3-4 point high approach, keima

  Difficulty: Intermediate   Keywords: Joseki
[Diagram]

Keima

This choice of B1 is very steady. Usually Black isn't planning any complex variations here, but to keep sente and create a solid position on the left side.

For pro use of this joseki, see the keima joseki in fuseki.

[Diagram]

White's reply

After that Black at a is the standard play. The pincer at b is quite a new development in joseki (though played by Takagawa 50 years ago). Occasionally Black plays at c, but this leaves an obvious weakness and bad aji near a. Black tenuki at this point is rare. (An example appears in one of the games in The 1971 Honinbo Tournament book. A rare case in which knowing a pro play can be detrimental.)

For White tenuki now, see 3-4 point high approach, keima, tenuki.

[Diagram]

Black's answer 'a'

After B1, the main line here, an extension to one of a, b and c is expected: which then ends the joseki. It seems that the tight extension at a has become more popular than c; the play at b will be made in connection with some overall consideration. White directly at d is also seen.

[Diagram]

Black's answer 'b' (1)

After B1 White commonly plays into the corner with W2, and B3 gives Black some sort of development on both sides.

Andre Engels: I cannot find any extension like B3 in my game collection. Black either connects at a, or plays tenuki.

Charles Two examples I have (Gogod) are Takagawa games from 1954 (as old as me). A recent one was Yoda Norimoto-Kobayashi Koichi 2002-02-18 in the Kakusei final.

[Diagram]

Black's answer 'b' (1.1a)

Nick Hoover: 3 is another reply for black that seals white into the corner and emphasizes the outside. 3 games on GoBase have this pattern.

[Diagram]

Black's answer 'b' (1.1b)

If white resists being sealed in and plays 2 at 3, then black can play 3 at 2 and white is left with a group without a base.

[Diagram]

Black's answer 'b' (2)

There is also a fighting line, set off by W2. After some moves on the outside, Black goes back to a to live in the corner.

[Diagram]

Black's answer 'c'

After B1 this way, W2 is normal. Possibly White plays at a. After that an extension along the left side is very big for Black.


transposition: BQM 246


Charles Matthews


[Diagram]

Cut cut cut

For the discussion of this move, see 3-4 point high approach, keima, attachment, cut


[Diagram]

18-19k reaction

rokirovka: I played this joseki twice as White recently at the 18-19k level, and both times Black reacted with B2. I transposed to hane at the head of two stones with W3, Black played hane with B4, and I stretched with W5, happy to let Black push along the 5th line as I push along the 4th line. Is this the correct play for White?

From here the two games developed in very different directions. In the first game Black backed off and played at a, I extended to b, Black replied at c, and I played elsewhere.

MrTenuki: B2 is usually a mistake. According to the Haeng-ma Tutorial For Beginners, B2 is what Koreans would call a Ja Choong Soo (literally, "self filling-up move"), a bad move that reduces liberties. Assuming that there are no other stones around, your W3 and W5 should be sufficient.

[Diagram]

The second game was more complicated. Black pushed with B1, I stretched again with W2, then Black played the challenging B3. I tried to pincer him with W4, he stretched out with B5, and I followed him with W6, cutting off his stones to the left. The point of W10 was to jump out with my group and not get hemmed in.

[Diagram]

With W4 I continued the plan of leading my group out into the center, and W8 essentially ensured the completion of the plan, for better or worse.


This is a copy of the living page "3-4 point high approach, keima" at Sensei's Library.
(OC) 2009 the Authors, published under the OpenContent License V1.0.
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