assertion.


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.

[Diagram]

Alternative joseki

To avoid the ko above, some people choose to play B9 here instead. This way, White does not have the follow-up which leads to the ko, but White gets to play the large endgame move at a in sente.


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.

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

[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.



This is a copy of the living page "3-4 point, 5-4 approach, one-space low pincer, moving out" at Sensei's Library.
(OC) 2008 the Authors, published under the OpenContent License V1.0.
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