Play Better Checkers and Draughts 1872796192, 9781872796192

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QRRRRRRRRS TEA1EA2EA3EA4U QRRRRRRRRS TA5EE A6A2 EE A7A3 EEA4 8EUU TEA1 TEA9 EE A!A7 0EE A!1E8E A!U2U TA5 EA6 T !3EEA! !4E0E A!A! 5E1EA! !6E2UU TEA9 !8E5E B!9E!6EU@0U TTE!3E !7E!4EA! TB@1E!7E B@2E!8EB! @3E9E B@4E@0UU TE TEB@ 5E2E B@6E@3E B@B@ 7E4E B@U8U TB@ 1EB@ TB@9E5E B#B@ 0E6E B#B@ 1E7E B#B@ 2E8UU TEB@ VWWWWWWWWX TB@ 9EB#0EB#1EB#2EU VWWWWWWWWX

By Richard Pask By Richard Pask

DEDICATION DEDICATION To ‘the big three’: Dr Marion Tinsley, Walter Hellman and Asa Long. To ‘the big three’: Dr Marion Tinsley, Walter Hellman and Asa Long.

NOTE: Purely as a matter of convention, male pronouns are used throughout this book. NOTE: Purely as a matter of convention, male pronouns are used throughout this book. Limited Edition of 60 signed, numbered hard copies. Published by Checkered Thinking Limited Edition of 60 signed, numbered hard copies. © Richard 2004 Thinking Published byPask Checkered 1 872796 19 2 ©ISBN Richard Pask 2004 ISBN 1 872796 19 2

CONTENTS Chapter 1: Introduction

Page 5

Chapter 2: The Endgame

Page 9

Chapter 3: The Late Midgame

Page 35

Chapter 4: The Early Midgame

Page 53

Chapter 5: The Opening

Page 121

Chapter 6: Solutions

Page 139

Chapter 7: Appendices

Page 152

PAGE 3

MISCELLANEOUS Here, in concise form, are references to some of the material which, because of space constraints, I was unable to include in SOIC/D and in this book. Corrections To SOIC/D P54 Tip 4 6th Point: the white king can also be on 31; P57 Mentally move … 32-27!; 25-22 27-23: White has the opposition. My thanks to the late Ian Hunt for these two points. Tactics & Themes MO P78; CG P33; CG P58 & CTTW P36 Note B1; E. Fuller v J. Coll 3rd International Book P56 Trunk; L. Levitt v L. Munger 4th International Book P66 Note B; E. Bruch v W. Edwards 5th International Book P45; J. Morrison v H. Devlin 1995 Checkers Annual P170 Trunk; E. Hunt v A. Long Match Game 9; SW P28 Case 14; TCDP pp 181-183 Games 19-22; L. Evans v T. Wiswell ECB P2305; HWC P154; CLC P48 #3; PS P19 #35; PS P17 #22; CME P103; CCFTY P80 #6; P. Davis v ‘Checkers 3.0’ 1992/94 US Nat Ty P151 Var 3; MOD P34. Endgames (General) Fourth Position (3 defending kings) AGOD (DEO) P167 & HWC P143; 4 kings v 3 kings C&C P135; 4 kings v 3 kings TGPB P16 (A. Jordan); Wardell’s win/Sweeney’s draw AGOD (DEO) P168; 2 kings v 3 kings CLC P15 #3 & #4; The entire ‘Strategy & Tactics For Tyros’ series in DEO’s SW is well worth reading, as is ‘The Last 100 Moves’ by the same author in AGOD. Endgames (Bridges) Analysis by J. Sturges SC Part 5 P51 Var 13; Analysis by B. Case SC Part 6 P61 Var 3; J. Anderson v H. Cravens 3rd International Book P28 Var 2; B. Case v W. Hellman MC P45; E. Bruch v E. King SC Part 4 P42 Var 2; E. Bruch v R. Pask 4th International Book P35; L. Edwards v P. Davis 4th International Book P19; E. Frazier v D. Oldbury SW P85 & E. Scheidt v D. Oldbury 1976 US Nat Ty P46 Var 1. Late Midgame Transitions W. Fraser v T. Wiswell ID&C P132; L. Levitt v T. Landry 3rd International Book P57 Var 2; T. Watson v A. Long 4th International Book P175. Squares M. Tinsley v R. Vigman ICHF Checkers March 1991 P10. Motifs When the forces are diminished, 2 white men alongside each other on 14 & 15 (18 & 19 for Black) can be an effective attacking weapon (much favoured by Pat McCarthy); J. Horr v N. Banks KT P15. The Pitch H. Koff v M. Tinsley CTTW P155 A1; H. Lieberman v C. Hefter BC Part 1 P16 Trunk; Analysis by J. Kirk LG P27 V7; H. Freyer v K. Grover LPC P34; J, Marshall v D. Oldbury MO P83; D. Oldbury v W. Edwards Match Game 5; Analysis by K. Grover LPC P48; W. Edwards v J. Charles SC Part 4 P43 Note F; M. Tinsley v D. Lafferty WCC2 P37; Analysis by H. Lieberman WTC P57 Note D; M. Pomeroy v A. Jordan 1913 Match Game 26; Analysis by P. Bradt 3rd International Book P25 Var 1 Note A; L. T. DeBearn v N. Rubin ECB P7002 – ‘The eternal sacrifice’ -; L. Levitt v E. Lowder 1988 US Nat Ty P133 Trunk; N. Rubin v W. Ryan MEC2 P57; L. Taylor v B. Case BC Part 2 P16 Note D 2); A. Scott v R. Stewart BC Part 2 P35 Note H; T. Watson v W. Edwards MWC P167; CM P28. PAGE 4

CHAPTER 1: INTRODUCTION •

Aims

•

Checklist

•

The Man

PAGE 5

AIMS This, my 21st and last! book, has been written to complement Starting Out In Checkers/Draughts (SOIC/D). Whereas SOIC/D was essentially a book of tactics and the endgame, Play Better Checkers & Draughts (PBC&D) deals mainly with the midgame - a very neglected field - and the opening. While hoping to encourage readers to delve into more advanced texts, it is nonetheless my hope that, together, the two books will have a strong stand-alone value. Master and grandmaster players are often described as being either ‘book’ players or ‘crossboard’ players. This, of course, is a gross over-simplification; the fact being that in order to reach a high standard a player has to have both ‘knowledge’ and ‘ability’. However, while draughts books often dispense a great deal of specific knowledge, unlike chess books they rarely present material thematically. In PBC&D I have attempted to address this by producing a book of ideas, any annotations/analysis being necessarily brief; entirely geared to improving the reader’s crossboard ability. None of the examples are contrived, on the contrary being chosen because of their practical worth. Although it must be conceded that, ultimately, detailed analysis will defeat crossboard judgement (assuming one wishes to learn from past mistakes at all!), the fact remains that no matter how knowledgeable a player is, he will often find himself on unfamiliar ground and be forced to apply general principles. When the great Willie Ryan stated that the game had no ‘theory’, he wasn’t questioning the role of judgement, but merely denying the existence of a cheap ‘system’ to bypass hard work. Be assured that in checkers, as in every other area of life!, hard work is essential if you wish to succeed: whether it be through playing serious practice games, studying thematically, developing cooks or learning/understanding established published play. While by no means a guide to the 3-move restriction, a glance at the index shows that, in addition to the coverage given in Chapter 5, 129 of the regular 144 ballots find mention in the text, so the reader should feel reasonably well equipped when he enters the fray. Moreover, the large number of games/part-games given, together with many useful transpositions, should satisfy those who lamented their absence in SOIC/D. (This was entirely deliberate on my part.) A number of these games are my own: not because they are especially good, but because one naturally has a better understanding of one’s own thought processes than of anyone else’s. Like SOIC/D, this book is profusely illustrated, with well over 200 diagrams, and employs some simple annotation symbols and guidelines. Namely, ! indicates an excellent, possibly winning move; ? indicates a poor, possibly losing move; the first-named player is always Black; White is always pictured at the bottom in the diagrams; CR signifies colours-reversed. My thanks to Everyman for having the courage to publish SOIC/D, making a checkers/draughts book available to the general public, and to Jim Loy once more for the use of his excellent diagram fonts. I hope you enjoy my last offering, and that it will encourage you to look both at your own games – always the most important starting point – and published play in general more thematically. Studying from 9-13 21-17; 5-9 through to 12-16 24-20; 8-12 – or vice-versa! – is not only dull, but tends to underplay the many links, so important to memory retention, which exist. Yours sincerely, Richard Pask PAGE 6

CHECKLIST Between them, SOIC/D and Play Better Checkers & Draughts cover a surprisingly large amount of ground. The checklist below serves both as a summary and as a review. [√]: Mastered Section 1: General • • • •

Rules In Brief. [ ] Notation. [ ] Rules In Detail. [ ] Glossary. [ ]

Section 2: Tactics • Elementary Tactics: 2 for 1 [ ]; 2 for 2 [ ]; 3 for 2 [ ]; Rebound [ ]; In-And-Out [ ]; Double-Corner Devices [ ]; Breeches [ ]; Fork [ ]; Optional Jumps [ ]. • Miscellaneous Tactics. [ ] • Advanced Tactics. [ ] Section 3: Endgame • Endgame Introduction. [ ] • Elementary King Endings: 1 v 1 [ ]; 2 v 1 [ ]; 3 v 2 [ ]; 4 v 3 [ ]. • Key Endgames: Payne’s Single-Corner Win [ ]; The American Position [ ]; Payne’s Double-Corner Draw [ ]; Roger’s Draw [ ]; Howard’s Draw [ ]; Fourth Position [ ]; Payne’s Single-Corner Draw [ ]; Third Position [ ]; First Position [ ]; Second Position [ ]. • Endgame Themes: Self-Destruct [ ]; Changing Guard [ ]; Vice [ ]; Pocket [ ]; Hanging Man [ ]; Single-Corner Block [ ]; Double-Corner Block [ ]; Squeeze [ ]; Steal [ ]; Nipped At The Wire [ ]; Captive Cossacks [ ]; Ace In The Hole [ ]; Hobson’s Choice [ ]. • First Position Expanded: FP Without The Opposition [ ]; FP With The Man On 4 [ ]; FP With Additional Men On 5 & 13 [ ]; FP With Additional Men On 21 & 30 [ ]; FP With An Additional King On 29 And Man On 30 [ ]; FP With Additional Kings On 2 & 10 [ ]; Bowen’s Triplets # 1 [ ]; Bowen’s Triplets #2 [ ]; Bowen’s Triplets #3 [ ]; Johnson’s Position [ ]. • Breaking A Bridge: The Line-Up [ ]; The Pitch-Fork [ ]; The Breeches [ ]; The 2 For 2 Shot [ ]; The Pitch & Isolate [ ]. • Key Bridge Endgames: Black Man On 28 [ ]; Black Man On 21 [ ]; Black Man On 20 (i) [ ]; Black Man On 20 (ii) [ ]; Black Man On 12 (i) [ ]; Black Man On 12 (ii) [ ]; Black Man On 3 [ ]; Black Man On 2 (i) [ ]; Black Man On 2 (ii) [ ]; Petterson’s Drawbridge [ ]. • Problems. [ ] Section 4: Midgame • Midgame Introduction. [ ] • Late Midgame Classics: Fifth Position [ ]; Lucas’ Position [ ]; Cowan’s Coup [ ]; Strickland’s Draw [ ]; Hefter’s Win [ ]; Ross’ Win [ ]; Bell’s Win [ ]; Robertson’s Draw [ ]; Dunne’s Draw [ ]; Jackson’s Draw [ ].

PAGE 7

• Late Midgame Transitions: Breaking Through The King-Row [ ]; Mutual Protection [ ]; DoubleCorner Breakthrough [ ]; Avoiding Backward Men [ ]; The Pitch [ ]. • Early Midgame Formations: The Long Dyke [ ]; The Short Dyke [ ]; The Pyramid [ ]; The Phalanx [ ]; The Mill [ ]; The Echelon [ ]; The Mixed [ ]. • Early Midgame Squares: The Sunken Man On Square 5 [ ]; Invasion On Square 9 [ ]; Invasion On Square 10 [ ]; Invasion On Square 11 [ ]; The Sunken Man On Square 12 [ ]; The Outpost Man On Square 15 [ ]; Infiltration On Square 16 [ ]; Fluid Control Of The Centre Using Squares 14 and 18 [ ]. • Early Midgame Holds: The Double-Corner Cramp [ ]; The Single-Corner Cramp [ ]; Binding The Mill [ ]; Miscellaneous Holds [ ]. • Early Midgame Motifs: The Elbow [ ]; The Squeeze & Pinch [ ]; Working Behind The Lines [ ]; Rapid Development Of The E-Line [ ]; Waiting Moves [ ]; Putting The Question [ ]; Squeezing A Defended Man [ ]; Sacrificing For A King [ ]; The Run-Off [ ]; The Delayed Steal [ ]; Getting Behind The Men [ ]; The Slow-Moving Juggernaut [ ]; Gambit/Man-Down Openings [ ]; The Pitch [ ]. • Early Midgame Landings: The Master Pioneer Landing [ ]; Pioneer Sub-Landing #1 [ ]; Pioneer SubLanding #2 [ ]; The Master Defiance Landing [ ]; Defiance Sub-Landing #1 [ ]; Defiance SubLanding #2 [ ]. Section 5: Opening • Opening Introduction. [ ] • Ballots. [ ] • Developments: GAYP Ballots [ ]; 2-Move Ballots [ ]; 3-Move Ballots [ ]; Critical 3-Move Ballots [ ].

THE MAN Saturday 29th August 1992: World Man-Machine Championship Game 39 Black: Dr Marion Tinsley; White: ‘Chinook’ 10-14 22-18; 12-16 (A) 24-20; 16-19 23-16; 14-23 26-19; 8-12 25-22; 6-10 29-25; 11-15 30-26; 15-24 28-19; 4-8 22-18; 8-11 18-15? (B); 11-18 26-22; 10-15 19-10; 12-19 22-15; 7-14 27-23?? (C); 19-26 3122; 9-13! (a crushing single-corner cramp) 20-16; 2-6 15-11; 6-10 32-27; 10-15 27-24; 14-18 16-12; 1823 11-8; 23-27 8-4; 27-32 4-8; 1-6! 8-11; 6-10! 11-18; 10-14 18-9; 5-14 22-18; 14-23 25-22; 23-26 2420; 32-27 22-18; 27-23 18-14; 23-18 14-9; 26-31 9-5; 31-27 (D). Black wins. A: Over lunch with Marion, prior to this game, he mentioned that he was mentally exhausted, and was looking for a tame ballot to finish the match. Instead, he got the dreaded White Doctor; one of the toughest ballots of them all! In the 50th and final game of the Wyllie v Yates match of 1876, the White Doctor (GAYP!) had proved to be decisive; Yates winning after having been in a loss. Here, too, it brought matters to a dramatic conclusion. B: Before this game, Dr Schaeffer, Chinook’s creator, had made the logical, but risky, decision to leave Chinook to its own devices. This poor move was the result and, from having a strong position, Chinook found itself in a virtual loss. C: An even worse follow-up, after which the result was never in doubt; Dr Tinsley visualizing the finish from this point. D: Undoubtedly the best-publicised draughts game of all time, a glorious triumph of mind over matter, when it mattered! and, although hardly one of Marion’s greatest games, surely the most memorable. ‘Three cheers for human beings, and that includes Jonathan,’ cried the gracious victor. What he might have said was: ‘You’re good Chinook, but while I’m around you’re second best. You might as well learn to live with it.’ (With thanks to The Cincinnati Kid.) Dr Marion Tinsley was, without question, the man! PAGE 8

CHAPTER 2: THE ENDGAME

•

First Position Expanded

•

Bridges

•

Problems

PAGE 9

FIRST POSITION EXPANDED

KEY INFORMATION As mentioned in SOIC/D, First Position is unquestionably the most important endgame situation in the game of draughts. All of the situations described in this section have First Position as their central core and, as they arise so often in play, a thorough grasp of their fine points will prove invaluable.

Key Endgame 11: First Position Without The Opposition Diagram 1

QRRRRRRRRS TE 1E 2E 3E 4U T 5E 6E 7E 8EU TE 9E !0E !1EA!2U T !3E !4E !5E !6EU TE !7E !8ED!9E @0U T @1E @2ED@3E @4EU TE @5E @6E @7EC@8U T @9E #0E #1E #2EU VWWWWWWWWX Black to move and draw Diagnosis Disregarding the inherent contradiction in the title (also true of other endgames in this section where Black has the opposition) - having the opposition being an integral part of First Position in its pure form -, it can be seen that if Black plays correctly the draw is simple. eg 28-32 19-24 (attempting to restrict Black’s movements); 32-28 24-19 … Drawn. However, if White is able to tempt Black into moving the man on 12, then he can win. Analysis 28-32 23-18; 32-27 18-22; 27-32 (27-31? loses after 19-23; 12-16 22-18; 16-20 18-22; 20-24 23-27; 2428 27-32. White wins) 19-24; 12-16? (32-28 draws) 22-26; 16-20 24-28; 32-27 28-32; 27-24 26-23; 2427 23-19; 27-31 19-24; 20-27 32-23. White wins. KEY ENDGAME 12: First Position With The Man On 4 Diagnosis The point of this particular setting of First Position is that great care must be taken to prevent the black king reaching his own single-corner. If so allowed, a draw will result.

PAGE 10

Diagram 2

QRRRRRRRRS TE 1E 2E 3EA4U T 5E 6E 7E 8EU TE 9E !0E !1E !2U T !3E !4E !5E !6EU TE !7E !8ED!9E @0U T @1E @2ED@3E @4EU TE @5E @6E @7EC@8U T @9E #0E #1E #2EU VWWWWWWWWX White to move and win Analysis … 23-27; 28-32 19-23; 32-28 27-32 (forcing the king out of the double-corner); 28-24 32-28; 24-20 2319! (vital! Instead, 23-18? permits a draw after 20-16 28-24; 16-12 24-19; 12-8 – the man on 4 effectively creates a ‘triple-corner’ – 19-16; 8-12 16-11; 12-8 … Drawn.); 20-24 19-15; 24-27 15-18; 48 (might as well advance now) 18-15; 27-23 28-32; 8-12 32-28; 23-27 and into the standard solution given in SOIC/D … White wins.

KEY ENDGAME 13: First Position With Additional Men on 5 & 13

Diagram 3

QRRRRRRRRS TE 1E 2E 3E 4U TA5E 6E 7E 8EU TE 9E !0E !1EA!2U TB!3E !4E !5E !6EU TE !7E !8ED!9E @0U T @1E @2ED@3E @4EU TE @5E @6E @7EC@8U T @9E #0E #1E #2EU VWWWWWWWWX White to move and win

Diagnosis The crucial point here is that if White proceeds in the normal manner for winning First Position he will only manage a draw. Therefore, he must first crown the man on 13 and station it on 14. After permitting an exchange, giving Black the opposition, he then utilises the ‘dog-hole effect’ to regain it.

PAGE 11

Analysis … 23-18 (A); 28-32 18-14; 32-27 13-9; 27-32 9-6; 32-27 6-2; 27-32 2-6; 32-27 6-10; 27-32 10-15; 3228 15-18; 28-32 18-23; 32-28 23-27; 28-32 19-23; 32-28 27-32; 28-24 32-28!; 24-19 (B) 23-16; 12-19 14-18!; 5-9 28-32! (threatening 32-27; 19-23 27-31; and forcing Black to enter the dog-hole); 19-24 1815; 9-14 15-19; 24-28 19-15. White wins. A: The normal approach won’t do. eg … 23-27; 28-32 19-23; 32-28 27-32 (White is now fully committed); 28-24 23-18; 24-19 32-28; 12-16 28-32; 16-20 32-28; 19-16 18-23; 16-11 23-19; 11-7 1915; 7-2 15-10; 5-9! 13-6; 2-9. Drawn. B: 24-20 23-27; 20-16 28-24; 16-11 24-19; 11-16 19-15; 16-20 15-11; 12-16 11-15. White wins.

KEY ENDGAME 14: First Position With Additional Men on 21 & 30 Diagram 4

QRRRRRRRRS TE 1E 2E 3E 4U T 5E 6E 7E 8EU TE 9E !0E !1EA!2U T !3E !4E !5E !6EU TE !7E !8ED!9E @0U TA@1E @2ED@3E @4EU TE @5E @6E @7EC@8U T @9EB#0E #1E #2EU VWWWWWWWWX Either to move, White wins

Diagnosis (White to move) Again, the crucial point here is that if White proceeds in the normal manner for winning First Position he will only manage a draw. Therefore, as in Number 13, before attacking he should try and crown the man on 30 while holding the man on 21. Analysis (White to move) … 23-18 (A); 28-32 18-22; 32-27 30-26!; 27-23 (B) 19-15; 23-30 15-19; 21-25 22-29; 30-26 29-25; 2631 19-23 (or 25-22 – this is quicker); 12-16 25-22; 16-20 23-19; 31-27 22-18; 27-32 18-23. White wins. A: Again, the normal approach won’t do. eg … 23-27; 28-32 19-23; 32-28 27-32; 28-24 23-18; 24-19 32-28; 12-16 28-32; 16-20 32-28; 20-24! 18-23; 19-26 28-19; 26-22 19-15; 22-17 15-18; 17-13 18-14; 13-17 … Drawn. ‘The backing of the man on 21 provides the defending king with an extra mobility which it would not otherwise possess.’ (Derek Oldbury) B: If 27-32, allowing the man to crown, White wins using the method of Number 13.

PAGE 12

Diagnosis (Black to move) Here, White is able to force the win of Number 11, with the passive aid of the man on 30. Analysis (Black to move) 28-32 23-18; 32-27 18-22; 27-32 19-24; 32-28 24-27; 12-16 22-26; 16-20 (28-32 27-24; 16-20 24-27. White wins.) 27-32; 28-24 26-23; 24-27 23-19; 27-31 19-15. White wins.

KEY ENDGAME 15: First Position With An Additional King On 29 And Man On 30 Diagram 5

QRRRRRRRRS TE 1E 2E 3E 4U T 5E 6E 7E 8EU TE 9E !0E !1EA!2U T !3E !4E !5E !6EU TE !7E !8ED!9E @0U T @1E @2ED@3E @4EU TE @5E @6E @7EC@8U TC@9EB#0E #1E #2EU VWWWWWWWWX Either to move, White wins Diagnosis (White to move) Unlike Number 14, here there is no need to crown the man on 30, as the king on 29 provides no backing. Therefore, a direct attack is permissible. Analysis (White to move) … 23-27; 28-32 19-23; 32-28 27-32; 28-24 23-18; 24-19 (raises the only new feature) 32-28; 12-16 2832; 16-20 32-28; 20-24 18-23!; 19-26 28-19; 26-22 19-15; 22-17 15-10!; 17-21 (the absence of support now makes itself felt) 10-14; 29-25 14-18; 25-29 18-22. White wins. Diagnosis & Analysis (Black to move) After 28-32, White wins as in Number 14. KEY ENDGAME 16: First Position With Additional Kings On 2 & 10 Diagnosis (White to move) White has the opposition, so exchanging off the king on 2 (giving Black the opposition) only leads to a draw. Therefore, White has no option but to adopt the direct attack and, with the aid of his immobile partner, Black secures a similar draw to Number 13, Note A. PAGE 13

Diagram 6

QRRRRRRRRS TE 1EC2E 3E 4U T 5E 6E 7E 8EU TE 9ED!0E !1EA!2U T !3E !4E !5E !6EU TE !7E !8ED!9E @0U T @1E @2ED@3E @4EU TE @5E @6E @7EC@8U T @9E #0E #1E #2EU VWWWWWWWWX White to move, Black draws; Black to move, White wins Analysis (White to move) … 23-27; 28-32 19-23; 32-28 27-32; 28-24 23-18; 24-19! (A) 32-28; 12-16 28-32; 16-20 32-28; 19-16 18-23; 16-11 23-18; 11-16 … Drawn. A: 24-28? 18-15; 28-24 32-28; 24-27 15-18; 12-16 18-15; 27-32 28-24; 32-28 15-11!; 28-19 11-20. White wins. The king on 10 prevents Black reaching the sanctuary of the double-corner diagonals. Diagnosis & Analysis (Black to move) No detailed moves required here. After 28-32, White wins by playing the king on 23 to 5, then exchanging off the king on 2 to win by First Position. KEY ENDGAME 17: Bowen’s Triplets # 1: First Position With Additional Kings On 22 & 29 Diagram 7

QRRRRRRRRS TE 1E 2E 3E 4U T 5E 6E 7E 8EU TE 9E !0E !1EA!2U T !3E !4E !5E !6EU TE !7E !8ED!9E @0U T @1ED@2ED@3E @4EU TE @5E @6E @7EC@8U TC@9E #0E #1E #2EU VWWWWWWWWX Either to move, White wins Diagnosis & Analysis (White to move) Here, with a king already posted on 22, the simplest way to win is to attack directly with 23-27 and to follow the approach given in Number 13. Again, no detailed moves are required. PAGE 14

Diagnosis (Black to move) Here, White wins using exactly the same method as in Number 14.

Analysis (Black to move) 28-32 23-26; 32-27 26-30 into Number 14 at the 4th move: the fact that Black has a king on 29 instead of a man on 21 (and White has a king instead of a man on 30) makes no difference to the winning procedure at all, as an examination will reveal.

KEY ENDGAME 18: Bowen’s Triplets # 2: First Position With Additional Kings On 22 & 30

Diagram 8

QRRRRRRRRS TE 1E 2E 3E 4U T 5E 6E 7E 8EU TE 9E !0E !1EA!2U T !3E !4E !5E !6EU TE !7E !8ED!9E @0U T @1ED@2ED@3E @4EU TE @5E @6E @7EC@8U T @9EC#0E #1E #2EU VWWWWWWWWX Either to move, White wins Diagnosis & Analysis (White to move) Here, with a king already posted on 22, White wins by attacking directly with 23-27 and following the approach given in Number 13. Again, no detailed moves are required. Diagnosis (Black to move) ‘Here, certain difficulties arise, owing to the fact that White cannot place a king on 30. After 28-32, White’s correct strategy is to attempt, by exchange, to reduce the situation to one of the positions derived from First Position. In an effort to avoid these dangers, Black will be forced to advance his man, with the subsequent attending weaknesses.’ (Derek Oldbury) Analysis (Black to move) 28-32 19-24; 32-28 24-27; 12-16 (28-32 loses by 23-26) 22-18; 28-32 (30-25 loses by 18-22) 27-24; 1620 24-28; 30-25 23-26; 25-30 (32-27 loses by 28-32; 27-24 26-22; 25-30 18-15) 26-22; 32-27 28-32; 27-31 18-23; 31-27 23-19; 27-23 (27-31 loses by 19-24) 19-26; 30-23 32-28; 23-19 22-18 into Key Endgame Number 9, SOIC/D, Note B (i) … White wins.

PAGE 15

KEY ENDGAME 19: Bowen’s Triplets # 3: First Position With Additional Kings On 22 & 21

Diagram 9

QRRRRRRRRS TE 1E 2E 3E 4U T 5E 6E 7E 8EU TE 9E !0E !1EA!2U T !3E !4E !5E !6EU TE !7E !8ED!9E @0U TC@1ED@2ED@3E @4EU TE @5E @6E @7EC@8U T @9E #0E #1E #2EU VWWWWWWWWX White to move, Black draws; Black to move, White wins

Diagnosis (White to move) ‘Here, a direct attack is the only course available, but the king on 21 prevents this from assuming winning proportions.’ (Derek Oldbury)

Analysis (White to move) … 23-27; 28-32 19-23; 32-28 27-32; 28-24 23-18 (32-28 is no better since if, after the 24-19 exchange, White tries to win using the method of Number 13, the black king is able to escape to its own doublecorner); 24-19 32-28; 12-16 28-32; 16-20 22-26 (against 32-28; 20-24 draws); 21-25 26-30; 25-21 (2529? loses by 32-28 etc…) 32-28; 19-16 30-26; 16-19 26-31; 19-16 31-26; 16-19 … Drawn.

Diagnosis (Black to move) ‘Although, after 28-32, White is able to occupy square 30 – 28-32 23-26; 32-27 26-30 27-32 – the win of Number 14 cannot be enforced, as the king on 22 is unable to participate in the action without releasing the black king on 21. White must therefore adopt the strategy of Number 18, albeit employing slightly different tactics.’ (Derek Oldbury)

Analysis (Black to move) 28-32 23-18; 32-28 (32-27 loses quickly by 19-23!; 27-32 22-17 …) 18-14; 28-32 19-24; 32-28 24-27; 12-16 (28-32 loses quickly by 22-18) 14-18; 28-32 (16-20 loses by 27-32 and 16-19 loses by 18-14!) 2724; 32-28 24-20; 16-19 22-26; 21-25 26-31; 25-21 20-24; 19-23 18-27; 28-19 27-23; 19-26 31-22. White wins.

PAGE 16

KEY ENDGAME 20: Johnson’s Position Diagram 10

QRRRRRRRRS TE 1E 2E 3EA4U T 5E 6E 7E 8EU TE 9E !0ED!1E !2U T !3E !4E !5E !6EU TE !7ED!8ED!9E @0U T @1E @2E @3E @4EU TE @5EC@6EC@7E @8U T @9E #0E #1E #2EU VWWWWWWWWX White to move and win Diagnosis The underlying theme in this endgame is the threat, by White, to execute a one-for-one exchange of kings, changing the opposition and securing First Position. Black, of course, must avoid this, but in so doing has to separate his kings. Having achieved this separation, White forces Black’s single man to advance, and runs the endgame into Number 19. Analysis … 11-16; 27-31 (A) 18-23; 26-30 (B) 16-12; 30-25 19-16; 25-22 16-20 (C); 22-17 23-18; 31-27 (D) 1216; 27-32 (E) 20-24; 32-28 24-19; 28-32 16-11; 32-28 11-15; 17-21 (F) 18-22; 28-32 (G) 15-18; 32-28 19-23; 4-8 (against 28-32, 22-17 wins by First Position) 23-19; 28-32 18-15; 32-28 (if 32-27 then 19-16; 27-23 15-10; 23-27 16-12; 8-11 22-18. White wins) 19-16; 8-12 16-19; 28-32 15-18 into Number 19. White wins. A: Black has 4 alternatives; 3 of which loses quickly. (i) 26-30 18-22; 27-31 (or else 22-26) 19-23; 4-8 16-20; 8-12 23-27; 31-24 20-27. White wins. (ii) 26-31 19-23; 27-32 16-11; 32-28 11-15; 28-24 23-26. White wins by First Position. (iii) 4-8 18-14!; and the man on 8 is doomed. White wins. (iv) 27-32 1823; 26-31 16-11; 32-28 19-15; 28-24 23-27; 24-28 (or 24-20 27-32; 20-24 11-16; 31-26 16-19; 24-28 15-18; 26-31 18-22; 4-8 22-18; 31-26 18-15; 26-22 19-16; 8-12 16-19. White wins.) 27-32; 31-26 1519; 26-22 11-15; 22-17 15-18; 4-8 32-27; 28-32 27-23; 17-21 18-22; 32-28 23-18; 28-32 18-15; 32-28 19-16; 8-12 16-19 28-32 into the main solution. White wins. B: 26-22 loses at once by 19-15; 22-25 15-18; 25-30 18-22 into Note A (i). C: This forces Black to split his kings, since 22-25 in reply would lose by 23-27. D: 17-13 loses by 18-14; 31-26 (heading for 21) 20-16; 26-22 16-11; 22-25 12-8!; 25-21 8-3; 21-25 117; 25-30 7-2; 30-26 14-9 … White wins by First Position. E: 27-31 loses more quickly by 20-24; 17-13 18-14; 31-26 (forms a beautiful problem by James Wyllie) 24-19; 26-22 19-15; 22-25 15-18; 25-21 18-22; 4-8 16-12; 8-11 22-18; 21-25 18-23; 25-21 14-10; 1317 10-7; 11-15 7-10. White wins. F: Against 17-13, White replies with 18-14, and wins in similar fashion to Note D. G: 4-8 is into the main solution, allowing White to win more quickly.

PAGE 17

Other Key Endgames

Although space constraints prevent their inclusion here, there are five further endgames which deserve special attention. • Key Endgame 21: Strickland’s Position. See Key Endings (by myself), Page 34. Note: Page 36, line 1 @ 5th: Instead of 22-18, 20-16! is a less fancy and more useful win after 32-27 24-20; 27-24 19-15; 24-27 16-19; 27-32 15-18 & 19-15. White wins. • Key Endgame 22: Sixth Position. See Key Endings, Page 50. Note: Page 50, 1st line of Note should read ‘If the White king on square 18 moves’. • Key Endgame 23: Bowen’s Twins. See Key Endings, Page 52. • Key Endgame 24: McCulloch’s Masterpiece. See Key Endings, Page 57. Note: Page 57, 3rd line of Description should read ‘entering square 13’. • Key Endgame 25: Dean’s Position. See Key Endings, Page 60. SUMMARY • • • • • • • • • • •

Diagnosis before analysis! First Position Without The Opposition: tempt Black to move 12-16! First Position With The Man On 4: don’t allow the black king to reach its own single-corner! First Position With Additional Men On 5 & 13: crown 3 kings and utilise the dog-hole effect. First Position With Additional Men On 21 & 30: with the opposition – try and crown 3 kings and utilise the dog-hole effect; without the opposition – make use of the man on 30. First Position With An Additional King On 29 & A Man On 30: with the opposition – use the direct attack; without the opposition – make use of the man on 30. First Position With Additional Kings On 2 & 10: with the opposition – the direct attack is the only one available, but merely draws; without the opposition – exchange off the king on 2 to win by First Position. Bowen’s Triplets #1: with the opposition – utilise the dog-hole effect; without the opposition – post, and make use of, a king on 30. Bowen’s Triplets # 2: with the opposition – utilise the dog-hole effect; without the opposition – force an exchange to reduce the situation to First Position. Bowen’s Triplets #3: with the opposition – the direct attack is the only one available, but unfortunately only draws; without the opposition – keep threatening an exchange, and force Black to advance the man on 12. Johnson’s Position: threaten an exchange, forcing Black to separate his kings, and transpose into Bowen’s Triplets #3.

PAGE 18

BRIDGES KEY INFORMATION In SOIC/D, the observation was made that bridge endgames are notoriously difficult to judge and that, as a rule, rather than crown under a bridge, it was advisable to break the opponent’s kingrow defence when the opportunity arose. This section therefore splits naturally into two parts: firstly, how to break a bridge and secondly, how to handle the key bridge endgames when none of the breaking techniques are available. Part 1: Breaking A Bridge There are five main methods, of which two were mentioned in SOIC/D. Method 1: The Line-Up Diagram 1

QRRRRRRRRS TE 1E 2E 3E 4U T 5E 6E 7E 8EU TE 9E !0E !1E !2U T !3EA!4E !5E !6EU TE !7EA!8E !9E @0U T @1E @2EA@3E @4EU TE @5E @6E @7E @8U T @9EB#0E #1EB#2EU VWWWWWWWWX Black breaks White’s bridge with 23-27 32-23; 18-27. (The other pieces have been screened out.) Alternately, the man on 23 could be on 24, and Black would play 24-27. Again, Black could line up three men on 16, 19 and 23, and play 23-26; or switch the man on 23 to 22, and play 22-26. Other examples are given under ‘Transition Technique Number 1: Breaking Through The King-Row’. Of course, timing is all-important here, as the following salutary lesson illustrates. Game 1: 11-16 22-18; 16-19 24-15; 10-19 23-16; 12-19 25-22; 8-11 29-25; 9-14 18-9; 5-14 22-17; 610 25-22; 4-8 22-18; 14-23 27-18; 8-12 17-13; 11-16? 21-17; 3-8 13-9!; 19-23 26-19; 16-23 28-24; 8-11 24-19; 11-15 (Black has a definite objective in mind, but is unfortunately one move out!) 18-11; 7-16 17-13; 10-14 19-15; 16-19 9-6; 1-10 15-6; 2-9 13-6; 12-16 6-2; 14-17 2-7; 17-22: a very pretty picture, and with Black to move he could draw with 23-26. Sadly for him, it is White’s move, and 7-11 finishes matters. White wins. T. Landry v A. Long 1989. In his youth, Tom was a very promising chess player, and must rank as one of the strongest combined chess & checker players. Method 2: The Pitch-Fork As the title suggests, a man is pitched in order to remove a king-row man from its position, and then recovered by the use of a fork (or threat of a fork).

PAGE 19

Game 2: 9-13 23-19; 6-9 19-15; 10-19 24-15; 11-18 22-15; 7-11 26-22; 11-18 22-15; 3-7 28-24; 1-6 25-22; 8-11 15-8; 4-11 30-26; 6-10 26-23; 9-14 22-18; 14-17 21-14; 10-17 24-19; 11-16 18-14; 17-22 27-24; 13-17 24-20; 17-21 20-11; 7-16 19-15; 21-25 14-10; 25-30 23-18 Forms Diagram 2 Diagram 2

QRRRRRRRRS TE 1EA2E 3E 4U TA5E 6E 7E 8EU TE 9EB!0E !1EA!2U T !3E !4EB!5EA!6EU TE !7EB!8E !9E @0U T @1EA@2E @3E @4EU TE @5E @6E @7E @8U TB@9EC#0EB#1EB#2EU VWWWWWWWWX Black to move and draw Continue: 22-26! 31-22; 30-26 15-11; 26-17 11-8; 17-22 18-15; 16-19 15-11; 19-23 8-4; 23-26. Drawn. A. Long v E. Hunt 1936.

Game 3: 10-15 23-18; 6-10 18-14; 9-18 24-19; 15-24 22-6; 1-10 28-19; 11-15 27-24; 8-11 31-27!? (A lot of the early, weak computer programs made a, flawed, policy of retaining the men on 30 and 32. Remnants of this policy remain even today. Of course, there are many instances where retaining these men is fine; this being one of them.); 5-9! 25-22; 9-13! (putting on a single-corner cramp) 27-23!; 11-16 21-17; 7-11 17-14; 10-17 19-10; 11-15 29-25!; 17-21 23-18; 3-8 18-11; 8-15 24-20; 16-19 20-16; 19-24 16-11; 12-16 11-8!; 4-11 10-7; 2-6 7-2; 6-9 2-7; 9-14 7-10 Forms Diagram 3 Diagram 3

QRRRRRRRRS TE 1E 2E 3E 4U T 5E 6E 7E 8EU TE 9ED!0EA!1E !2U TA!3EA!4EA!5EA!6EU TE !7E !8E !9E @0U TA@1EB@2E @3EA@4EU TEB@5EB@6E @7E @8U T @9EB#0E #1EB#2EU VWWWWWWWWX White to move and draw Continue: … 15-18!; 22-8 16-20; 10-17 13-31; 25-22 24-27!; 32-23 31-26. Drawn. M. Tinsley v ‘Chinook’ 1992. A beautiful game, in which one of the participants happened to be a computer program.

PAGE 20

Method 3: The Breeches & Method 4: The 2 For 2 Shot Both of these methods are ably illustrated in the following setting, which finds further mention in Part 2. Diagram 4

QRRRRRRRRS TE 1E 2E 3E 4U T 5E 6E 7E 8EU TE 9E !0E !1E !2U T !3E !4ED!5E !6EU TE !7E !8ED!9E @0U TA@1E @2EA@3E @4EU TE @5EC@6EC@7E @8U T @9EB#0E #1EB#2EU VWWWWWWWWX Black to move, What result? Continuation 1: 27-31 15-10; 31-27 10-14 (10-6 is best); 26-31! 19-26; 31-22 32-23; 22-18 (the breeches). Drawn. Continuation 2: 27-31 15-10; 31-27 10-6; 27-31 6-9; 31-27 9-13; 27-31 13-17? (13-9 best) 21-25! 3021; 26-30 19-26; 31-13 (the 2 for 2 shot). Black wins. Method 5: The Pitch & Isolate This typically involves Black crowning a man on 31; posting a man on 23; giving up the man on 23 by playing 23-26 or 23-27 as appropriate, and regaining the sacrificed man by playing 31-26 or 31-27 as required. Game 4: 9-13 24-19; 11-15 28-24; 6-9 22-18; 15-22 25-18; 8-11 29-25; 9-14 18-9; 5-14 24-20; 11-15 19-16; 12-19 23-16; 15-18 26-22; 1-6 22-15; 10-19 25-22; 6-10 22-18; 14-23 27-18; 13-17 21-14; 10-17 18-14; 7-11 16-7; 3-10 14-7; 2-11 31-26; 19-24 26-23; 24-27 23-19; 27-31 19-16; 11-15 16-11; 17-22 (getting into position) 20-16 Forms Diagram 5: Diagram 5

QRRRRRRRRS TE 1E 2E 3EA4U T 5E 6E 7E 8EU TE 9E !0EB!1E !2U T !3E !4EA!5EB!6EU TE !7E !8E !9E @0U T @1EA@2E @3E @4EU TE @5E @6E @7E @8U T @9EB#0EC#1EB#2EU VWWWWWWWWX Black to move and draw PAGE 21

Continue: 22-26! 30-23; 31-26 23-19; 15-24. Drawn. W. Edwards v L. Levitt 1989. Game 5: 9-13 21-17; 6-9 25-21; 11-15 30-25; 9-14 24-19; 15-24 28-19; 5-9 32-28; 7-11 19-15; 10-19 17-10; 2-7 23-16; 11-20 27-23; 7-14 22-17; 13-22 26-10; 12-16 23-18; 9-13 18-15; 8-12 15-11; 16-19 21-17; 13-22 25-18; 19-23 11-7; 23-27 31-24; 20-27 7-2; 27-31 Forms Diagram 6: Diagram 6

QRRRRRRRRS TEA1ED2EA3EA4U T 5E 6E 7E 8EU TE 9EB!0E !1EA!2U T !3E !4E !5E !6EU TE !7EB!8E !9E @0U T @1E @2E @3E @4EU TE @5E @6E @7EB@8U TB@9E #0EC#1E #2EU VWWWWWWWWX White to move and draw Continue: … 10-6!; 1-10 2-6; 3-7 6-15; 7-11 15-8; 4-11 29-25; 31-27 25-22. Drawn. Analysis by B. Case. There can be a tendency on the part of the player ‘holding’ the bridge (retaining men on 30 and 32 or 1 and 3) to feel invulnerable. Actually, this is far from the case, and there are many instances of the player ‘forming’ the bridge (posting a man on 23 or 10) biting back! The following game is a case in point. Game 6: 9-14 24-19; 11-16 22-18; 8-11 18-9; 5-14 25-22; 11-15 29-25; 15-24 28-19; 4-8 22-18; 8-11 18-9; 6-13 25-22; 2-6 23-18; 16-23 26-19; 11-16 27-23; 7-11 30-26; 6-9 22-17; 13-22 26-17; 9-13 1714; 10-17 21-14; 16-20 19-15; 11-16 (12-16 is best, and clears up the position immediately; removing the backward man on 3) 15-10; 16-19 23-16; 12-19 14-9; 19-23 9-6; 13-17 6-2; 17-22 Forms Diagram 7: Diagram 7

QRRRRRRRRS TEA1ED2EA3E 4U T 5E 6E 7E 8EU TE 9EB!0E !1E !2U T !3E !4E !5E !6EU TE !7EB!8E !9EA@0U T @1EA@2EA@3E @4EU TE @5E @6E @7E @8U T @9E #0EB#1EB#2EU VWWWWWWWWX White to move, Black draws Continue: … 10-6!; 1-10 2-6; 10-15 18-11; 23-26 6-10; 26-30 11-7; 22-25 7-2; 25-29 … to a narrow draw. E. Hunt v W. Hellman 1946. PAGE 22

Part 2: Key Bridge Endgames There are ten 4 v 4 settings to consider.

Key Bridge Endgame 1: Black Man On 28 Diagram 8

QRRRRRRRRS TE 1E 2E 3E 4U T 5E 6E 7E 8EU TE 9E !0E !1E !2U T !3E !4ED!5E !6EU TE !7ED!8E !9E @0U T @1E @2EA@3E @4EU TE @5EC@6EC@7EA@8U T @9EB#0E #1EB#2EU VWWWWWWWWX White to move and win; Black to move and draw

Diagnosis & Analysis Here, the only active pieces are the white king on 15 and the black king on 26 (albeit in a somewhat limited fashion). It is the relationship between these two pieces alone which determines who has the opposition; all the other pieces being involved in the distinctive bridge configuration. Continuation 1: (White has the opposition) … 15-10; 26-31 10-14; 31-26 14-17; 26-31 17-22. White wins. Continuation 2: (Black has the opposition) 26-31 15-19; 31-26 19-16; 27-31! 18-27; 31-24 30-23; 24-19 (breeches). Drawn.

Key Bridge Endgame 2: Black Man On 21 Refer to Diagram 4 on Page 21. Terms: White to move and win; Black to move and draw.

Diagnosis & Analysis Here, the only active pieces are the white king on 15 and the black king on 27. Continuation 1: (White has the opposition) … 15-11; 27-31 11-16; 31-27 16-20; 27-31 20-24. White wins. Continuation 2: (Black has the opposition) 27-31 15-11; 31-27 11-16; 27-31 16-20; 31-27 19-24; 26-31 24-19; 31-26 2016; 27-31 16-11; 31-27 11-15 (back to the beginning!); 27-31 15-10; 31-27 10-6 (avoiding 10-14); 2731 6-9; 31-27 9-13; 27-31 13-9 (avoiding 13-17?). Drawn.

PAGE 23 Key Bridge Endgame 3: Black Man On 20

Diagram 9

QRRRRRRRRS TE 1E 2E 3E 4U T 5E 6E 7E 8EU TE 9E !0ED!1E !2U T !3E !4E !5E !6EU TE !7E !8ED!9EA@0U T @1E @2EA@3E @4EU TE @5EC@6EC@7E @8U T @9EB#0E #1EB#2EU VWWWWWWWWX White to move and win; Black to move and draw Diagnosis & Analysis Here, the only active pieces are the white king on 11 and the black king on 27. Curiously enough, White can only draw if he has the opposition, but wins if Black has it! Continuation 1: (Black has the opposition) … 11-15; 27-31 19-24! (a sweet pitch); 20-27 15-19. White wins. Continuation 2: (White has the opposition) 27-31 11-15; 31-27 19-24; 27-31 24-19; 31-27 15-10; 27-31 10-14; 31-27 19-15; 2622! (vital, in order to get out of the cramp when White takes square 18; anything else loses. eg 26-31? 15-18; 31-26 14-17; 26-31 17-22. White wins.) 14-18 22-17! Drawn. Key Bridge Endgame 4: Black Man On 20 (Alternative setting) Diagram 10

QRRRRRRRRS TE 1E 2E 3E 4U T 5E 6E 7E 8EU TE 9E !0E !1E !2U T !3ED!4E !5E !6EU TE !7ED!8E !9EA@0U T @1E @2EA@3E @4EU TE @5EC@6EC@7E @8U T @9EB#0E #1EB#2EU VWWWWWWWWX Black to move and draw Diagnosis & Analysis Here, the only active pieces are the white king on 14 and the black king on 26, and by pairing-off we can see that Black has the opposition. If Black allows White to switch the ‘holding’ king from 18 to 19, then White will win as in Number 3. However, by moving the man from 20 to 28, Black can draw as per Number 1! Continuation: 20-24! (a sweet finesse) 14-10; 24-28! 10-15 … Drawn.

PAGE 24

Key Bridge Endgame 5: Black Man On 12 Diagram 11

QRRRRRRRRS TE 1E 2E 3E 4U T 5E 6E 7E 8EU TED9E !0E !1EA!2U T !3E !4E !5E !6EU TE !7E !8ED!9E @0U T @1E @2EA@3E @4EU TE @5EC@6EC@7E @8U T @9EB#0E #1EB#2EU VWWWWWWWWX Either to move; White wins Diagnosis & Analysis Here, the only active pieces are the White king on 9 and the black king on 27. Unfortunately for Black, White wins with or without the opposition. Continuation 1: (Black has the opposition) … 9-6 (not 914? 26-31! 19-26; 31-22 32-23; 22-18 (breeches). Drawn. ) 27-31 6-10; 31-27 10-15; 27-31 32-28! White wins. Continuation 2: (White has the opposition): 27-31 9-6; 31-27 6-10; 27-31 10-15. White wins. Key Bridge Endgame 6: Black Man On 12 (Early stage) Diagram 12

QRRRRRRRRS TE 1ED2E 3E 4U T 5E 6E 7E 8EU TEB9EA!0E !1EA!2U T !3E !4E !5E !6EU TE !7E !8E !9E @0U T @1E @2EA@3E @4EU TE @5E @6E @7E @8U T @9EB#0EC#1EB#2EU VWWWWWWWWX Black to move and draw Diagnosis & Analysis (By Derek Oldbury) Black has a tricky choice to make here, since the natural 31-26 loses by 2-7; 10-14 7-10; 14-17 10-14; 17-21 14-17; and White, who has the opposition, wins by crowning and returning to 18. Continuation: 31-27! 2-7; 10-14 7-10; 14-17 10-14; 17-22 14-18; 22-26 9-6 (18-15 is met with 27-24! – Black must not allow White to get to 19); 26-31 6-2; 31-26 2-7; 12-16! (26-31? loses by 7-11; 31-26 18-15; 27-24 32-28!; 24-20 28-24! White wins) … Drawn. Black now has the opposition, and clinches the draw by running for 28. PAGE 25

Key Bridge Endgame 7: Black Man On 3 Diagram 13

QRRRRRRRRS TE 1E 2EA3E 4U T 5E 6E 7E 8EU TE 9E !0E !1E !2U T !3E !4ED!5E !6EU TE !7E !8ED!9E @0U T @1E @2EA@3E @4EU TE @5EC@6EC@7E @8U T @9EB#0E #1EB#2EU VWWWWWWWWX White to move and win Diagnosis & Analysis (By Derek Oldbury) Here, the only active pieces are the white king on 15 and the black king on 27; White thus having the opposition. White’s winning plan consists of placing this king on 20, containing the active black king, and forcing the man on 3 to advance into trouble. Unlike the side squares looked at so far however, square 3 is a junction for two diagonals. This permits a fresh possibility which both sides must be alert to. Continuation: … 15-11; 27-31 11-16; 31-27 16-20; 3-7 (Black has no choice but to advance. However, he does have a choice as to which direction to take. Choice 1: Without even analysing the situation – 3-8 loses immediately after 20-16 -, he can see that taking the man to 12 would lead to a dead end in two moves, and White would still have the opposition. Choice 2: However, taking the man to 21, if permitted, would lead to a dead end in an odd number of moves, and would transfer the opposition to Black! Indeed, Black would draw with ease, as in Number 2. For this reason, Black does best to try 3-7. Of course, if it was White to move at this stage, then Black would draw easily: his active king holding off the active white king, and the man on 3 standing pat.) 19-15! (not 20-16?; 7-10 16-11; 10-14 11-15; 14-17 15-10; 17-21! … into Number 2. Drawn); 26-22 20-16; 27-31 (27-24 16-12 – the man on 7 is in jeopardy -; 23-27 32-23; 24-27 23-18; 27-23 15-11. White wins.) 16-12; 31-26 32-28. White wins. Key Bridge Endgame 8: Black Man On 2 Diagram 14

QRRRRRRRRS TE 1EA2E 3E 4U T 5E 6E 7E 8EU TE 9E !0E !1E !2U T !3E !4E !5E !6EU TE !7E !8ED!9ED@0U T @1E @2EA@3E @4EU TE @5EC@6EC@7E @8U T @9EB#0E #1EB#2EU VWWWWWWWWX Either to move, Black draws PAGE 26

Diagnosis & Analysis Here, the only active pieces are the white king on 20 and the black king on 27. Thus, with Black to move, White would have the opposition. However, by moving the man on 2 into 13 (3 moves) or 21 (5 moves), the opposition is reversed, and an easy draw results! Continuation: 1 (Black has the opposition) … 19-24 (against 20-16, the man on 2 can be allowed to stand pat. In fact, White has no attack of any substance at all.); 26-31 30-25; 2-6 25-21; 6-10 21-17; 10-15 17-14; 15-18 14-10; 18-22 10-7; 22-25 7-3 (or 7-2, 25-30 2-6; 30-25 6-9; 25-21 9-14; 21-25 14-18; 25-30 18-22; 30-26 22-25; 2630 25-21; 30-26. Drawn.); 25-30 3-8; 30-26 8-11; 26-30 11-16; 30-25 24-19; 25-30 19-26; 30-23. Drawn. Continuation 2: (White has the opposition) 2-6 19-24 (if 20-16; Black draws with 6-9, as explained above); 26-31 30-25; 6-9 25-21; 9-13. Drawn.

Key Bridge Endgame 9: Black Man On 2 (Alternative setting) Diagram 15

QRRRRRRRRS TE 1EA2E 3E 4U T 5E 6E 7E 8EU TE 9E !0E !1E !2U T !3E !4ED!5E !6EU TE !7ED!8E !9E @0U T @1E @2EA@3E @4EU TE @5EC@6EC@7E @8U T @9EB#0E #1EB#2EU VWWWWWWWWX White to move and win

Diagnosis & Analysis (By Derek Oldbury) By pairing-off the white king on 15 and the black king on 26, we can see that White has the opposition. Unfortunately for Black, he will not be permitted to reverse the opposition by moving the man on 2 into 13 (3 moves), but will instead be forced into 20 (4 moves), leaving the opposition unchanged and White with an easy win. Continuation: … 15-10; 26-31 10-14; 31-26 14-17; 26-31 (with White to move at this stage, Black would draw comfortably; leaving the man on 2, and holding off the active white king with his own active king.) 17-22; 2-7 (2-6 would not have the desired effect now, because both black kings are hemmed in: 2-6 30-25; 6-9 25-21; 9-13 21-17. White wins.) 30-25 (18-15?; permits a draw after 27-24 22-17; 24-20 17-14; 31-27 14-9; 27-24. Drawn); 7-11 25-21; 11-16 22-25 (cleverly erecting the winning bridge; a procedure which should be carefully noted); 16-20 25-30; 31-26 21-17 (White has the opposition, and the win is just a matter of time. Incidentally, Black would not achieve anything by moving into the dog-hole; White would still have the opposition, and would win as in Number 1.); 26-31 17-13; 31-26 13-9; 26-31 9-6; 31-26 6-2; 26-31 2-6; 31-26 6-9; 26-31 9-14; 31-26 14-17; 26-31 17-22; 27-24 18-27; 24-19 27-24; 19-28 22-18; 28-24 18-15; 24-28 15-19. White wins.

PAGE 27

Key Bridge Endgame 10: Petterson’s Drawbridge (Men on 12 & 13) Diagram 16

QRRRRRRRRS TE 1E 2E 3E 4U T 5E 6E 7E 8EU TE 9ED!0ED!1EA!2U TA!3E !4E !5E !6EU TE !7E !8E !9E @0U T @1E @2EA@3E @4EU TE @5E @6E @7E @8U T @9EB#0EC#1EB#2EU VWWWWWWWWX Black to move and draw Diagnosis & Analysis Central to Black’s defence is that, provided the men on 12 and 13 stay put, White will be unable to make any attempt at a win until he voluntarily relinquishes holding the bridge. Continuation: (Black has the opposition) 31-26 10-14; 26-31 11-15; 31-26! (31-27? loses by 30-26!) 32-28 (otherwise Black seesaws between 31 and 26); 26-31 14-18 (15-18 allows 23-27); 31-27 (23-27? loses by 28-24; 27-32 3026!) 28-24; 27-20 18-27; 13-17 15-19; 20-16 (17-21? loses by 27-23!) 19-15; 16-20 15-11; 12-16 27-23 (against 11-15; Black draws with 17-21 27-32; 20-24 15-18; 16-19 32-28; 24-27 18-22; 27-23 28-32; 19-24 22-26; 23-19 26-31; 24-28. Drawn.); 17-21 30-26; 21-25 26-22; 25-30 22-18; 30-25 18-15; 25-22 15-10; 22-17 10-7; 17-14 7-3; 14-10 3-8; 10-15 (the 2 for 2 which saves the day!) 11-18; 16-19 23-16; 20-4. Drawn. Other Notable Bridge Endgames • Black: kings on 26 and 27; man on 23. White: king on 10; men on 30 and 32. White, to move, draws by the holding the two black kings under the bridge. Black, to move, wins! Well worth playing out! • Black: men on 12, 15 and 23. White: king on 3; men on 30 and 32. Black, to move, draws with 1518! (15-19? loses) 3-7; 18-22 7-11; 22-26 11-15; 12-16! (26-31? loses) 15-11; 16-20 11-15; 26-31. Drawn. W. Hellman v B. Case 1953. • Black: king on 31; men on 23 and 28. White: king on 10; men on 30 and 32. White, to move, has the opposition, but can only draw, as an examination will reveal! • Black: men on 8, 19, 22 and 28. White: men on 6, 20, 30 and 32. Black, to move, draws with 8-12! (not 19-23? which allows White to crown another king, and loses.) Compare with the previous example. • Black: kings on 26 and 31; men on 12 and 23. White: king on 19; men on 30 and 32. Black, to move, wins smartly with 23-27! 30-23; 31-26 19-16; 12-19 23-16; 27-31 32-28; 26-23 16-11; 23-19 11-7; 19-15 7-2; 15-10 28-24; 31-26 24-19; 26-22 19-16; 22-17 16-11; 17-13 11-8; 10-6 2-9; 13-6. Black wins. SUMMARY • There are 5 main methods available for breaking a bridge. • There are ten key 4 v 4 bridge endgames to master. PAGE 28

PROBLEMS Definition: ‘A draughts problem is a composed study in the element of force.’ (Derek Oldbury) Oldbury, a grandmaster and world champion, was also a problem composer for 50 years, and believed that, as a bare minimum, a worth-while problem needed to possess the following three features: • It should be an essay in force; • It should only have one solution; • It should employ no more than that number of pieces needed to execute its theme. The study of problems has long been recognized by experts as one of the best ways to improve endgame skill. Powers of visualization are tested, imaginative capabilities are stretched, and a minute observance of detail is demanded. Moreover, since many problems arise, or could arise, out of actual games, there is an increased chance of registering a beautiful, if not ‘immortal’, win in play. This is not to say, as Edward Lasker averred in his Chess and Checkers, that draughts problems ‘… do not enable combinations different in kind from those which occur in the actual fight over the board.’ So-called ‘stroke’ problems, for example, are often highly unnatural - one by Joe Charles, not typical of his output, contains 27 kings! - but are nonetheless excellent exercises in visualization. A.C.Hews was the undisputed king of this field, his book, Stroke Problems, being considered one of the masterpieces of the game’s literature, and he and his followers employed extremely precise composition techniques. ‘A stroke problem may be defined as one in which the defending side is compelled at every move to take one or more opposing pieces. Each move of the attacking side during the solution may be either an ordinary or capturing play, but its final move, at which the required result is attained, is generally a capture of one or more pieces.’ (A.C.Hews) The very best players always solve stroke problems from the diagram, without moving the pieces, a suitable test, Hews’ personal favourite, being the following. Diagram 1: By A.C.Hews

QRRRRRRRRS TE 1EA2E 3E 4U T 5EA6EA7EA8EU TE 9EA!0EA!1E !2U TB!3E !4EB!5EA!6EU TEB!7EB!8EA!9E @0U T @1EA@2EB@3E @4EU TE @5EB@6EB@7E @8U TB@9EB#0EB#1EC#2EU VWWWWWWWWX White to move and win

PAGE 29

Solution: … 18-14!; 11-18 13-9!; 6-13 29-25!; 22-29 14-9!; 13-22 26-17; 19-26 31-6; 32-23 30-25!; 2913 6-1; 13-6 1-26. White wins. KEY INFORMATION • Before attempting to solve problems, you need to understand what you are trying to avoid. ‘White to move and win’, implies that if White plays routinely, Black will draw. ‘White to move and draw’, implies that if White plays routinely, Black will win. Ascertaining precisely how Black draws or wins against these routine continuations is therefore a prerequisite, and a useful exercise even if the solution proves elusive. • The solution always assumes the best play on the part of Black. • There is little to be gained in torturing yourself! Don’t feel bad about looking up the first, second or even third move of the solution if the problem is proving to be too hard. Selected Problems Choosing just 20 problems from the tens of thousands available is no easy task, as you may imagine. My final selection reflects an emphasis on subtlety and charm, rather than pure difficulty, and will repay close study. These problems have entertained and instructed generations of players. I am confident that, like me, you will be enchanted by them. Problem 1: By R. Gourlay

QRRRRRRRRS TE 1E 2E 3E 4U T 5E 6E 7E 8EU TE 9E !0E !1E !2U TA!3E !4E !5EC!6EU TE !7E !8E !9E @0U TB@1E @2E @3EB@4EU TE @5E @6EB@7E @8U T @9E #0E #1E #2EU VWWWWWWWWX White to move and draw Problem 2: By F. Dunne

QRRRRRRRRS TE 1E 2E 3E 4U T 5E 6EA7E 8EU TE 9E !0E !1EB!2U T !3E !4E !5EC!6EU TE !7ED!8EB!9E @0U T @1E @2E @3E @4EU TE @5E @6E @7E @8U T @9E #0E #1E #2EU VWWWWWWWWX White to move and win PAGE 30

Problem 3: By C. Hefter

QRRRRRRRRS TE 1E 2E 3EA4U T 5E 6E 7E 8EU TE 9E !0E !1E !2U T !3E !4E !5E !6EU TE !7E !8E !9E @0U T @1EC@2E @3E @4EU TE @5E @6E @7EB@8U TB@9ED#0E #1E #2EU VWWWWWWWWX

Problem 4: By O.H.Richmond

QRRRRRRRRS TE 1E 2E 3EA4U T 5E 6E 7E 8EU TE 9E !0E !1E !2U T !3E !4E !5E !6EU TE !7E !8E !9E @0U TC@1E @2EB@3E @4EU TEB@5E @6E @7E @8U TB@9E #0E #1E #2EU VWWWWWWWWX

White to move and win

White to move and win

Problem 5: By H. Byars

Problem 6: By J. Searight

QRRRRRRRRS TE 1E 2E 3E 4U T 5E 6E 7E 8EU TE 9EA!0EA!1E !2U T !3E !4E !5E !6EU TE !7EB!8EB!9E @0U TA@1ED@2E @3E @4EU TE @5E @6E @7E @8U T @9E #0E #1E #2EU VWWWWWWWWX White to move and win

Problem 7: By T. Wiswell

QRRRRRRRRS TE 1E 2E 3E 4U TA5E 6E 7E 8EU TE 9EA!0E !1E !2U TB!3E !4E !5E !6EU TE !7E !8E !9EA@0U TD@1E @2E @3E @4EU TE @5EB@6E @7EB@8U TC@9E #0E #1E #2EU VWWWWWWWWX White to move and win

QRRRRRRRRS TE 1E 2E 3E 4U T 5E 6E 7E 8EU TEA9EA!0E !1E !2U T !3EA!4E !5E !6EU TE !7E !8E !9E @0U TB@1EB@2EB@3EA@4EU TE @5E @6E @7E @8U T @9E #0EB#1E #2EU VWWWWWWWWX White to move and draw

Problem 8: By A.W.Glasson

QRRRRRRRRS TE 1ED2E 3E 4U T 5E 6E 7E 8EU TE 9E !0E !1EA!2U T !3E !4ED!5E !6EU TE !7EA!8E !9EB@0U T @1EC@2E @3EA@4EU TE @5E @6E @7E @8U T @9E #0EB#1E #2EU VWWWWWWWWX White to move and win

PAGE 31

Problem 9: By C. Nelson

QRRRRRRRRS TEA1E 2E 3E 4U T 5EA6EB7E 8EU TE 9EB!0E !1E !2U T !3E !4EB!5EC!6EU TE !7EB!8E !9E @0U T @1EC@2E @3E @4EU TE @5E @6E @7E @8U T @9E #0E #1E #2EU VWWWWWWWWX White to move and draw

Problem 11: By A.J.Heffner

QRRRRRRRRS TE 1E 2E 3E 4U TA5EA6E 7E 8EU TE 9E !0E !1EA!2U TB!3E !4E !5E !6EU TE !7EB!8ED!9E @0U T @1E @2E @3E @4EU TE @5E @6E @7EC@8U T @9E #0E #1E #2EU VWWWWWWWWX White to move and draw

Problem 13: By J. D’Orio

QRRRRRRRRS TE 1ED2E 3E 4U T 5E 6E 7E 8EU TE 9E !0E !1EA!2U T !3E !4E !5E !6EU TE !7EA!8E !9E @0U TA@1E @2E @3E @4EU TE @5EB@6E @7EA@8U TC@9EB#0E #1EB#2EU VWWWWWWWWX White to move and win

PAGE 32

Problem 10: By A.J.Heffner

QRRRRRRRRS TED1EC2E 3E 4U T 5E 6E 7E 8EU TE 9ED!0E !1E !2U T !3E !4E !5E !6EU TE !7E !8E !9E @0U TA@1E @2E @3E @4EU TE @5E @6E @7EA@8U TC@9EB#0E #1EB#2EU VWWWWWWWWX White to move and win

Problem 12: By G. Slocum

QRRRRRRRRS TE 1E 2ED3E 4U T 5EB6E 7EA8EU TEC9E !0E !1ED!2U T !3E !4E !5E !6EU TE !7E !8E !9E @0U T @1EC@2E @3E @4EU TEC@5E @6E @7ED@8U T @9E #0E #1E #2EU VWWWWWWWWX White to move and win

Problem 14: By J. Charles

QRRRRRRRRS TED1E 2E 3EA4U T 5EC6ED7E 8EU TE 9EB!0ED!1E !2U T !3E !4E !5E !6EU TEC!7E !8E !9E @0U TA@1E @2E @3E @4EU TE @5EB@6E @7E @8U T @9E #0E #1E #2EU VWWWWWWWWX White to move and win

Problem 15: By J. Hanson

QRRRRRRRRS TE 1E 2E 3E 4U T 5E 6E 7E 8EU TE 9EA!0E !1E !2U TA!3EA!4EA!5EA!6EU TE !7E !8EA!9E @0U TB@1EB@2E @3E @4EU TE @5EB@6EB@7EB@8U T @9E #0E #1EB#2EU VWWWWWWWWX White to move and win

Problem 17: By T. Wiswell

QRRRRRRRRS TE 1E 2E 3E 4U T 5E 6EA7E 8EU TEA9EA!0E !1EA!2U T !3E !4E !5EA!6EU TE !7E !8EB!9EA@0U T @1E @2EB@3E @4EU TE @5EB@6EB@7E @8U T @9EB#0E #1EB#2EU VWWWWWWWWX White to move and win

Problem 19: By T. Wiswell

QRRRRRRRRS TEA1EA2E 3E 4U TB5EA6E 7EA8EU TEB9E !0E !1E !2U TB!3EB!4E !5EA!6EU TEB!7E !8E !9E @0U TB@1E @2E @3E @4EU TEA@5E @6E @7EA@8U T @9EB#0E #1EB#2EU VWWWWWWWWX White to move and win

Problem 16: By W. Benstead

QRRRRRRRRS TE 1EA2E 3E 4U T 5EA6E 7E 8EU TE 9EA!0E !1E !2U TA!3E !4EA!5E !6EU TE !7E !8EA!9E @0U TB@1EB@2E @3E @4EU TE @5EB@6EB@7EB@8U T @9E #0EB#1E #2EU VWWWWWWWWX White to move and win

Problem 18: By W. Ryan

QRRRRRRRRS TE 1E 2E 3E 4U T 5EA6EA7E 8EU TE 9EA!0E !1E !2U TB!3E !4EA!5EB!6EU TEB!7EA!8E !9EA@0U TB@1E @2E @3E @4EU TE @5EB@6E @7EB@8U T @9E #0E #1E #2EU VWWWWWWWWX White to move and win

Problem 20: By Dr T. Brown

QRRRRRRRRS TE 1E 2EA3EA4U TB5EB6E 7EA8EU TEB9EB!0EB!1EA!2U T !3EB!4EA!5E !6EU TE !7EA!8EA!9E @0U T @1E @2EA@3EA@4EU TEB@5E @6E @7E @8U T @9E #0E #1E #2EU VWWWWWWWWX White to move and draw

PAGE 33

Solutions See Chapter 6 for the solutions to these 20 problems.

SUMMARY • • • • • •

A draughts problem is a study in force. The regular study of problems will improve your endgame play. Stroke problems, though impractical, are useful visualization exercises. A prerequisite to solving a problem is understanding what you are trying to avoid. The solution always assumes the best play on the part of Black. Don’t spend too long searching for the solution: it’s not the most efficient way of learning.

PAGE 34

CHAPTER 3: THE LATE MIDGAME

•

More Classics

•

Transitions

PAGE 35

MORE CLASSICS In SOIC/D four classic late midgame positions were given: Fifth Position, Lucas’ Position, Cowan’s Coup and Strickland’s Draw. The six positions given here are of almost equal importance, arising frequently in crossboard play. (Of course with colours reversed too.) Complete mastery of all ten positions is essential if the late midgame is to be managed successfully. KEY INFORMATION & SUMMARY Mastery of these positions depends upon the following: Memorising the positions; Understanding the continuations; Angling for them (or avoiding them!) at an early stage. Classic Late Midgame Position 5: Hefter’s Win Diagram 1

QRRRRRRRRS TE 1E 2E 3E 4U T 5E 6EA7E 8EU TE 9EA!0E !1EA!2U TA!3EA!4E !5E !6EU TE !7E !8EB!9EB@0U TB@1EB@2EB@3E @4EU TE @5E @6E @7E @8U T @9E #0E #1E #2EU VWWWWWWWWX White to move and win Solution: … 22-18; 14-17 21-14; 10-17 19-15; 17-22 18-14; 22-25 (22-26 loses fast by 20-16) 23-19; 25-30 15-10; 7-11 10-7; 30-26 7-3; 26-22 14-9; 22-18 9-5; 18-14 (11-16 loses by First Position, as an examination will reveal) 3-7; 14-18 7-16; 18-23 5-1; 13-17 1-6; 17-22 6-10; 22-26 10-7 (getting into position); 26-31 16-11!; 23-16 11-15. White wins. Classic Late Midgame Position 6: Ross’ Win Diagram 2

QRRRRRRRRS TE 1E 2E 3E 4U T 5E 6EA7E 8EU TE 9EA!0E !1EA!2U TA!3EA!4E !5E !6EU TE !7E !8EB!9E @0U TB@1EB@2EB@3E @4EU TE @5E @6E @7E @8U T @9EB#0E #1E #2EU VWWWWWWWWX White to move and win PAGE 36

Solution: … 22-18; 14-17 21-14; 10-17 18-15; 17-22 23-18; 13-17 18-14; 17-21 14-9; 22-25 9-5; 25-29 5-1; 29-25 1-6!; 7-10 15-11; 10-14 6-10; 14-18 10-15; 25-22 11-7; 18-23 7-2; 22-26 19-16!; 12-19 1524; 26-31 24-28 (White is setting about creating a bridge); 31-27 28-32; 27-24 2-7; 24-19 7-10; 19-24 10-14; 24-27 14-17; 27-31 17-22. White wins. Classic Late Midgame Position 7: Bell’s Win Diagram 3

QRRRRRRRRS TE 1E 2E 3E 4U T 5E 6EA7E 8EU TE 9EA!0E !1EA!2U TA!3EA!4E !5E !6EU TE !7E !8E !9E @0U TB@1EB@2EB@3EB@4EU TE @5E @6E @7E @8U T @9EB#0E #1E #2EU VWWWWWWWWX White to move and win Solution: … 22-18; 14-17 21-14; 10-17 18-15; 17-22 23-18; 13-17 18-14; 17-21 24-20; 22-25 15-10; 711 10-7; 11-15 7-3; 25-29 (15-18 3-7; 18-23 7-10; 23-27 10-15; 27-32 14-10; 25-29 10-7; 29-25 15-18. White wins) 3-7; 29-25 7-10; 15-18 10-15; 25-22 30-26; 22-31 15-22; 31-27 14-10; 27-23 10-7; 23-19 7-3; 19-15 3-8. White wins. Classic Late Midgame Position 8: Robertson’s Draw Diagram 4

QRRRRRRRRS TE 1E 2E 3E 4U T 5E 6EA7EA8EU TE 9EA!0E !1EA!2U TA!3EA!4E !5E !6EU TE !7E !8EB!9EB@0U TB@1EB@2EB@3E @4EU TE @5E @6E @7E @8U T @9E #0EB#1E #2EU VWWWWWWWWX White to move, Black draws Solution: … 22-18; 14-17 21-14; 10-17 18-14; 17-22 14-9; 22-25 9-6; 25-30 6-2; 8-11! (7-11? 31-26; 13-17 2-6 17-21 6-9; 21-25 9-14; 25-29 14-17; 29-25 17-21; 25-29 26-22; 29-25 23-18; 25-29 18-15!!; 11-25 19-15. White wins. ‘Fred Allen’s win’.) 2-6; 30-25 23-18; 25-22 18-14; 13-17! (22-18? 6-9; 18-23 14-10; 23-16 10-3; 16-19 3-8; 11-15 9-14; 19-23 8-11; 15-19 11-15; 19-24 15-18; 23-27 14-10; 13-17 10-15; 27-32 15-19; 32-28 20-16; 17-21 16-11; 21-25 18-23. White wins.) 14-9; 17-21 9-5; 21-25 5-1; PAGE 37

25-30 1-5; 30-26 5-9; 26-23 6-10; 23-16 10-3; 16-19 9-14; 19-23 14-10; 23-19 3-8; 11-15 8-11; 15-18 11-15; 19-24 10-14; 18-23 20-16; 12-19 14-18; 23-26 18-25; 26-30. Drawn. In Diagrams 1, 2, 3 and 4, White’s advantage lay in getting to the centre first with 22-18. In Diagrams 5 and 6 Black gets to the centre first with 11-15, and skilful play is required on White’s part in order to avoid defeat. Classic Late Midgame Position 9: Dunne’s Draw Diagram 5

QRRRRRRRRS TE 1E 2E 3EA4U T 5E 6E 7E 8EU TE 9EA!0E !1EA!2U TA!3EA!4EA!5E !6EU TE !7E !8EB!9EB@0U TB@1EB@2EB@3E @4EU TE @5E @6E @7E @8U T @9EB#0E #1E #2EU VWWWWWWWWX White to move and draw Solution: … 30-25! (30-26? loses, as an examination will reveal); 15-24 22-18; 24-27 18-9; 27-31 9-6! (9-5 shortly transposes into a more difficult draw which is forced from Position 10); 31-26 (10-15 25-22; 4-8 23-18; 8-11 6-2; 31-26 or 31-27 then 20-16. Drawn) 23-18; 26-23 18-14; 10-17 21-14; 23-18 14-9!; 18-14 9-5; 13-17 6-2; 17-21 25-22; 21-25 2-6. Drawn. Classic Late Midgame Position 10: Jackson’s Draw Diagram 6

QRRRRRRRRS TE 1E 2EA3E 4U T 5E 6E 7E 8EU TE 9EA!0E !1EA!2U TA!3EA!4EA!5E !6EU TE !7E !8EB!9EB@0U TB@1EB@2EB@3E @4EU TE @5E @6E @7E @8U T @9EB#0E #1E #2EU VWWWWWWWWX White to move and draw Solution: … 30-25! (30-26? again loses); 15-24 22-18; 24-27 18-9; 27-31 9-5! (9-6? loses after 31-26 23-18; 26-22 as this time, with the man on 3 instead of 4, the 18-14 saver is not available); 10-15 25-22; 3-7 23-18; 7-11 18-14; 31-27 14-10; 27-23 10-7; 23-18 7-3; 18-25 5-1; 25-22 (15-18 3-8; 11-15 8-11; 25-22 1-6; 15-19 6-10; 19-24 11-15; 24-28 10-14. Drawn.) 1-6; 15-19 3-8; 11-15 8-11; 15-18 11-15; 1923 6-10; 23-36 10-14. Drawn. Not an attractive proposition perhaps, but a life-saver! PAGE 38

TRANSITIONS A prerequisite for understanding the late midgame, is an understanding of the endgame, which is why I have presented SOIC/D and this book ‘back to front’, so to speak. The expert player is keenly aware of factors such as backward men, pivot men, king majorities (achieved through being ahead in development), kings holding two men on the side of the board and the strengths and weaknesses of various king-row configurations, and plans accordingly. The transition element of the late midgame has received very little coverage in the literature, and it is my hope that this section will go some way to rectifying the situation.

KEY INFORMATION • ‘When you feel your position no longer warrants playing for a win, start looking for a sound, logical wind-up that will bring the game to an orderly conclusion. In doing so, however, make certain you see the resulting draw clearly, with no chance of a ragged ending resulting.’ (Dr Marion Tinsley) • In practice, many wins (losses!) are scored, because the inherent dangers are not noticed early enough. In the games which follow, the ‘defending side’ takes the appropriate evasive action, and painless draws result.

Transition Technique Number 1: Breaking Through The King-Row

Diagram 1: T. Watson v R. Pask 1988

QRRRRRRRRS TE 1E 2E 3E 4U T 5E 6E 7EA8EU TEA9EA!0E !1EA!2U T !3E !4E !5E !6EU TEB!7EB!8E !9E @0U TB@1E @2EA@3E @4EU TE @5E @6E @7E @8U T @9EB#0E #1EB#2EU VWWWWWWWWX Black to move and draw

Continue: 9-13 (forced) 17-14 (18-14 also draws); 10-17 21-14; 8-11 14-10; 12-16 10-7; 16-19 7-3; 1116 3-7; 23-26 (just in time) 30-23; 19-26. Drawn.

PAGE 39

Diagram 2: A. Long v M. Tinsley 1981

QRRRRRRRRS TE 1EA2E 3EA4U TA5EA6E 7E 8EU TEA9E !0E !1E !2U TB!3E !4E !5E !6EU TE !7EB!8E !9EA@0U TB@1EB@2E @3E @4EU TE @5E @6E @7E @8U T @9EB#0E #1EB#2EU VWWWWWWWWX

Black to move and draw Continue: 6-10! 13-6; 2-9 22-17; 9-14 18-9; 5-14 17-13; 10-15 13-9; 20-24 9-6; 15-18 6-2; 24-27 3223; 18-27. Drawn. Diagram 3: W. Fraser v T. Wiswell 1956

QRRRRRRRRS TE 1E 2E 3E 4U TA5E 6E 7EA8EU TE 9E !0EA!1EA!2U T !3EB!4E !5E !6EU TE !7EA!8E !9E @0U TB@1E @2E @3EB@4EU TE @5E @6E @7EB@8U T @9E #0EB#1E #2EU VWWWWWWWWX

Black to move and draw Continue: 12-16 24-20; 16-19 14-10; 19-23 10-7; 11-15 7-3; 8-12 3-7; 23-26 31-22; 18-25 7-10; 15-19 10-14; 19-23 28-24; 25-30 24-19; 30-26. Drawn. Diagram 4: W. Edwards v R. Pask 1987

QRRRRRRRRS TE 1EA2E 3E 4U T 5EA6E 7E 8EU TE 9EA!0E !1EA!2U TB!3E !4E !5EA!6EU TEB!7E !8EB!9E @0U TA@1E @2EB@3E @4EU TE @5E @6E @7E @8U T @9EB#0E #1EB#2EU VWWWWWWWWX Black to move and draw

PAGE 40

Continue: 2-7 23-18; 16-23 18-14; 10-15 14-10; 7-14 17-1; 15-19 1-6; 12-16 6-10; 23-26 30-23; 19-26. Drawn. Diagram 5: R. Pask v D. Oldbury 1990

QRRRRRRRRS TE 1E 2EA3E 4U TA5EB6E 7E 8EU TE 9E !0E !1EA!2U T !3E !4E !5EA!6EU TE !7E !8E !9EA@0U TB@1EB@2E @3E @4EU TE @5EA@6EB@7EB@8U T @9E #0E #1EB#2EU VWWWWWWWWX

Black to move and draw Continue: 16-19 6-2; 26-31 2-6; 31-24 6-10; 12-16! 10-15; 3-8! 22-17; 8-11! 15-8; 24-27 32-23; 19-26. Drawn. Diagram 6: S. Levy v S. Cohen 1937

QRRRRRRRRS TEA1EA2E 3E 4U T 5E 6E 7E 8EU TE 9EA!0E !1E !2U TB!3EA!4EA!5E !6EU TE !7E !8EB!9EA@0U TB@1EB@2E @3E @4EU TE @5E @6EB@7E @8U T @9E #0EB#1E #2EU VWWWWWWWWX

White to move and draw Continue: … 27-24; 20-27 31-24; 14-18 22-17; 18-23 17-14; 10-17 21-14; 15-18 19-15; 23-27 14-9; 27-31 24-19; 31-26 9-6; 1-10 15-6; 2-9 13-6. Drawn. Diagram 7: W. Hellman v M. Chamblee 1951

QRRRRRRRRS TEA1E 2E 3E 4U T 5E 6EA7E 8EU TEB9E !0E !1EA!2U T !3EB!4E !5E !6EU TE !7EB!8E !9EA@0U T @1E @2E @3E @4EU TEA@5E @6E @7E @8U T @9E #0EB#1EB#2EU VWWWWWWWWX Black to move and draw

PAGE 41

Continue: 12-16! 18-15; 16-19 15-10; 7-11 10-7; 11-15 7-3; 15-18 3-7; 19-24 7-10; 24-27 (in the simplest, and most common, form of breakthrough, there is no man on 32, and Black just exchanges 2427 31-24; 20-27) 32-23; 18-27 31-24; 20-27. Drawn. Diagram 8: R. Pask v G. Miller 1995

QRRRRRRRRS TEA1E 2EA3E 4U T 5E 6E 7E 8EU TE 9EA!0EB!1E !2U TA!3EA!4EA!5E !6EU TE !7E !8E !9EB@0U TB@1EB@2E @3E @4EU TE @5EB@6E @7E @8U T @9E #0EB#1E #2EU VWWWWWWWWX

Black to move and draw Continue: 14-18 22-17; 13-22 26-17; 18-23 11-7; 15-18 7-2; 10-15 17-14; 23-26 (when the man currently on 18 is on 19, Black exchanges with 23-27 31-24; 19-28) 31-22; 18-25 21-17; 15-18 2-7; 310 14-7. Drawn. Diagram 9: R. Pask v W. Ferguson 1985

QRRRRRRRRS TE 1E 2E 3EA4U TA5E 6E 7E 8EU TEA9EA!0EA!1E !2U TA!3E !4E !5E !6EU TE !7EB!8EB!9EB@0U T @1EB@2E @3E @4EU TE @5E @6E @7E @8U T @9EB#0E #1EB#2EU VWWWWWWWWX

Black to move and draw Continue: 9-14 18-9; 5-14 19-16; 11-15 16-11; 14-18 11-7; 18-25 30-21; 13-17! 21-14 10-17. Drawn. Diagram 10: ‘World Championship Checkers’ v R. Pask 1999 Practice

QRRRRRRRRS TEA1E 2EA3E 4U T 5E 6E 7E 8EU TE 9EA!0EA!1E !2U T !3E !4E !5E !6EU TEB!7EA!8E !9EB@0U TB@1E @2E @3EB@4EU TE @5E @6E @7E @8U T @9E #0EB#1E #2EU VWWWWWWWWX White to move and draw

PAGE 42

Continue: … 24-19; 11-15 19-16; 18-23 16-11; 15-18 11-7; 10-15 7-2; 18-22 (seeking an endgame advantage) 17-14; 23-26 21-17; 26-30 2-7; 3-10 14-7; 15-18 17-14. Drawn. Diagram 11: R. Pask v ‘World Championship Checkers’ 2000 Practice

QRRRRRRRRS TEA1E 2E 3E 4U T 5E 6E 7EA8EU TE 9EA!0E !1E !2U TA!3EA!4EA!5EB!6EU TE !7E !8E !9EB@0U TB@1EB@2E @3E @4EU TE @5EB@6E @7E @8U T @9E #0EB#1E #2EU VWWWWWWWWX Black to move and draw

Continue: 8-12 16-11; 14-18 22-17; 13-22 26-17; 18-23 11-7; 15-18 7-2; 10-15 2-7; 23-26 31-22; 1825. Drawn.

Transition Technique Number 2: Mutual Protection Diagram 12: R.Pask v T.Landry 1987

QRRRRRRRRS TEA1EA2E 3E 4U T 5E 6E 7E 8EU TE 9EA!0EA!1E !2U T !3EA!4EA!5E !6EU TE !7E !8E !9EB@0U TB@1EB@2EB@3E @4EU TE @5E @6E @7EB@8U T @9E #0E #1EB#2EU VWWWWWWWWX Black to move and draw

Continue: 1-6! (threatening a 2 for 2, and preparing to break up the position) 22-17; 6-9 17-13; 15-18 13-6; 18-27 32-23; 2-9 23-19; 11-15 19-16; 15-19 16-11; 9-13 11-8 (11-7 is met with 14-17); 14-18 8-3; 10-15 3-7; 18-22 7-11; 15-18 11-15 19-23. Drawn. Notice how the black men on 18, 22 and 23 nicknamed ‘the eternal three’ by Newell Banks - bunch together for safety. The next example demonstrates the need for eternal vigilance when playing this most subtle of games. From the starting position play: 9-14 24-20; 10-15 22-17; 7-10 25-22; 3-7 29-25; 5-9 17-13; 11-16 2011; 7-16 23-19; 15-24 28-19; 16-23 26-19; 8-11 30-26; 11-15 22-17; 15-24 27-20; 4-8 26-23; 8-11 3228; 2-7 31-26; 11-15 20-16; 12-19 23-16; 15-18 26-22; 18-23 22-18: Forms Diagram 13

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Diagram 13: B. Case v W. Hellman 1953

QRRRRRRRRS TEA1E 2E 3E 4U T 5EA6EA7E 8EU TEA9EA!0E !1E !2U TB!3EA!4E !5EB!6EU TEB!7EB!8E !9E @0U TB@1E @2EA@3E @4EU TEB@5E @6E @7EB@8U T @9E #0E #1E #2EU VWWWWWWWWX Black to move and draw

Continue: 7-11! 16-7; 23-26! (have a careful look at the disaster which would result were Black to play 23-27?) 18-15; 10-19 17-10; 6-15 13-6; 1-10 7-2; 19-24 28-19; 15-24 2-7; 10-15 7-11; 15-18 11-15; 1823. Drawn. Diagram 14: R. Pask v W. Edwards 1984

QRRRRRRRRS TE 1E 2E 3EA4U T 5E 6EA7E 8EU TEB9E !0E !1E !2U T !3EA!4EA!5EB!6EU TE !7E !8E !9EB@0U T @1E @2E @3E @4EU TE @5E @6E @7EB@8U T @9E #0E #1E #2EU VWWWWWWWWX Black to move and draw

Continue: 7-10 9-6; 14-17 6-2; 15-18 2-6; 10-14 6-9; 17-21 9-13; 18-23 13-17; 14-18 16-11; 23-27. Drawn. Diagram 15: J. Anderson v R. Pask 1984

QRRRRRRRRS TE 1E 2E 3E 4U TA5E 6E 7EA8EU TEA9EA!0E !1E !2U T !3E !4E !5EA!6EU TE !7EB!8E !9E @0U T @1E @2EB@3E @4EU TEB@5E @6EB@7EB@8U T @9E #0E #1E #2EU VWWWWWWWWX White to move and draw

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Continue: … 27-24; 16-20 24-19; 8-12 18-15; 10-14 15-10; 20-24 19-15; 24-27 23-19; 27-31 15-11; 31-26 19-15; 26-23 25-21. Drawn. Diagram 16: R. Pask v ‘World Championship Checkers’ 2000 Practice

QRRRRRRRRS TE 1E 2E 3E 4U T 5EA6E 7E 8EU TE 9E !0E !1EA!2U T !3EB!4EA!5E !6EU TE !7E !8EA!9E @0U TB@1E @2E @3EB@4EU TE @5E @6E @7EB@8U T @9E #0E #1E #2EU VWWWWWWWWX

Black to move and draw Continue: 19-23 14-10; 6-9 10-7; 15-18 7-2; 9-14 2-7; 18-22 7-10; 14-18 10-15; 23-26 15-11 (accepting that Black is safe); 22-25 11-16; 12-19 24-15. Drawn. Transition Technique Number 3: Double-Corner Breakthrough Diagram 17: M.Tinsley v W.Hellman 1955

QRRRRRRRRS TE 1E 2E 3EA4U TA5E 6E 7E 8EU TEA9E !0E !1EA!2U T !3EA!4EB!5E !6EU TE !7E !8EB!9EA@0U T @1EB@2EB@3E @4EU TEB@5E @6EB@7E @8U T @9E #0E #1E #2EU VWWWWWWWWX

Black to move and draw Continue: 9-13 25-21; 4-8 15-10; 8-11 10-6; 11-16 6-2; 13-17 22-13; 14-18 23-14; 16-32. Drawn. Diagram 18: T. Watson v R. Pask 1985

QRRRRRRRRS TE 1E 2E 3E 4U T 5E 6EA7E 8EU TE 9EA!0EA!1EA!2U TB!3E !4E !5EA!6EU TE !7EB!8EB!9EA@0U T @1E @2EB@3E @4EU TE @5E @6EB@7E @8U T @9E #0E #1EB#2EU VWWWWWWWWX Black to move and draw

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Continue: 10-14! 18-9; 7-10 32-28 (Black was threatening 11-15); 10-14 9-6; 14-18 23-14; 16-32. Drawn. Diagram 19: R Pask v D. Hyde 1989

QRRRRRRRRS TE 1E 2E 3E 4U T 5E 6EA7E 8EU TEA9E !0EA!1EA!2U T !3EA!4E !5EA!6EU TE !7EB!8EA!9EA@0U TB@1E @2EB@3E @4EU TE @5EB@6EB@7EB@8U T @9E #0EB#1E #2EU VWWWWWWWWX

Black to move and draw Continue: 9-13! (the only way out) 18-9; 11-15 9-5; 15-18 23-14; 19-24 28-19; 16-32. Drawn. Diagram 20: ‘Colossus’ v R. Pask 1999 Practice

QRRRRRRRRS TEA1E 2E 3E 4U T 5EA6E 7E 8EU TE 9EA!0EA!1E !2U TB!3EA!4EA!5EA!6EU TEB!7E !8E !9E @0U TB@1E @2E @3EB@4EU TEB@5EB@6E @7EB@8U T @9E #0E #1E #2EU VWWWWWWWWX

White to move and draw Continue: … 26-23; 16-20 24-19; 15-24 28-19; 20-24 19-16!; 11-20 25-22; 1-5 (White was threatening 22-18) 23-19; 24-27 19-15; 10-19 17-1. Drawn. Diagram 21: R. Pask v C. Brewer 1988

QRRRRRRRRS TE 1EA2E 3E 4U T 5E 6E 7ED8EU TE 9EA!0E !1EA!2U TA!3E !4E !5E !6EU TEB!7E !8EA!9EA@0U T @1EB@2E @3E @4EU TE @5E @6EB@7EB@8U TB@9E #0E #1E #2EU VWWWWWWWWX Black to move and draw

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Continue: 2-7 29-25; 10-15 17-14; 7-11 25-21; 11-16 8-11; 15-18 22-15; 19-24 28-19; 16-32. Diagram 22: R. Pask v ‘Nexus’ 2000 Practice

QRRRRRRRRS TE 1E 2E 3E 4U T 5E 6E 7E 8EU TEA9E !0EA!1EA!2U T !3E !4EA!5EA!6EU TE !7E !8EA!9E @0U TB@1E @2EB@3E @4EU TEB@5EB@6E @7EB@8U T @9E #0E #1E #2EU VWWWWWWWWX

Black to move and draw Continue: 9-14 25-22; 14-18! 23-14; 16-20 14-9; 11-16 9-6; 15-18 22-15; 19-24 28-19; 16-30. Drawn. Transition Technique Number 4: Avoiding Backward Men Diagram 23: J.Hanson v E.Hunt 1934

QRRRRRRRRS TE 1EA2E 3EA4U TA5E 6E 7E 8EU TE 9EA!0E !1EB!2U TA!3E !4E !5E !6EU TE !7E !8E !9E @0U TB@1E @2EA@3EB@4EU TE @5E @6E @7EB@8U TB@9E #0EB#1E #2EU VWWWWWWWWX

White to move and draw Continue: … 24-19; 5-9 19-16; 10-14 29-25! (against the natural 16-11?, Black plays 13-17 12-8; 9-13 8-3; 23-26 31-22; 17-26, and White is saddled with three backward men); 13-17 25-22!; 17-26 31-22. Drawn. Diagram 24: R. Pask v A. Long 1989

QRRRRRRRRS TE 1E 2EA3EA4U T 5E 6E 7E 8EU TEB9E !0EA!1EA!2U TA!3E !4E !5E !6EU TE !7E !8EB!9E @0U TB@1E @2E @3E @4EU TEB@5E @6E @7E @8U T @9E #0EB#1E #2EU VWWWWWWWWX Black to move and draw

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Continue: 3-8! (limiting White to just one king) 9-6; 11-16 19-15; 8-11! 15-8; 4-11 6-2; 16-19 2-6; 1923 6-10; 11-16 10-15; 16-20 15-19; 23-27 31-24; 20-27 25-22; 27-31 19-23; 12-16 22-18; 16-20 18-15; 20-24 23-27 24-28; 27-32 31-26. Drawn. Diagram 25: R. Pask v L. Edwards 1982 Practice

QRRRRRRRRS TE 1EA2E 3E 4U T 5EA6E 7E 8EU TE 9E !0E !1E !2U TB!3EA!4E !5E !6EU TEA!7E !8EB!9EA@0U T @1E @2E @3E @4EU TE @5EB@6E @7E @8U T @9EB#0EB#1E #2EU VWWWWWWWWX Black to move and draw

Continue: 20-24 19-16; 14-18! (gains a tempo: if White doesn’t take the 2 for 1 offered, Black will play 18-22!, using the white man on 13 as a backstop) 26-22; 18-25 30-14; 24-27 31-24; 6-10 14-7; 2-27. Drawn. Diagram 26: R. Pask v T. Landry 1985

QRRRRRRRRS TEA1E 2E 3E 4U T 5E 6E 7E 8EU TEB9E !0E !1EA!2U T !3E !4EB!5E !6EU TE !7E !8E !9E @0U TA@1E @2E @3E @4EU TE @5E @6E @7EC@8U T @9EB#0EB#1E #2EU VWWWWWWWWX Black to move and draw

Continue: 1-5 (Black is worried about the men on 1 and 21, and decides to run the gauntlet) 9-6; 5-9 62; 9-14 2-7 14-18 7-11; 18-23 15-10; 23-27 (obtaining the opposition, and removing any lingering fears) 31-24; 28-19 10-7; 19-24 7-3; 24-20 (the man on 12 can now be escorted safely through). Drawn. The last two examples are of a very advanced nature, and show how, when defending certain of the 3move ballots, you can be forced into very delicate endgames featuring backward men. From the starting position play: 10-15 21-17; 7-10 (known as the Octopus because of its deadly tentacles!)17-14; 10-17 22-13; 11-16 23-19; 16-23 26-10; 6-15 13-6; 1-10 25-22; 12-16 29-25; 16-19 25-21; 10-14 22-17; 2-7 17-10; 7-14 27-23; 19-26 31-22; 3-7 22-17; 7-10 24-20; 8-12 28-24; 14-18 1714; 10-17 21-14; 18-23 14-10; 5-9 10-7; 9-14 7-2; 15-18 2-7; 23-27 32-23; 18-27 24-19; 27-31 19-15; 14-18 15-11; 18-23 7-10; 23-27 10-15; 27-32 30-25; 32-27 11-7: Forms Diagram 27 PAGE 48

Diagram 27: Analysis by L. Hall

QRRRRRRRRS TE 1E 2E 3EA4U T 5E 6EB7E 8EU TE 9E !0E !1EA!2U T !3E !4ED!5E !6EU TE !7E !8E !9EB@0U T @1E @2E @3E @4EU TEB@5E @6EC@7E @8U T @9E #0EC#1E #2EU VWWWWWWWWX Black to move and draw

Summary: Here, White is strong the centre, while Black has a pronounced weakness in the singlecorner zone. (The backward men on 4 and 12.) White hopes to win by crowning 3 kings, attacking the 2 black kings with them, and compelling the move 4-8. The exposed man on 8 would then be open to capture. To avoid this scheme, Black keeps freedom of action by taking his kings to that side of the board furthest from any undeveloped men: a principle which can be usefully applied in numerous other cases. Continue: 27-23 7-2; 31-26 2-7 (2-6 is also good); 26-30 25-21; 30-25 21-17; 25-22 17-13; 23-18 1510; 4-8! 7-3; 22-17 13-9; 17-13 9-6; 18-14 10-17; 13-22. Drawn. Now try: 10-15 22-17; 15-19 (known as the Skullcracker!) 24-15; 11-18 23-14; 9-18 26-23; 6-9 23-14; 9-18 30-26; 5-9 17-14; 9-13 26-23; 1-5 28-24; 8-11 24-20; 11-15 21-17; 13-22 27-24; 18-27 25-11; 7-16 32-23; 3-7 20-11; 7-16 29-25; 2-6 25-22; 6-9 14-10; 9-14 10-7; 5-9 7-2; 16-20 23-19; 20-27 31-24; 9-13 24-20; 14-17 22-18; 17-22 2-7; 22-26 7-10; 26-31 18-14; 13-17 10-15; 17-22 14-9; 22-25 9-6; 25-30 62; 30-26 2-7: Forms Diagram 28 Diagram 28: Analysis by D. Oldbury

QRRRRRRRRS TE 1E 2E 3EA4U T 5E 6ED7E 8EU TE 9E !0E !1EA!2U T !3E !4ED!5E !6EU TE !7E !8EB!9EB@0U T @1E @2E @3E @4EU TE @5EC@6E @7E @8U T @9E #0EC#1E #2EU VWWWWWWWWX Black to move and draw

Summary: As in Diagram 27, White is powerful in the centre, while Black suffers from two backward single-corner men. He escapes defeat through a combination of a clever placement of his kings and a bold intervention with 4-8. PAGE 49

Continue: 26-30! 15-18 (if 15-11 then 31-26! frustrates 19-15 because of 12-16); 31-27 19-15; 27-24 15-10; 4-8! 7-3; 30-26 18-15; 26-23 3-7; 24-19! 15-24; 8-11 7-16; 12-28. Drawn. Transition Technique Number 5: The Pitch Diagram 29: M.Tinsley v W. Hellman 1955

QRRRRRRRRS TE 1E 2E 3EA4U T 5E 6E 7E 8EU TE 9EA!0EA!1E !2U TA!3EA!4E !5E !6EU TE !7E !8EB!9E @0U T @1EB@2EB@3E @4EU TE @5E @6EB@7E @8U T @9E #0EB#1E #2EU VWWWWWWWWX

Black to move and draw Continue: 11-15 27-24; 4-8 19-16; 8-12 16-11; 14-17 23-19; 17-26 31-22; 12-16! (a pitch foreseen many moves earlier) 19-12; 10-14 11-7; 14-17! Drawn. Occurring in many guises, and worthy of a book in its own right, the pitch has been called ‘the soul of draughts’, and is also dealt with in Chapter 4. Diagram 30: E. Hunt v A. Long 1936

QRRRRRRRRS TEA1E 2E 3E 4U T 5E 6EA7E 8EU TEB9E !0E !1EA!2U T !3EA!4E !5EA!6EU TE !7E !8E !9EA@0U TB@1EB@2E @3E @4EU TE @5E @6EB@7EB@8U T @9E #0EB#1E #2EU VWWWWWWWWX

Black to move and draw Continue: 7-11 22-17; 14-18 17-14; 18-22 14-10; 22-26! 31-22; 16-19 10-7; 11-16 7-3; 19-24 28-19; 16-32. Drawn. Diagram 31: G. Miller v R. Pask 1990 Practice

QRRRRRRRRS TEA1E 2E 3E 4U TB5E 6E 7E 8EU TE 9EA!0E !1E !2U TA!3E !4E !5E !6EU TE !7EB!8E !9EA@0U TA@1E @2E @3EB@4EU TE @5E @6EB@7E @8U T @9EB#0E #1E #2EU VWWWWWWWWX Black to move and draw

PAGE 50

Continue: 13-17 24-19; 17-22 18-15; 10-14 15-10; 14-18 10-7; 21-25! 30-21; 22-26 7-2; 26-31. Drawn. Diagram 32: J. Webster v R. Pask 1989

QRRRRRRRRS TE 1E 2E 3E 4U TA5EA6E 7E 8EU TE 9E !0E !1EA!2U TA!3EB!4E !5E !6EU TE !7E !8E !9EA@0U T @1EB@2E @3E @4EU TEB@5E @6E @7EB@8U T @9E #0E #1EB#2EU VWWWWWWWWX

Black to move and draw Continue: 12-16 25-21; 16-19 32-27; 6-9 14-10; 9-14 10-7; 13-17! 22-13; 14-18 7-2; 19-23. Drawn. Diagram 33: H. Burton v R. Pask 1989

QRRRRRRRRS TEA1E 2E 3E 4U T 5EA6E 7E 8EU TEA9EA!0EA!1EA!2U TB!3EA!4EA!5E !6EU TEB!7E !8E !9EB@0U TB@1EB@2EB@3E @4EU TE @5E @6E @7EB@8U T @9E #0EB#1E #2EU VWWWWWWWWX

White to move and draw Continue: … 28-24; 12-16 22-18!; 15-22 24-19; 11-15! 19-12; 22-26 31-22; 15-18 22-15; 10-26 17-10; 6-15 13-6; 1-10 21-17. Drawn. Diagram 34: D. Oldbury v R. Pask 1990

QRRRRRRRRS TE 1E 2E 3EA4U T 5E 6E 7E 8EU TE 9EA!0EA!1E !2U TA!3EA!4E !5E !6EU TE !7E !8EB!9EB@0U T @1EB@2E @3E @4EU TE @5E @6E @7EB@8U T @9EB#0E #1E #2EU VWWWWWWWWX Black to move and draw

PAGE 51

Continue: 11-15 20-16; 15-24 28-19; 4-8 30-26; 8-12 16-11; 12-16! 19-12; 10-15 26-23 14-17 22-18; 15-22 23-19. Drawn. Diagram 35: R. Pask v G. Cann 1995 Practice

QRRRRRRRRS TE 1E 2EA3EA4U T 5E 6E 7EA8EU TE 9E !0E !1EA!2U TA!3E !4EA!5E !6EU TE !7E !8E !9EB@0U TB@1EB@2EB@3EB@4EU TE @5E @6E @7EB@8U T @9E #0E #1E #2EU VWWWWWWWWX Black to move and draw

Continue: 3-7 23-19; 7-10 20-16; 10-14! 19-10; 12-19 24-15; 14-18 21-17; 18-25 17-14; 8-11 15-8; 411. Drawn. Diagram 36: D. Oldbury v R. Hallett 1991

QRRRRRRRRS TE 1E 2E 3E 4U TA5E 6E 7E 8EU TEA9EA!0E !1E !2U TA!3E !4EA!5E !6EU TE !7E !8EA!9EB@0U TB@1EB@2E @3E @4EU TE @5EB@6E @7EB@8U T @9E #0EB#1E #2EU VWWWWWWWWX Black to move and draw

Continue: 19-23! 26-19; 15-24 28-19; 10-14 20-16; 14-17 21-14; 9-25. Drawn.

SUMMARY • Understanding the endgame is a prerequisite for understanding the late midgame. • Many endgame difficulties can be avoided if care is taken at a sufficiently early stage. • Transition techniques include: breaking through the king-row, mutual protection, breaking through the double-corner, avoiding backward men and the pitch.

PAGE 52

CHAPTER 4: THE EARLY MIDGAME •

Formations

•

Squares

•

Holds

•

Motifs

•

Landings

•

Advanced Tactics

PAGE 53

FORMATIONS In the early midgame there are, as explained in SOIC/D, six particular configurations of men - patterns or formations - which are both effective and of frequent occurrence: • • • • • •

The dyke formation (long and short); The pyramid formation; The phalanx formation; The mill formation; The echelon formation; The mixed formation.

This section expands the previous exposition by demonstrating some of the ways in which these formations arise in practice, and provides further evidence, if any were needed, of their utility and importance. Formation Number 1A: The Long Dyke Screening out all the other men, we saw that a fully developed long dyke formation looks like this: Diagram 1

QRRRRRRRRS TE 1E 2E 3E 4U T 5E 6E 7E 8EU TE 9E !0E !1E !2U T !3EB!4E !5E !6EU TE !7EB!8E !9E @0U T @1E @2EB@3E @4EU TE @5E @6EB@7E @8U T @9E #0EB#1EB#2EU VWWWWWWWWX It was also noted that the intention of the dyking player is to maintain the formation throughout the early midgame, dominating the centre and forcing the opponent on to inferior squares at the side of the board. KEY INFORMATION • Usually, its creation starts with a single/double exchange on to 14 (19 for Black), and the extent to which it is successful is contingent on the following factors: • 1) The pressure which can be brought to bear on the man on 14. (i) Does the opponent have men on 1, 2, 5, 6 and 7 (or 3) available to squeeze this man? For example, 11-15 22-18; 15-22 2518; 8-11 18-14? (okay against 12-16, but here it is inadequately supported); 9-18 23-14; 10-17 21-14 leads to disaster, since Black has three men with which to attack (1,2 and 6) and White has only two men with which to defend. (ii) Does the opponent have men lined up on 8, 11 and 15 to limit White’s control of the centre and inhibit the movement of the man on 25? If both conditions are present, then dyking may be ineffective, but if (i) is present and (ii) isn’t, it may yet be strong.

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• 2) The number of available moves White (Black) has in reserve to preserve the structure. (i) Long dykes with 10 or 11 men generally provide an edge, those with 9 men are about even, and those with 7 or 8 men are usually valueless for attacking purposes. (ii) If White’s men are overdeveloped he will run out of waiting moves, and the formation will fold in on itself. • Particularly in the case of 7 and 8-man dykes, the time factor is critical, and may mean the difference between a win and a loss. In these instances concrete analysis comes into its own. • Often favoured by exhibition players wishing to dictate the course of action, one disadvantage of dyking is that it makes your intentions crystal clear and, for the purposes of expediency, it is sometimes advantageous to make a series of waiting moves first and create the formation later. In response to the long dyke, phalanx and mill, the usual anti-formational device is the pincer grip: two short limbs acting together against a central mass. Black Examples 1. 11-15 23-18; 9-14 18-11; 8-15 24-20; 4-8 22-17; 15-19 25-22; 8-11 29-25; 11-15 17-13; 5-9 22-17; 7-11 27-24; 3-7 31-27 … 2. 11-15 24-20; 8-11 28-24; 3-8 23-18; 9-14 18-9; 5-14 22-17; 12-16 32-28; 8-12 25-22; 16-19 27-23; 4-8 23-16; 12-19 31-27 … 3. 11-15 23-19; 8-11 22-17; 11-16 (temporarily sacrificing a man in order to develop the single-corner rapidly) 24-20; 16-23 27-11; 7-16 20-11; 3-7 28-24; 7-16 24-20; 16-19 25-22; 4-8 29-25 (stops 811); 10-15 17-13; 2-7 (not desired, but the tempting 9-14? loses) 21-17; 7-10 20-16 … 4. 11-16 24-20; 16-19 23-16; 12-19 22-18; 9-14 18-9; 5-14 (Black now occupies both 14 and 19, but is ahead in development) 25-22; 10-15 22-17; 6-10 29-25; 8-11 17-13; 4-8 25-22; 2-6 (Black would prefer not to have to move this man) 22-17; 8-12 27-23 or 27-24 … 5. 11-16 24-20; 7-11 22-17; 9-14 28-24; 3-7 26-22; 11-15 20-11; 7-16 24-20; 16-19 (15-19? looks tempting but loses) 23-16; 12-19 20-16! (a good infiltration which forces Black to break up his position); 8-11 16-7; 2-11 … 6. 9-14 22-17; 11-16 25-22; 16-19 24-15; 10-19 23-16; 12-19 17-10; 6-15 (Black will miss the man on 6) 21-17; 2-6 27-24; 7-10 29-25; 5-9 25-21; 9-14 17-13; 8-12 22-17; 4-8 32-27 … Black’s control of the A-line is tempered by his lead in development and the absence of a man on 2. 7. 11-16 22-18; 16-19 (not effective with the white man on 18) 24-15; 10-19 23-16; 12-19 25-22; 9-14 18-9; 5-14 22-17!; 6-10 27-24!; 2-6 24-15; 10-19 17-10; 7-14 29-25 … With just 7 men per side, and Black ahead in time, White is strong. White Examples 1. 11-16 22-18; 8-11 25-22; 16-20 22-17; 4-8 30-25!; 9-13 ( the natural 9-14? 18-9; 5-14 loses after 2622!) 24-19; 13-22 26-17; 11-16 17-14; 10-17 21-14; 6-10 25-21; 10-17 21-14 … White is strong. 2. 9-13 22-18; 12-16 25-22; 8-12 29-25; 16-20 24-19; 11-16 18-14; 10-17 21-14; 6-10 25-21; 10-17 2114; 1-6 22-18; 13-17 (White is strong, but this infiltration is just sufficient to prevent Black from being smothered) 28-24 … 3. 9-13 22-18; 10-15 18-14; 11-16 21-17; 13-22 25-11; 8-15 24-19; 15-24 27-11; 7-16 23-18; 4-8 2925; 8-11 28-24 … Although ahead in time, White is strong on account of his domination of the centre. 4. 11-16 22-18; 16-20 18-14 (quite strong, as Black has no man on 11); 9-18 23-14; 10-17 21-14; 8-11 25-22; 11-15 24-19; 15-24 28-19; 4-8 29-25; 8-11 25-21; 11-16 26-23; 6-9 22-18 … White holds the advantage.

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5. 10-15 22-18; 15-22 25-18; 9-13 18-14; 11-15 24-19; 15-24 28-19; 8-11 29-25; 11-16 25-22; 6-9 2218; 1-6 26-22; 16-20 30-25 … 6. 10-15 22-17; 7-10 17-14; 10-17 21-14; 9-18 23-14; 3-7 (preparing to squeeze the man on 14) 24-19; 15-24 28-19; 11-16 27-23; 6-9 (compare this with Example 7 above) 31-27 (23-18 led into Diagram 17, Transitions); 9-18 23-14; 16-23 26-19 … The removal of the man from 3 renders this about even. 7. 11-15 22-17; 9-13 17-14; 10-17 21-14; 8-11 24-19; 15-24 28-19 (‘parallel’ with Black Example 4: an identical position but for the colours being reversed, and being one move out); 11-16 25-21; 6-9 (breaking things up: the safest policy) 29-25; 9-18 23-14; 16-23 26-19; 4-8 25-22; 8-11 22-18; 11-16 27-23; 16-20 31-27 (White would prefer not to have to move this man); 13-17 30-26 … 8. 11-16 24-19; 8-11 22-18; 4-8 18-14; 9-18 23-14; 10-17 21-14; 16-23 27-18; 12-16 (parallel with Black Example 6) 28-24; 16-20 31-27; 8-12 26-23; 6-9 24-19; 1-6 25-21; 11-16 29-25 … 9. 10-15 22-17; 11-16 23-18; 15-22 25-18; 9-14 18-9; 6-22 26-17; 8-11 27-23; 11-15 24-19; 15-24 2819; 4-8 29-25; 8-11 25-22; 16-20 31-27; 11-16 17-14; 1-6 and now 22-17 draws, while the natural 22-18? loses! 10. 11-15 22-18; 15-22 25-18; 12-16 29-25; 9-13 18-14; 10-17 21-14; 16-20 23-18 (24-19? results in the loss of the man on 14); 6-10 25-21; 10-17 21-14; 1-6 (2-6 is also good) 26-23; 13-17 31-26 … As a result of the exchanges he has made, White is ahead in development and is forced to move this supporting man. 11. 11-15 22-17; 8-11 17-14 (parallel with Black Example 7, and not effective with the black man on 15); 9-18 23-14; 10-17 21-14; 12-16 26-23; 16-19 23-16; 11-20 24-19; 15-24 28-19 … White has already given up any hope of developing a genuine long dyke formation, and can only play for a draw. 12. 11-15 24-19; 15-24 28-19; 8-11 22-18; 11-16 25-22; 16-20 22-17; 9-13 30-25; 13-22 26-17; 4-8 1714; 10-17 21-14 8-11 25-22 … Black is strong, due to White’s over-development. 13. 11-15 22-18; 15-22 25-18; 12-16 18-14 (purely defensive); 9-18 23-14; 10-17 21-14; 8-11 29-25; 48 24-19; 16-23 27-18; 11-16 28-24; 8-12 25-21; 16-20 32-27; 7-11 26-23; 6-9 24-19; 11-16 31-26 (Black’s waiting policy draws out another important white man); 2-7 26-22; 1-6 … Black is strong. 14. 11-15 24-19; 15-24 28-19; 8-11 22-18; 11-16 18-14 (again, purely defensive); 9-18 23-14; 10-17 2114; 16-23 27-18; 12-16 26-23; 4-8 31-27; 8-12 27-24; 16-20 32-27; 6-9 25-22; 7-11 29-25; 1-6 2419; 11-16 25-21; 2-7 transposes into Example 13.

Formation Number 1B: The Short Dyke Screening out all the other men, we saw that a fully developed short dyke formation looks like this: Diagram 2

QRRRRRRRRS TE 1E 2E 3E 4U T 5E 6E 7E 8EU TE 9E !0E !1E !2U T !3EB!4E !5E !6EU TEB!7E !8E !9E @0U TB@1E @2E @3E @4EU TE @5E @6EB@7E @8U T @9E #0EB#1EB#2EU VWWWWWWWWX PAGE 56

KEY INFORMATION • It was also noted that, in contrast to the long dyke, the short dyke tends to be a rather underestimated weapon, its good points including the fact that: requiring only a line of three men, as opposed to five, it is fairly easy to erect; it can usually be created without incurring commitments in time-count; it threatens to advance, or exchange, into square 10 (see also Squares); it can be an effective counter (anti-formation) to a long dyke. Black Examples 1. 11-15 22-17; 15-19 24-15; 10-19 23-16; 12-19 25-22; 8-11 30-25; 4-8 22-18; 11-16 17-14; 8-12 2723; 16-20 23-16; 12-19 25-22; 9-13 29-25; 6-9 31-27; 1-6 … 2. 11-15 23-18; 15-19 24-15; 10-19 21-17; 12-16 17-14 (or 27-24; 8-12! - a nice zwischenzug or ‘inbetween move’ - 24-15; 7-10 17-13; 10-19 22-17; 4-8 transposing into Example 3); 8-12 27-23; 4-8 32-27; 16-20 23-16; 12-19 25-21; 8-12 29-25; 9-13 … 3. 11-15 23-18; 15-19 24-15; 10-19 22-17; 8-11 27-24; 4-8 24-15; 7-10 17-13; 10-19 21-17; 11-16 2521; 3-7 29-25; 19-23 26-19; 16-23 … White Examples 1. 10-15 21-17; 11-16 17-14; 9-18 23-14; 8-11 22-17; 4-8 25-21; 6-10 24-20; 1-6 17-13; 10-17 21-14; 16-19 29-25; 6-9 13-6; 2-18 26-23; 19-26 30-14 … 2. 10-15 22-17; 6-10 17-14; 9-18 23-14; 10-17 21-14; 1-6 25-21; 11-16 29-25; 16-19 25-22; 6-9 22-17; 9-18 26-23; 19-26 30-14 …White is very strong. 3. 10-15 22-17; 7-10 17-14; 10-17 21-14; 9-18 23-14; 3-7 25-21; 11-16 29-25; 16-19 25-22; 6-9 22-17 9-18 26-23; 19-26 30-14 … Here White is best, but with the man on 1 instead of 3, not nearly as strong as Example 2. 4. 10-15 22-17; 15-19 (very weak for Black) 24-15; 11-18 23-14; 9-18 26-23; 6-9 23-14; 9-18 30-26; 59 17-14; 1-5 (9-13 is ‘easier’) 21-17!; 9-13 25-21; 13-22 26-17 … White is very strong. Formation Number 2: The Pyramid Screening out all the other men, we saw that a fully developed pyramid formation looks like this: Diagram 3

QRRRRRRRRS TE 1E 2E 3E 4U T 5E 6E 7E 8EU TE 9E !0E !1E !2U T !3E !4E !5E !6EU TE !7E !8E !9E @0U T @1E @2EB@3E @4EU TE @5EB@6EB@7E @8U T @9EB#0EB#1EB#2EU VWWWWWWWWX

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KEY INFORMATION • It was also noted that the pyramid formation (sometimes known as an E-line formation): exists at the start of the game, and so does not need to be set up; can be of great defensive value; is often opposed by another pyramid or echelon - with the resultant play being rather limited in scope - ; and has at its heart the principle of ‘sitting tight’ for as long as possible. Examples 1. 9-14 22-17; 11-15 25-22; 8-11 17-13; 11-16 24-19; 15-24 28-19; 4-8 22-18 (both sides make natural developing moves along the D-line); 8-11 18-9; 5-14 29-25; 16-20 25-22 … Note: Typically in symmetrical/counter-part positions, the ‘first’ side stands best. However, in Example 1 the advantage is microscopic. 2. 9-14 22-17; 11-16 25-22; 8-11 22-18 (here White gains the edge, taking the centre first, due to Black moving the man on 11 to the side on his second move); 16-20 18-9; 5-14 29-25; 11-15 25-22; 7-11 (the pyramid cracks because Black is ahead in development after the earlier 1 for 1) 17-13; 4-8 24-19; 15-24 28-19 … White is favoured, because the black man which was on 7 in Example 1, is on 8 here. 3. 9-14 22-18; 5-9 24-19; 11-15 18-11; 8-24 28-19; 4-8 25-22; 8-11 22-18; 11-16 29-25; 7-11 25-22 … 4. 11-15 22-17; 9-13 24-20 (17-14 is more aggressive; this commonly arises from 9-13 24-20; 11-15 22-17) 13-22 25-11; 8-15 21-17; 5-9 17-13; 9-14 29-25; 4-8 25-22; 8-11 28-24 … 5. 11-15 24-19; 15-24 28-19; 8-11 22-18; 9-14 (not as aggressive as 11-16, which presses against White’s E-line); 18-9; 5-14 25-22; 11-15 32-28; 15-24 28-19; 7-11 22-18; 1-5 18-9; 5-14 29-25 … 6. 11-15 24-19; 15-24 28-19; 8-11 22-18; 11-16 25-22; 16-20 22-17; 4-8 17-13; 8-11 26-22 (here, in contrast to Example 2, the white pyramid cracks first, on account of the early 1 for 1 which put White ahead in development); 9-14 18-9; 5-14 22-18; 1-5 18-9; 5-14 30-26 (White is trying to patch things up); 11-15 … Black holds the advantage. 7. 11-16 21-17; 16-20 17-13; 8-11 22-18; 9-14 (10-15 is better) 18-9; 5-14 25-22 (the unnatural 26-22! is also strong) ; 11-15 24-19; 15-24 28-19; 4-8 22-18 (naturally); 14-17 29-25; 8-11 19-16; 12-19 2316 … White stands best. 8. 11-16 24-19; 8-11 22-18; 4-8 25-22; 16-20 22-17; 11-16 17-13 (26-22 is good here); 9-14 18-9; 5-14 29-25; 8-11 25-22; 11-15 22-17 (30-25 is safer); 15-24 28-19; 7-11 26-22; 11-15 … Black, getting to the centre first, is favoured. Formation Number 3: The Phalanx Screening out all the other men, we saw that a fully developed phalanx formation looks like this: Diagram 4

QRRRRRRRRS TE 1E 2E 3E 4U T 5E 6E 7E 8EU TE 9E !0E !1E !2U T !3E !4E !5E !6EU TE !7EB!8EB!9E @0U T @1EB@2EB@3EB@4EU TEB@5EB@6EB@7EB@8U T @9E #0E #1E #2EU VWWWWWWWWX PAGE 58

KEY INFORMATION • It was also noted that one or two men are required in the king-row in order to give the formation some support; that the white men have closed up behind each other, without leaving any ‘holes’; and that although it looks imposing, and may indeed be powerful, when handling the phalanx you should always be wary of a pincer movement by your opponent. Black Examples 1. (Man on 2) 9-14 22-18; 11-15 18-11; 8-15 25-22; 5-9 24-20; 7-11 22-17; 4-8 17-13; 3-7 29-25; 1-5 28-24; 15-19 24-15; 10-19 23-16; 12-19 26-22 … 2. (Men on 1 & 3) 11-15 22-17; 8-11 23-19; 9-14 25-22; 6-9 17-13; 2-6 29-25; 4-8 24-20; 15-24 28-19; 11-15 27-24; 14-17 21-14; 9-18 26-23; 18-27 32-23 … 3. (Men on 2 & 3) 11-15 24-20; 8-11 28-24; 4-8 23-19; 9-14 22-17; 6-9 17-13; 1-6 26-23; 15-18 32-28; 14-17 21-14; 10-17 23-14; 9-18 25-22; 18-25 30-14 … 4. (Men on 1 & 3) 11-15 24-20; 8-11 28-24; 4-8 23-19; 9-14 22-17; 15-18 26-23; 6-9 17-13; 2-6 31-26; 14-17 21-14; 10-17 23-14; 9-18 26-23; 17-21 23-14 … 5. (Men on 2 & 4) 11-15 24-20; 8-11 28-24; 3-8 23-19; 9-14 22-17; 5-9 17-13; 1-5 26-23; 15-18 31-26; 11-16 20-11; 8-15 26-22 … White Examples 1. (Men on 29 and 31) 9-13 23-18; 5-9 26-23; 11-16 30-26; 10-14 24-19; 7-10 28-24; 16-20 32-28; 2-7 19-15; 10-19 24-15; 13-17 22-13; 7-10 15-11; 8-22 26-17 … 2. (Man on 30) 11-15 22-18; 15-22 25-18; 12-16 29-25; 10-14 24-19; 16-20 28-24; 8-12 26-22; 4-8 3126; 7-10 32-28; 9-13 18-9; 5-14 22-18; 1-5 18-9; 5-14 25-22 … 3. (Man on 30) 11-15 23-19; 8-11 22-18; 15-22 25-18; 11-16 27-23; 16-20 32-27; 4-8 29-25; 10-14 2622; 7-10 31-26 transposes into Example 2. 4. (Man on 30) 11-15 24-19; 15-24 28-19; 8-11 22-18; 11-16 25-22 4-8 29-25; 10-14 27-24; 16-20 3127 transposes into Example 2. Formation Number 4: The Mill Screening out all the other men, we saw that a fully developed mill formation looks like this: Diagram 5

QRRRRRRRRS TE 1E 2E 3E 4U T 5E 6E 7E 8EU TE 9E !0E !1E !2U T !3E !4EB!5E !6EU TE !7EB!8EB!9E @0U T @1EB@2E @3EB@4EU TEB@5E @6E @7EB@8U T @9EB#0E #1EB#2EU VWWWWWWWWX PAGE 59

KEY INFORMATION • It was also noted that: the motivation behind the formation is to establish, usually by means of an exchange, an ‘outpost’ man on 15 (18 for Black); the outpost can be used as a spearhead, by developing twin (or single) segments of three men on 25, 22 & 18, and 28, 24 & 19 respectively; it is usually difficult for the opponent to dislodge the outpost man without damaging his position; and that, like the phalanx, the mill is sometimes effectively countered by a pincer movement. Black Examples 1. 9-13 22-18; 12-16 18-14; 10-17 21-14; 16-19 24-15; 11-18 28-24; 8-11 25-21; 4-8 23-19; 11-15 (in positions like this it is invariably necessary to consolidate with 4-8 before exchanging) 19-10; 6-15 26-23; 8-11 23-19; 2-6 19-10; 6-15 … 2. 10-14 22-17; 7-10 17-13; 3-7 24-20; 14-18 23-14; 9-18 26-23; 10-14 28-24; 11-15 31-26; 7-11 2319; 5-9 19-10; 6-15 13-6; 2-9 26-23; 18-22 25-18; 15-22 23-19 … 3. 10-14 23-19; 14-18 22-15; 11-18 21-17; 8-11 17-13; 4-8 24-20; 7-10 25-21 transposes into Example 9. 4. 10-15 21-17; 15-18 22-15; 11-18 23-14; 9-18 24-20; 8-11 17-13; 7-10 25-21; 10-14 29-25 (not 2623? which lets the wolf in with 18-22!); 4-8 (not the premature 11-15? which allows White to start a pincer attack with 26-22!) 28-24 (still hoping for 11-15?); 3-7 (waiting) 26-23 (hoping to follow up with 30-26 and 26-22); 11-15 (now okay, with the man committed to 23) 30-26; 6-10 (prevents 2622? because of 14-17! in reply) 32-28; 1-6 24-19 (23-19?, freeing Black’s centre, permits 8-11 26-23; 6-9 13-6; 2-9 31-26; 18-22! 26-17; 9-13 25-22; 5-9 and a man-down Black win); 15-24 28-19 … 5. 10-15 24-20; 6-10 28-24; 1-6 23-19; 15-18 22-15; 11-18 26-22; 7-11 22-15; 11-18 32-28; 3-7 30-26; 7-11 25-22; 18-25 29-22; 10-14 … 6. 11-15 22-17; 8-11 17-13; 15-18 23-14; 9-18 24-20; 4-8 21-17; 10-15 26-23; 18-22 25-18; 15-22 2318; 7-10 27-23; 5-9 32-27; 3-7 28-24; 1-5 24-19 … 7. 11-15 22-17; 8-11 23-19; 4-8 25-22; 15-18 22-15; 11-18 17-13; 9-14? 29-25; 10-15 (Black is overcrowding the centre) 19-10; 6-15 26-23!; 8-11 30-26!; 2-6 26-22!; 3-8 24-19; 15-24 28-19; 5-9 22-15; 11-18 31-26; 7-11 19-15; 11-16: Forms Diagram 6 Diagram 6: D. Cooper v R. Stewart (simul) 1925

QRRRRRRRRS TEA1E 2E 3E 4U T 5EA6E 7EA8EU TEA9E !0E !1EA!2U TB!3EA!4EB!5EA!6EU TE !7EA!8E !9E @0U TB@1E @2EB@3E @4EU TEB@5EB@6EB@7E @8U T @9E #0E #1EB#2EU VWWWWWWWWX White to move and win

Continue: …15-10!!; 6-15 13-6; 1-10 21-17; 14-30 23-7; 30-23 27-4. White wins.A cautionary tale, and a shining example of sound strategy and winning tactics blending in a most satisfying manner.

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8. 11-15 23-18; 8-11 27-23; 4-8 23-19; 9-14 18-9; 5-14 22-17; 15-18 26-22; 11-15 17-13; 7-11 22-17; 2-7 32-27; 1-5 24-20; 15-24 28-19 … 9. 11-15 23-19; 8-11 22-17; 4-8 25-22; 15-18 22-15; 11-18 17-13; 7-11 24-20; 2-7 28-24; 10-14 29-25; 7-10 26-23; 3-7 31-26; 14-17 21-14; 10-17 23-14; 9-18 32-28 … 10. 11-15 23-19; 8-11 22-17; 4-8 17-13; 15-18 24-20; 9-14 26-23; 11-15 28-24; 8-11 31-26; 6-9 13-6; 29 26-22; 1-6 (instead of 9-13?, as shown under Advanced Tactics, Diagram 47) 22-17; 18-22 25-18; 15-22 23-18; 14-23 27-18 … 11. 11-15 24-20; 8-11 28-24; 4-8 23-19; 15-18 22-15; 11-18 26-22; 7-11 22-15; 11-18 30-26; 10-14 2522; 18-25 29-22; 6-10 32-28; 1-6 27-23 … White Examples 1. 10-14 22-18; 11-16 25-22; 16-20 29-25; 8-11 18-15; 11-18 22-15; 9-13 24-19; 4-8 28-24; 7-10 3228; 2-7 25-22; 5-9 30-25; 1-5 19-16; 12-19 23-16; 10-19 24-15 … 2. 10-14 22-18; 11-16 25-22; 16-20 29-25; 8-11 18-15; 11-18 22-15; 7-10 24-19? (25-22 is best); 4-8 23-18? (White is overcrowding the centre); 14-23 27-18; 3-7! 26-22; 7-11! 31-27; 9-13 30-26; 5-9 26-23; 10-14 28-24; 13-17!! 22-13; 2-7 25-22; 7-10 21-17 (nothing better); 14-21 22-17; 11-16 1814; 9-18 23-7; 16-23 27-18; 20-27 32-23; 6-9 13-6; 1-26. Black wins. Analysis by C.Freeman. Apparently it was the existence of seemingly inexplicable wins like this which caused Irving Chernev, an expert player, to give up the game. In fact, in the vast majority of cases, as here, the internal logic of the game does hold sway. Formation Number 5: The Echelon Screening out all the other men, we saw that a fully developed echelon formation looks something like this: Diagram 7

QRRRRRRRRS TE 1E 2E 3E 4U T 5E 6E 7E 8EU TE 9E !0E !1E !2U T !3E !4E !5E !6EU TE !7E !8EB!9E @0U T @1E @2EB@3EB@4EU TE @5EB@6EB@7EB@8U T @9EB#0EB#1E #2EU VWWWWWWWWX

KEY INFORMATION • It was also noted that: it usually comprises several lines of men, arranged in parallel, each with its leader clear of the one in front in order to retain a degree of mobility; it often incorporates the waiting move 32-27 (1-6 for Black), which can be withheld for use at a suitable point; it often involves the establishment of a supported man on 16 (17 for Black); and, being only semiactive, it can be opposed by pincers, a pyramid or another echelon.

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Black Examples 1. 9-14 22-17; 5-9 17-13; 1-5 25-22; 14-17 (although this partially weakens Black’s double-corner it is necessary in order to open the position: to gain a point you must give a point) 21-14; 9-25 29-22; 1015 24-19; 15-24 28-19; 7-10 22-17; 11-15 27-24 … 2. 10-14 22-17; 7-10 17-13; 3-7 25-22; 14-17 21-14; 9-25 29-22; 11-15 23-19; 5-9 26-23; 9-14 30-25; 7-11 23-18; 14-23 27-18 … 3. 10-14 22-18; 11-15 18-11; 8-15 24-20; 6-10 28-24; 1-6 23-19; 9-13 25-22; 6-9 29-25; 4-8 26-23; 1418 23-14; 10-26 19-10; 7-14 31-22 … 4. 10-14 22-18; 11-15 18-11; 8-15 26-22; 6-10 22-17; 4-8 23-19; 8-11 17-13; 1-6 25-22; 14-17 21-14; 9-25 29-22; 5-9 27-23; 9-14 31-26 … White Examples 1. 9-13 23-19; 11-16 27-23; 16-20 32-27; 8-11 19-16; 12-19 24-8; 4-11 23-19 (characteristically, White develops along the E-line); 6-9 26-23; 1-6 30-26; 9-14 transposes into Example 2. 2. 9-14 23-19; 11-16 26-23; 16-20 30-26; 8-11 19-16; 12-19 24-8; 4-11 23-19; 6-9 27-23; 1-6 32-27; 913 22-17; 13-22 25-9; 6-13 29-25 … 3. 10-14 24-19; 7-10 28-24; 11-16 32-28; 16-20 22-17; 9-13 25-22; 5-9 19-15; 10-19 24-15; 6-10 15-6; 1-10 23-19; 8-11 30-25; 11-15 27-23; 15-24 28-19 … 4. 10-15 23-19; 7-10 22-18; 15-22 25-18; 9-14 18-9; 5-14 27-23; 11-15 24-20; 15-24 28-19; 8-11 1916; 12-19 23-7; 29-25; 4-8 26-23 … 5. 10-15 22-18; 15-22 25-18; 9-13 29-25; 11-15 18-11; 8-15 25-22; 4-8 23-19; 6-10 27-23; 8-11 24-20; 15-24 28-19; 5-9 22-18; 2-6 26-22 … Examples Of Echelon v Echelon 1. 11-15 23-19; 9-13 22-18; 15-22 25-18; 10-14 18-9; 5-14 29-25; 8-11 25-22; 6-10 27-23; 11-15 2420; 15-24 28-19; 4-8 22-18; 1-5 18-9; 5-14 26-22 … 2. 11-15 23-19; 9-14 27-23; 8-11 22-18; 15-22 25-9; 5-14 29-25; 11-15 25-22; 6-9 24-20; 15-24 28-19; 9-13 32-27!; 4-8 22-18; 1-5 18-9; 5-14 26-22 … Examples Of Echelon v Pincers 1. 11-15 23-19; 9-14 22-17; 7-11 25-22; 11-16 26-23; 5-9 17-13; 3-7 29-25; 7-11 24-20; 15-24 28-19; 11-15 20-11; 15-24 27-20; 8-15 31-27; 15-18 22-15; 10-26 30-23 … 2. 11-16 24-19; 8-11 22-18; 10-14 26-22; 16-20 22-17; 7-10 30-26 (this is parallel with Example 1); 1116 26-22; 9-13 18-9; 5-14 22-18; 13-22 18-9; 6-13 25-18; 4-8 29-25 … Formation Number 6: The Mixed A typical mixed formation is shown in Diagram 8. KEY INFORMATION • It was noted that a mixed formation is usually created when one side’s dyke outpost is countered by the other side’s mill outpost - although other combinations exist -, and that tactical considerations run high due to the large number of ‘contact points’ between the opposing forces.

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Diagram 8

QRRRRRRRRS TEA1E 2EA3E 4U TA5EA6EA7EA8EU TE 9E !0EA!1EA!2U TA!3EB!4EB!5E !6EU TEA!7EA!8EB!9EB@0U T @1E @2EB@3E @4EU TEB@5E @6EB@7EB@8U TB@9EB#0EB#1E #2EU VWWWWWWWWX Examples 1. 9-13 23-19; 10-14 19-15; 11-18 22-15; 14-18 24-19; 5-9 26-23; 9-14 28-24; 7-10 24-20; 3-7 30-26; 13-17 20-16; 1-5 32-28 … Black has a slight edge in this counter-part position. 2. 9-14 22-18; 5-9 25-22; 11-16 18-15; 10-19 24-15; 7-10 27-24; 10-19 24-15; 16-19 23-16; 12-19 2217; 14-18 17-14; 9-13 29-25; 3-7 31-27 … 3. 9-14 23-19; 14-18 22-15; 11-18 26-22; 7-11 22-15; 11-18 19-15; 10-19 24-15; 5-9 21-17; 9-13 1714; 13-17 28-24; 12-16 24-20; 16-19 20-16 … 4. 10-14 22-17; 14-18 23-14; 9-18 24-19; 11-16 19-15; 16-19 17-14; 12-16 21-17; 8-12 25-21; 4-8 1410; 7-14 17-10; 19-23 26-19; 16-23 28-24 … 5. 11-15 23-19; 8-11 22-17; 9-13 17-14; 10-17 21-14; 15-18 26-23; 13-17 19-15; 4-8 24-19; 6-9 28-24; 9-13 24-20; 2-6 32-28 Forms Diagram 8 … 6. 11-16 24-20; 16-19 23-16; 12-19 22-18; 10-14 18-15; 14-18 21-17; 9-13 17-14; 6-10 15-6; 1-17 2724; 19-23 26-19; 18-23 31-26 … 7. 11-16 24-20; 16-19 23-16; 12-19 22-18; 10-14 18-15; 7-10 25-22; 14-18 29-25; 9-14 20-16; 5-9 2724; 8-12 16-11; 3-8 31-27 … 8. 12-16 23-18; 16-19 24-15; 10-19 18-15; 11-18 22-15; 7-11 26-22; 11-18 22-15; 9-14 25-22; 5-9 2217; 14-18 17-13; 9-14 29-25; 8-12 30-26 …

SUMMARY • An understanding of the six recurring formations – the long & short dyke, pyramid, phalanx, mill, echelon and mixed – is essential if you wish to make sense of many of the early midgame manoeuvres. • The long & short dyke, phalanx and mill are active formations; all reaching the 5th row. • The echelon is a semi-active formation; reaching the 4th row. • The pyramid is a passive formation; only reaching the 3rd row! • The mixed is a tactically-charged formation in which the men often appear to have been dropped randomly onto the board!

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SQUARES In the previous section we saw how men could combine to create a variety of useful formations. It is also important to appreciate the value of individual squares, and the way in which they may significantly affect the early midgame strategy. Number 1: The Sunken Man On Square 5 (28 For Black) KEY INFORMATION Generally speaking, it is unwise to enter square 5, the dog hole, early in the game when your opponent has a man on 1. There are three main reasons: • The man on 5 is rendered immobile until 1 is vacated. (If ever!) • Your opponent may use this man to build on, by placing men on 9 and 14. • In the endgame, the pivot man on 5 may allow your opponent to draw with a man down or win with level pieces. Examples 1. 11-15 23-19; 9-14 22-17; 5-9 17-13; 14-18! 19-16; 12-19 26-23; 19-26 30-5; 15-18 25-22; 18-25 2922; 10-14 22-18; 14-23 27-18 8-11 32-27; 4-8 27-23: Forms Diagram 1. In this ‘gambit’, Black is easily best. Diagram 1

QRRRRRRRRS TEAEAEAE 4U TBEAEAEAEU TE 9E !0EA1E !2U TB3E !4E !5E !6EU TE !7EB8E !9E @0U TB1E @2EB3EB4EU TE @5E @6E @7EB8U T @9E #0EB1E #2EU VWWWWWWWWX

2. 9-14 23-18; 14-23 27-18; 5-9 26-23; 12-16 30-26; 16-19 24-15; 10-19 23-16; 11-20 22-17; 7-11! 1815; 11-18 28-24; 20-27 32-5; 8-11 26-23; 4-8 … Another gambit, and Black is again strong. 3. 9-14 22-18; 5-9 18-15?! (known as Willie Ryan’s ‘Bronx Express’, which many attempted to derail!); 11-18 21-17; 14-21 23-5 … A tricky variation, strongly favouring Black. NOTE: In draughts, a gambit is an opening or early midgame development where one side deliberately plays a man down in order to speed the opponent’s development. (Precisely the opposite motivation to chess.) Not sufficient on its own however, this advantageous time-count is invariably accompanied by another compensatory factor, such as a sunken man on 5, or the opponent’s single-corner or doublecorner being cramped or congested. Other gambits are shown in the section on Motifs.

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Number 2: Invasion On Square 9 (24 For Black) KEY INFORMATION Providing it has adequate support, a man placed deep in the opponent’s territory will often prove to be a real thorn in the side. Given the following conditions, invading on square 9 is usually profitable: • Black’s double-corner is ‘open’, with both 5 and 6 vacated. • White has men posted on 13, 21 and 22. Typically, White will retain the man on 9 for as long as possible, often supporting it with a man on 13. Should Black threaten it immediately, the man on 9 may be sacrificed to advantage, running the man on 22 through for a free king. Examples 1. 12-16 22-17; 16-19 24-15; 10-19 23-16; 11-20 25-22; 6-10 22-18; 8-11 17-13; 9-14? (premature) 189; 5-14 29-25; 4-8 25-22; 8-12: Forms Diagram 2 Diagram 2

QRRRRRRRRS TEA1EA2EA3E 4U T 5E 6EA7E 8EU TE 9EA!0EA!1EA!2U TB!3EA!4E !5E !6EU TE !7E !8E !9EA@0U TB@1EB@2E @3E @4EU TE @5EB@6EB@7EB@8U T @9EB#0EB#1EB#2EU VWWWWWWWWX Continue: … 13-9!; 10-15 26-23; 7-10 30-26; 3-7 28-24; 11-16 22-18; 15-22 26-17; 1-6 9-5; 14-18 2314; 6-9 31-26; 9-18 17-14; 10-17 21-14; 2-6 26-23; 6-10 14-9; 18-22 5-1; 10-14 9-6; 14-17 6-2; 7-11 27; 22-26 23-19! (completing a brilliant win with a classic example of the rebound); 16-23 27-18; 20-27 7-16; 12-19 32-16. White wins. W.Edwards v H.Burton 1973. 2. 9-13 24-19; 11-16 22-18; 8-11 18-14; 10-17 21-14; 6-9 28-24; 9-18 23-14; 16-23 27-18; 12-16 2623; 16-20 24-19; 4-8 25-22; 8-12 29-25?; 20-24! … Black has a winning position. 3. 9-14 22-18; 11-16 18-9; 5-14 24-19; 8-11 25-22; 16-20? 22-18; 14-17 21-14; 10-17 29-25 (forcing the black man into what is generally a bad square); 17-21 18-14; 6-10 25-22; 10-17 22-13; 11-16 139!; 7-10 26-22; 3-8 31-26; 8-11 22-18; 10-14 26-22 … to a white win. O. Robilliard v R. Pask 1988.

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Number 3: Invasion On Square 10 (23 For Black) KEY INFORMATION In the absence of any of the black men on 1, 2 and 3, invading on square 10 is invariably strong, since the man cannot be squeezed. Requiring mature judgement when they are present, sound examples of this ploy have frequently enabled the defending side to gain the advantage. Examples 1. 11-15 22-17; 15-19 24-15; 10-19 23-16; 12-19 25-22; 9-13 17-14; 6-9 22-18; 7-11? (vacating both 6 and 7) 14-10!; 9-14? 18-9; 5-14 27-23; 11-16 10-7! … A beautiful pitch, original with Dr M. Tinsley, leading to a white win. 2. 9-13 22-18; 6-9 18-14; 9-18 23-14; 10-17 21-14; 12-16 26-22; 11-15 24-20; 16-19 27-24; 19-23! 2419; 15-24 28-19 … Black has equalized in a difficult opening. 3. 10-15 22-17; 11-16 17-14; 9-18 23-14; 8-11 21-17; 16-19 25-21 (completing the short dyke); 6-9 1410!; 7-14 17-10 … White is best. 4. 10-14 24-20; 7-10 28-24; 11-15 23-19; 8-11 22-17; 15-18! 17-13; 18-23! 27-18; 14-23 25-22; 9-14 22-18; 4-8 18-9; 5-14 … Black has snatched the initiative and has a powerful position. 5. 10-14 23-19; 6-10 19-15; 10-19 24-15; 11-18 22-15; 7-11 26-22; 11-18 22-15; 14-17 21-14; 9-18 2824; 12-16 24-20; 16-19 15-10!; 19-23!: Forms Diagram 3. This is a complicated position in which White has the edge. Diagram 3

QRRRRRRRRS TEA1EA2EA3EA4U TA5E 6E 7EA8EU TE 9EB!0E !1E !2U T !3E !4E !5E !6EU TE !7EA!8E !9EB@0U T @1E @2EA@3E @4EU TEB@5E @6EB@7E @8U TB@9EB#0EB#1EB#2EU VWWWWWWWWX

Number 4: Invasion On Square 11 (22 For Black) KEY INFORMATION In the absence of a black man on 3, White is able to advance to Square 11 with impunity. A man on this square has several good features: • It ties down the men on 2 and 4 to the defence of the king-row, and effectively leaves White playing with an extra man.

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• It prevents Black from developing along his E-line. (Can’t move 2-7.) • It undermines any attempt on Black’s part to create a long dyke. A good way to launch an attack on the single-corner is to place an outpost man on 15, and threaten to exchange 15-11. This is particularly effective when there is a black man on 13 and the outpost is supported ‘long-distance’ with the threat of 21-17 or 22-17. Examples 1. 10-14 22-18; 12-16 24-20; 16-19 23-16; 14-23 26-19; 8-12 31-26; 6-10 27-23; 11-15 16-11; 15-24 28-19; 7-16 20-11; 3-8 19-16; 8-15 32-27; 12-19 23-16; 15-19 16-11!; 10-14? 25-22; 9-13 29-25; 1-6 26-23; 19-26 30-23; 6-9 23-19. White wins. D.Hyde v P.McCarthy 1984. 2. 9-14 22-17; 11-16 25-22; 16-19 24-15; 10-19 23-16; 12-19 17-10; 6-15 21-17; 5-9 27-24; 2-6 22-18; 15-22 24-15; 9-13 26-23? (playing from memory, 32-27 draws); 7-10 23-19; 8-11 15-8; 4-11 32-27; 6-9 30-25; 1-5 25-18; 13-22 (the man on 22 is overpowering) 28-24; 3-8 24-20; 8-12. Black wins. A.Long v R.Pask 1983. 3. 9-13 24-20; 6-9 22-18; 10-15 18-14; 9-18 23-14; 1-6 25-22; 15-18 22-15; 11-18 (establishing an outpost man) 26-23; 8-11 28-24; 3-8 (supporting the outpost man) 30-26?; 6-9 32-28; 18-22! 26-17; 13-22 21-17; 9-18 23-14; 11-15: Forms Diagram 4. This was continued to a black win: M.Tinsley v H.Orton 1956. Diagram 4

QRRRRRRRRS TE 1EA2E 3EA4U TA5E 6EA7EA8EU TE 9E !0E !1EA!2U T !3EB!4EA!5E !6EU TEB!7E !8E !9EB@0U T @1EA@2E @3EB@4EU TE @5E @6EB@7EB@8U TB@9E #0EB#1E #2EU VWWWWWWWWX

Number 5: The Sunken Man On Square 12 (21 For Black) KEY INFORMATION Entering square 12, the ‘dust hole’, early in the game when your opponent has a man on 3, is weak for essentially the same reasons as entering the dog hole: • The man on 12 is rendered immobile. • Your opponent may use this man to build on, by placing men on 16 and 19. • In the endgame the pivot man on 12 may allow your opponent to draw with a man down or win with level pieces. However, like all general advice, there are exceptions, and there are occasions when a voluntary advance into 12 is valid; either for tactical reasons, or to serve as a waiting move. PAGE 67

Examples 1. 9-14 24-20; 5-9 22-18; 11-16 20-11; 8-22 25-18; 4-8 28-24; 8-11 29-25; 10-15 25-22; 7-10 23-19? (premature); 14-23 27-18; 1-5 26-23; 9-14 18-9; 5-14 31-27; 6-9 23-18; 14-23 27-18: Forms Diagram 5 Diagram 5

QRRRRRRRRS TE 1EA2EA3E 4U T 5E 6E 7E 8EU TEA9EA!0EA!1EA!2U T !3E !4EA!5E !6EU TE !7EB!8EB!9E @0U TB@1EB@2E @3EB@4EU TE @5E @6E @7E @8U T @9EB#0E #1EB#2EU VWWWWWWWWX

Continue: 12-16! (a beautiful pitch and squeeze manoeuvre of frequent occurrence) 19-12; 10-14 … Black has a winning position. 2. 11-16 24-19; 8-11 22-18; 9-14 18-9; 5-14 25-22; 11-15 29-25; 15-24 28-19; 4-8 22-18; 14-17? 21-14; 10-17 25-22! (squeezing the man into the dust hole); 17-21 18-14!; 6-10 14-9; 8-11 22-18; 16-20 2622; 11-15 18-11; 7-16 22-18; 3-8 31-26; 8-11 9-6; 2-9 18-15; 11-18 23-7; 16-23 27-18. White wins. C.Young v R.Pask 1985. 3. 10-15 23-19; 7-10 22-18; 15-22 25-18; 11-15 18-11; 8-15 21-17!; 9-14? 17-13!; 14-17? 29-25!; 1721 25-22; 5-9 27-23; 9-14 24-20; 15-24 28-19; 4-8 22-17! (building on the base on 21) … White has a winning position. 4. 10-14 22-18; 11-15 18-11; 8-15 24-20; 6-10 28-24; 1-6 23-19; 9-13 25-22; 6-9 29-25; 4-8 26-23; 1417 21-14; 9-18 23-14; 10-26 31-22; 7-10 25-21?; 8-11 27-23; 5-9 23-18; 12-16! 19-12; 10-14 20-16; 14-23 16-7; 2-11 21-17; 11-16 … To a black win. 5. 12-16 21-17; 16-20 17-13; 8-12 22-18; 10-14? 25-22; 14-17 29-25!; 17-21 24-19; 4-8 22-17; 9-14 18-9; 5-14 17-10; 6-24 28-19; 2-6 25-22; 11-16 22-18; 7-10 18-15; 10-14 15-11!; 8-24 23-19; 16-23 27-2 … To a white win: C. Brewer v R. Pask 1986. 6. 11-15 21-17; 8-11 17-13; 9-14 25-21; 14-17?! 21-14; 10-17 29-25!; 17-21 24-19; 15-24 28-19 … White has a strong position. Number 6: The Outpost Man On Square 15 (18 For Black) KEY INFORMATION There are basically three available responses to an outpost man on 15: • Response 1: exchanging it off; possibly after squeezing it first. PAGE 68

• Response 2: creating a dual outpost, leading to very complex positions. • Response 3: flanking on both sides of the board, and attempting to bind the opponent’s men in the centre. The response undertaken will depend partly upon the style of the player involved, and partly upon the strength of the outpost itself. Examples 1. Response 1: 9-13 23-19; 6-9 19-15 (creating a strong outpost); 10-19 24-15; 11-18 22-15; 7-11 2622; 11-18 22-15; 3-7 28-24; 1-6 25-22; 8-11 (getting rid of it) 15-8; 4-11 … 2. Response 1: 11-15 23-18; 8-11 27-23; 4-8 23-19; 10-14 19-10; 14-23 26-19; 7-14 24-20; 14-18 (a secure outpost) 22-15; 11-18 32-27 (notice how White develops his men first, before exchanging or ‘cutting off’ the outpost); 9-14 30-26; 5-9 25-22; 18-25 29-22; 6-10 27-23 … 3. Response 2: 11-15 23-19; 8-11 22-17; 9-13 17-14; 10-17 21-14; 15-18 19-15; 4-8 24-19; 13-17 2824; 11-16?! 26-23; 16-20 … And now the natural reply 31-26?, Forming Diagram 6, loses in devastating fashion. Diagram 6

QRRRRRRRRS TEA1EA2EA3E 4U TA5EA6EA7EA8EU TE 9E !0E !1EA!2U T !3EB!4EB!5E !6EU TEA!7EA!8EB!9EA@0U T @1E @2EB@3EB@4EU TEB@5EB@6EB@7E @8U TB@9EB#0E #1EB#2EU VWWWWWWWWX Continue: 18-22! 25-18; 12-16! 19-12; 7-10! 14-7; 3-28 12-3; 2-7 3-10; 6-31. Black wins. This is known as the Steel stroke, after its originator, James Steel. 4. Response 2: 10-14 23-19; 11-16 19-15; 16-19 22-17; 14-18 17-14; 12-16 24-20; 7-11 21-17; 9-13 2622; 19-23 14-10; 16-19 27-24 … General mayhem abounds! 5. Response 3: 10-15 21-17; 15-18 22-15; 11-18 23-14; 9-18 24-19; 8-11 17-13; 7-10 25-21; 10-14 2925; 4-8 26-23; 11-16 28-24; 16-20 30-26; 2-7 32-28 … 6. Response 3: 10-14 23-19; 14-18 22-15; 11-18 21-17; 8-11 17-13; 9-14 26-23; 11-16 31-26; 16-20 2521; 4-8 29-25 …

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Number 7: Infiltration On Square 16 (17 For Black) KEY INFORMATION The value of a man on square 16 usually depends upon whether or not it can be forced into the dust hole. If it can, then it is likely to be a liability. If it can’t, then, particularly if supported by a man on 20, it may be a distinct asset. For one thing, attempting to remove it with an exchange will tend to weaken the opponent’s position. For another, it carries the ever-present threat of advancing into square 11, and may be used to hem in the opponent and hinder his development. Examples 1. 10-14 22-18; 7-10 25-22; 11-16 24-20; 16-19 23-16; 12-19 27-23; 8-12 23-16; 14-23 26-19; 4-8 2218; 9-14 18-9; 5-14 29-25; 2-7 25-22; 10-15 19-10; 12-19 22-17; 6-15 17-10; 7-14 20-16! …If Black now exchanges with 8-11? he gets a very weak game. 2. 10-14 24-19; 6-10 22-17; 11-15 26-22; 15-24 28-19; 7-11 17-13; 11-15 13-6; 15-24 27-20; 2-9 2217; 9-13 30-26; 13-22 25-9; 5-14 20-16! (actually not all that strong, but good psychologically); 1219 23-16; 10-15 29-25; 8-11 (8-12 16-11; 12-16 is better, but this still draws) 16-7; 3-10 26-23; 4-8 25-22; 1-6? (the men on 6, 10 and 14 now form a fatal ‘elbow’) 22-17 (attacking the weakness); 8-12 32-27; 12-16 27-24; 16-20 23-19; 20-27 31-24. White wins. R.Winton v T.Watson 1981. 3. 10-15 21-17; 9-13 (a tough ballot for Black) 17-14; 11-16 22-18; 15-22 25-18; 16-20 29-25; 6-10 2521; 10-17 21-14; 13-17! (gaining breathing space, and hemming in White’s single-corner side) 24-19; 8-11 … If White wants to get rid of the irritating man on 17, he will have to break his position with the 26-22 exchange. 4. 11-15 23-18; 8-11 27-23; 10-14 22-17; 15-22 17-10; 6-15 26-17; 11-16 24-19; 15-24 28-19; 7-10 2522? (a definite loser, 17-13 draws); 9-13 (cramping White’s single-corner) 30-26 (trying to break the cramp); 5-9 (keeping up the pressure) 22-18; 13-22 26-17; 9-13! 17-14; 10-17 21-14; 13-17! … Black now has a winning position since, even if White plays 31-26 to stop the potent advance onto 22, the man on 17 is still tying down two men to the defence of the king-row. 5. 11-15 23-19; 9-14 27-23; 8-11 22-18; 15-22 25-9; 5-14 29-25; 6-9 25-22; 11-15 (if 9-13 24-20; 1417?! 21-14; 10-17, White calmly develops his double-corner, with 32-27 and 27-24, and waits for Black’s premature sortie to peter out: an oft-occurring, and very important strategy) 24-20; 1524 28-19; 9-13: Forms Diagram 7 Diagram 7

QRRRRRRRRS TEA1EA2EA3EA4U T 5E 6EA7E 8EU TE 9EA!0E !1EA!2U TA!3EA!4E !5E !6EU TE !7E !8EB!9EB@0U TB@1EB@2EB@3E @4EU TE @5EB@6E @7E @8U T @9EB#0EB#1EB#2EU VWWWWWWWWX

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Continue: … 32-27! (a crucial waiting move, as 22-18? allows Black to exchange 14-17! 21-14; 10-17, totally undermining White’s position); 4-8 (if 14-17 21-14; 10-17 is played now, White replies with 1915; leaving his single-corner alone and developing a strong central structure) 22-18; 14-17 (this exchange lacks its earlier potency now that 4-8 has been committed) 21-14; 10-17 19-15!; 1-6 (Black’s best move, since the 17-22 exchange would form a backstop for White, allowing him to draw easily with 15-11) 26-22 (a good time to remove this annoying man); 17-26 31-22; 7-11 30-25; 12-16! (bringing the game to a neat conclusion) 18-14; 11-18 20-4; 2-7 22-15; 7-10 14-7; 3-26. Drawn. G.Davies v L.Levitt 1973. This model game contains many important points, and will repay careful study. Number 8: Fluid Control Of The Centre Using Squares 14 and 18 (15 & 19 For Black) KEY INFORMATION Given the right conditions, it may be possible to completely control the centre of the board with just a couple of strategically placed men on squares 14 and 18. Examples 1. 9-14 24-19; 11-16 22-18; 8-11 18-9; 5-14 25-22; 11-15 29-25; 15-24 28-19; 4-8 22-18; 8-11 18-9; 613 25-22; 11-15? (natural-looking, but premature; 2-6 draws) 23-18! (an idea which can arise from several ballots – the ugly-looking 27-24! is also very powerful here); 15-24 (loses a tempo. Instead, 16-23, as played by D. Harwood against me in game 13 of our 2002 English Match Championship, may draw) 27-11; 7-16 18-14!; 10-17 21-14; 3-7 22-18: Forms Diagram 8. With accurate play, White should win. Diagram 8

QRRRRRRRRS TEA1EA2E 3E 4U T 5E 6EA7E 8EU TE 9E !0E !1EA!2U TA!3EB!4E !5EA!6EU TE !7EB!8E !9E @0U T @1E @2E @3E @4EU TE @5EB@6E @7E @8U T @9EB#0EB#1EB#2EU VWWWWWWWWX

2. 9-14 24-19; 11-15 22-18; 15-24 18-9; 5-14 28-19; 8-11 26-22; 11-15 22-18; 15-24 18-9 6-13 27-20; 4-8 23-18; 8-11 25-22? (loses, 18-14 is natural and best); 12-16! 30-26; 10-15! 18-14; 16-19! … Black is completely dominant: not only does he have men on 15 and 19 but, in combination, the men on 13 and 15 impose a deadly single-corner cramp. 3. 10-15 24-19; 15-24 28-19; 9-14 22-18; 5-9 25-22; 7-10 19-15; 10-19 23-7; 14-23 27-18; 3-10 21-17; 10-15 18-11; 8-15 26-23; 6-10? 23-18!; 15-19 30-26!; 9-13 29-25!; 4-8 25-21!; 8-11 17-14!; 10-17 21-14; 2-7 14-9; 12-16 18-14; 16-20 22-18; 19-24 26-22; 11-16 18-15; 16-19 15-11! (a beautiful pitch); 7-16 32-28. White wins. S.Weslow v W.Ryan 1925.

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4. 12-16 24-20; 8-12 28-24; 3-8 23-18; 9-14? 18-9; 5-14 24-19; 16-23 27-9; 6-13 22-18; 11-16 20-11; 8-22 25-18; 4-8 29-25; 8-11 25-22; 12-16 18-14!; 10-17 21-14; 16-19 22-18! … White should win. 5. 9-13 24-20; 6-9 22-18; 11-16? 20-11; 8-22 25-18; 4-8 29-25; 8-11 28-24; 9-14 18-9; 5-14 25-22; 1115 24-20; 7-11 20-16; 11-20 23-18; 14-23 27-11; 12-16 26-23!; 20-24 23-18!; 16-20 30-26!; 2-6 1814!; 10-17 21-14 … To a White win. H.Orton v M.Tinsley 1956.

SUMMARY • • • • •

Individual squares often play a significant role in determining early midgame strategy. It is generally best to avoid entering square 5, known as the dog hole, when there is a man on 1. Invasion on squares 9, 10 and 11 is usually profitable if adequate support is provided. It is generally best to avoid entering square 12, known as the dust hole, when there is a man on 3. There are three standard responses to an outpost man on 15; the one selected depending partly upon the style of the player and partly upon the strength of the outpost. • Infiltrating on 16 is invariably advisable, providing the man can’t be driven into the dust hole. • When the conditions are right, it is possible to dominate the centre with the two men on 14 and 18.

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HOLDS In the section on the endgame we saw how it was important to identify the key features defining a given situation before attempting an analysis. One recurrent feature is where one king holds two pieces. If you are able to obtain this hold then, where the forces are level, you are effectively playing with a spare piece: usually a winning advantage. Holds also exist in the early midgame and, although only defining part of the position, may have a significant bearing on the course of the game. Number 1: The Double-Corner Cramp Screening out all the men which aren’t involved, we have the following: Diagram 1

QRRRRRRRRS TEA1E 2E 3E 4U TA5EA6E 7E 8EU TEA9E !0E !1E !2U TB!3E !4E !5E !6EU TE !7EB!8E !9E @0U T @1E @2E @3E @4EU TE @5E @6E @7E @8U T @9E #0E #1E #2EU VWWWWWWWWX Assuming there is no man on 2 - and here is one reason to be wary of moving it too early in the game (see also Motifs, the elbow) -, you will notice that the four black men are effectively tied up, or cramped, by the smaller white force. In order to magnify this advantage, White’s strategy will therefore be to attempt to exchange off any men not engaged in the hold; Black seeking to foil this. Examples 1. 10-14 22-17; 7-10 17-13; 11-15 (3-7 is best) 25-22; 8-11 24-20; 2-7 29-25; 4-8 23-18!; 14-23 27-18: Forms Diagram 2 Diagram 2

QRRRRRRRRS TEA1E 2EA3E 4U TA5EA6EA7EA8EU TEA9EA!0EA!1EA!2U TB!3E !4EA!5E !6EU TE !7EB!8E !9EB@0U TB@1EB@2E @3E @4EU TEB@5EB@6E @7EB@8U T @9EB#0EB#1EB#2EU VWWWWWWWWX

Continue: 10-14 (must try and break the hold) 31-27; 14-23 27-18 (still holding); 15-19 21-17; 19-23! 26-19; 6-10! 13-6; 10-15 19-10; 7-23 22-18; 1-10 25-22 … To a draw: J.Milne v R.Jordan 1911. PAGE 73

2. 10-14 23-19; 14-18 22-15; 11-18 21-17; 8-11 17-13; 9-14 26-23; 11-16 31-26; 16-20 25-21; 4-8 2925; 7-10 26-22; 2-7 22-15; 7-11 13-9; 6-13 15-6; 1-10 30-26; 11-15 26-22; 14-18! (the natural 8-11? loses; this move utilises the double-cramp idea to draw a man short) 23-7; 3-10 … To a draw: A.Long v W.Hellman 1948. Number 2: The Single-Corner Cramp Screening out all the men which aren’t involved, we have the following: Diagram 3

QRRRRRRRRS TE 1E 2E 3E 4U T 5E 6E 7EA8EU TE 9E !0EA!1EA!2U T !3E !4E !5E !6EU TE !7EB!8E !9EB@0U T @1E @2E @3E @4EU TE @5E @6E @7E @8U T @9E #0E #1E #2EU VWWWWWWWWX Assuming there is no man on 4, you will notice that the three black men are effectively tied up, or cramped, by the smaller white force. Examples 1. 12-16 24-20; 8-12 28-24; 4-8? (3-8 best) 24-19; 10-15 19-10; 6-15 23-18; 9-14 18-9; 5-14 22-18!; 14-23 27-18! (not 26-10 which releases the tension); 15-22 25-18: Forms Diagram 4 Diagram 4

QRRRRRRRRS TEA1EA2EA3E 4U T 5E 6EA7EA8EU TE 9E !0EA!1EA!2U T !3E !4E !5EA!6EU TE !7EB!8E !9EB@0U TB@1E @2E @3E @4EU TE @5EB@6E @7E @8U TB@9EB#0EB#1EB#2EU VWWWWWWWWX Strategically, Black’s position is busted, and White will win by playing a series of waiting on his singlecorner side until Black is forced to weaken his position still further. 2. 11-15 23-18; 9-14 18-11; 8-15 22-18; 14-23 27-11; 7-16 24-20; 16-19 25-22; 4-8 22-18; 8-11 32-27; 2-7 27-24?; 19-23 26-19; 10-15 19-10; 7-23 24-19; 5-9! 29-25; 9-13! 25-22; 11-15! 19-10; 6-15 … To a Black win: R.Pask v T.Landry 1985. PAGE 74

3. 11-15 21-17; 9-14 25-21; 7-11 24-20!; 2-7? (3-7 draws) 23-18!; 14-23 27-18; 12-16 17-13!; 8-12 2925; 4-8 21-17; 5-9 25-21; 1-5 32-27; 15-19 27-24; 10-15 17-14; 7-10 14-7; 3-10 21-17; 19-23 26-19; 16-23 24-19; 15-24 28-19. White wins. E.Lowder v M.Tinsley 1956. Mathematical perfection from the greatest genius the game has ever known. Number 3: Binding The Mill Here, there are two cases to consider: Diagram 5

QRRRRRRRRS TE 1E 2E 3E 4U T 5E 6E 7E 8EU TE 9EA!0E !1E !2U T !3EA!4EA!5E !6EU TE !7EA!8E !9E @0U T @1EB@2E @3E @4EU TEB@5E @6EB@7E @8U T @9E #0E #1E #2EU VWWWWWWWWX Diagram 6

QRRRRRRRRS TE 1E 2E 3E 4U T 5E 6E 7E 8EU TE 9EA!0E !1E !2U T !3EA!4EA!5E !6EU TE !7EA!8E !9E @0U T @1E @2EB@3E @4EU TEB@5E @6EB@7E @8U T @9E #0E #1E #2EU VWWWWWWWWX Number 4: Miscellaneous Holds From the dozens which exist – it really is a very strategic as well as tactical game! – I’ve selected just four of the most commonly occurring holds with which to conclude this section; two on the doublecorner side, and two on the single-corner side. Diagram 7

QRRRRRRRRS TE 1E 2E 3E 4U T 5E 6E 7E 8EU TEA9E !0E !1E !2U TA!3EA!4E !5E !6EU TE !7E !8E !9E @0U TB@1EB@2E @3E @4EU TE @5E @6E @7E @8U T @9E #0E #1E #2EU VWWWWWWWWX

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Diagram 8

QRRRRRRRRS TEA1E 2E 3E 4U T 5EA6E 7E 8EU TEA9EA!0E !1E !2U TB!3EA!4E !5E !6EU TEB!7E !8E !9E @0U TB@1E @2EB@3E @4EU TE @5E @6E @7E @8U T @9E #0E #1E #2EU VWWWWWWWWX Diagram 9

QRRRRRRRRS TE 1E 2E 3E 4U T 5E 6E 7E 8EU TE 9E !0E !1E !2U T !3E !4E !5EA!6EU TE !7E !8EA!9EA@0U T @1E @2E @3E @4EU TE @5E @6EB@7EB@8U T @9E #0E #1E #2EU VWWWWWWWWX Diagram 10

QRRRRRRRRS TE 1E 2E 3E 4U T 5E 6E 7EA8EU TE 9E !0EA!1EA!2U T !3E !4E !5EA!6EU TE !7E !8E !9EA@0U T @1E @2EB@3EB@4EU TE @5E @6EB@7E @8U T @9E #0E #1EB#2EU VWWWWWWWWX SUMMARY • Holds can exist in the early midgame as well as in the endgame. • The two major ones are the double-corner cramp and the single-corner cramp, but there are dozens of others. • When in possession of a hold, seek to magnify the advantage by exchanging off the men which aren’t involved.

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MOTIFS There are literally dozens of recurring early midgame stratagems, commonly known as motifs, and it is essential to become familiar with the more important ones in order to make sense of the ‘jungle’ which lies between the opening and the late midgame. Motif Number 1: The Elbow KEY INFORMATION • Three black men on squares 6, 10 and 14 form what is known as an elbow. Elbows can invariably be broken down to force a draw, and occasionally a win, and are particularly vulnerable if the man on 2 has been moved. • In similar vein, assuming the man on 3 has been moved, the three black men on 7, 10 and 14 can sometimes prove to be a liability. • Lastly, a cluster of four black men on 6, 9, 10 and 14 can be held by just three white men on 13, 17 and 21, and is highly susceptible to attack. Examples 1. 11-15 23-19; 9-14 27-23; 8-11 22-18; 15-22 25-9; 5-14 29-25; 11-15 25-22; 4-8 24-20; 15-24 28-19; 8-11 22-17; 11-16? (11-15 draws) 20-11; 7-16 26-22; 3-8 30-26; 8-11 17-13; 16-20 19-16; 12-19 237; 2-11 31-27; 11-15 22-17! (applying pressure to the elbow): Forms Diagram 1 Diagram 1

QRRRRRRRRS TEA1E 2E 3E 4U T 5EA6E 7E 8EU TE 9EA!0E !1E !2U TB!3EA!4EA!5E !6EU TEB!7E !8E !9EA@0U TB@1E @2E @3E @4EU TE @5EB@6EB@7E @8U T @9E #0E #1EB#2EU VWWWWWWWWX Continue: 15-18 27-23!; 18-27 32-23; 20-24 26-22 (drawing out the man on 1); 1-5 23-19. White wins. 2. 12-16 21-17; 16-19 24-15; 10-19 23-16; 11-20 25-21; 6-10 22-18; 9-14? 18-9; 5-14 29-25; 8-11 2522; 4-8 17-13; 2-6 (stops 13-9, but forms a fatal elbow) 22-17! (anchoring the weakness); 11-15 2623! (ditto); 8-12 30-25! (ditto); 7-11 25-22; 3-8 23-19; 15-24 28-19; 11-15 27-23! (thematic); 15-24 22-18; 6-9 13-6; 1-5 18-9; 5-14 23-19; 8-11 6-2; 24-28 2-6. White wins. R.Winton v R.Pask 1981. 3. 10-15 22-18; 15-22 25-18; 9-13 29-25; 11-15 18-11; 8-15 25-22; 4-8 23-18; 8-11 27-23; 5-9 21-17; 1-5 30-25; 7-10 25-21; 9-14 18-9 5-14 32-27; 3-7 24-19!; 15-24 27-20!; 11-15 23-19!; 15-24 28-19; 7-11 20-16! (the point of the combination); 11-20 19-15; 10-19 17-1. Drawn. B.Case v W.Hellman 1953.

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4. 11-15 24-20; 8-11 28-24; 9-13 22-18; 15-22 25-18; 3-8 26-22; 5-9 30-26; 1-5 32-28; 9-14 18-9; 5-14 22-17; 13-22 26-17; 11-16 20-11; 8-15 29-25; 4-8 25-22; 8-11 24-19!; 15-24 27-20!; 11-15 23-19!; 15-24 28-19; 7-11 20-16!; 11-20 19-15; 10-19 17-1. Drawn. Analysis by several. 5. 11-15 22-18; 15-22 25-18; 8-11 29-25; 4-8 24-20; 12-16 26-22; 8-12 28-24; 9-13 32-28; 6-9 24-19; 9-14 18-9; 5-14 22-18; 1-5 18-9; 5-14 25-22; 13-17 22-13; 14-18 23-14; 10-17 21-14; 16-32 14-9; 11-16 20-11; 7-16 9-6; 2-9 13-6. Drawn. L. Ginsberg v S. Gonotsky 1925. 6. Diagram 2 illustrates an instance where Black wins despite having a weak-looking elbow. Diagram 2

QRRRRRRRRS TE 1EA2E 3E 4U T 5EA6E 7E 8EU TEA9EA!0EA!1EA!2U TB!3EA!4EA!5E !6EU TEB!7E !8EB!9EB@0U TB@1E @2EB@3EB@4EU TE @5EB@6E @7E @8U T @9E #0E #1E #2EU VWWWWWWWWX Continue: 15-18! (Black could easily dismiss this at an earlier stage) 19-15; 10-28! 17-1; 18-27 (of course, Black jumps this man too) 13-6; 2-9. Black wins. 7. Diagram 3 is a beautiful win which J. Latham executed in the 1980 British Open Championship. Yours truly was his opponent! Diagram 3

QRRRRRRRRS TE 1E 2E 3E 4U T 5EA6EA7E 8EU TE 9E !0E !1EA!2U TA!3EB!4E !5EA!6EU TE !7E !8EB!9E @0U T @1E @2EB@3E @4EU TE @5EB@6E @7E @8U T @9E #0E #1EB#2EU VWWWWWWWWX

Continue: 6-10! 14-9; 13-17! 9-6; 7-11! 6-2; 10-14! 2-6; 14-18 23-14; 16-30. Black wins. (T. Watson has also registered this in tournament play.) Incidentally, to form the diagram, White moved … 18-14?; 10-17 21-14. This is but one example of how a triangle of black men on 6, 7 and 10 (23, 26 and 27 for White) can form a very handy defensive (or offensive!) resource. Note this carefully! 8. Diagram 4 shows a win I should have scored over that most solid of players, Jimmy Grant, in the 1986 British Open Championship. Jimmy pointed out my error immediately after the game. PAGE 78

Diagram 4

QRRRRRRRRS TE 1EA2E 3E 4U T 5EA6E 7E 8EU TE 9EA!0EA!1EA!2U TB!3EA!4E !5E !6EU TEB!7E !8EB!9E @0U TB@1E @2EB@3E @4EU TE @5EB@6E @7E @8U T @9E #0E #1E #2EU VWWWWWWWWX Continue: 2-7! (this may look weak, but it wins because White lacks a satisfactory waiting move. Instead, I pressed on with the inept 11-15? to a draw.) 26-22; 11-15 22-18; 15-22 19-15; 10-26 17-3; 2225. Black wins. 9. Evidently Jimmy’s grasp of elbows and their affiliates is superior to mine, as Diagram 5 shows. Diagram 5

QRRRRRRRRS TE 1E 2EA3E 4U T 5E 6E 7E 8EU TE 9EA!0EA!1EA!2U T !3EA!4E !5E !6EU TEB!7E !8EB!9E @0U TB@1E @2EB@3E @4EU TE @5EB@6E @7E @8U T @9E #0E #1E #2EU VWWWWWWWWX Continue: 3-7! (beautiful finesses like this are often missed) 17-13; 11-16! 13-9; 14-18 23-14; 10-17 2114; 16-30: a black win scored by Jim in the 1991 Scottish Open Championship. 10. 10-14 22-17; 14-18 (very tough for Black) 23-14; 9-18 26-23; 6-9 23-14; 9-18 30-26; 5-9 26-23; 914 17-10; 7-14 24-19; 11-16? (published to draw at the time, but may lose) 28-24; 3-7 25-22; 18-25 29-22; 7-10 32-28! (virtually knocks out Black’s game. Again, although weak in appearance – which is why it had been missed so often before! -, this leaves Black without a satisfactory waiting move); 1-5 24-20; 5-9 20-11; 8-24 28-19; 2-7 22-18; 7-11 31-26; 11-16 26-22; 4-8 18-15!; 14-18 23-5!; 1632 15-6. White wins. R. Pask v D. Oldbury 1990 British Match Championship. You should compare the finish with Diagram 2 above. 11. 9-14 24-20; 11-15 22-18; 15-22 25-9; 5-14 29-25; 7-11 25-22; 6-9 27-24; 3-7 24-19; 11-16 20-11; 824 28-19; 4-8 22-18; 8-11 26-22; 1-5 22-17; 9-13 18-9; 13-22 30-26; 5-14 26-17; 11-15 32-28? (3227 drew: T. Watson v T. Laverty 2001); 15-24 28-19; 7-11 31-26; 2-7! into the Diagram 5 continuation above. Black wins. ‘Chinook’ v T. Laverty. (Obviously played before 2001!)

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Motif Number 2: The Squeeze & Pinch KEY INFORMATION • This stratagem is an effective means of breaking up an attempted long dyke formation when squares 14 and 19 have been occupied prematurely. (It should be studied in conjunction with Formations, the long dyke.) • Its application typically leaves the opponent in an over-developed state, and with a weakened double-corner; this area of the board being the one you should then seek to occupy. • The overall strength of the resultant position will, of course, also depend on factors such as the strength of the ballot – see Chapter 5 – etc… • A cautionary note. Speaking of the dreaded ‘Octopus’ ballot, Dr Marion Tinsley once wrote: ‘That Black can weather such a storm surely reflects the unique character of draughts – the seemingly endless resources that can be conjured from the flimsiest structure.’ In the hands of a skilful player, a weak or even losing position contains a lot of fight. Therefore, if you do succeed in gaining a positional advantage, you will need to battle to retain it. Never relax! Examples 1. 9-14 22-18; 11-16 18-9; 5-14 25-22; 16-19 24-15; 10-19 23-16; 12-19: Forms Diagram 6 Diagram 6

QRRRRRRRRS TEA1EA2EA3EA4U T 5EA6EA7EA8EU TE 9E !0E !1E !2U T !3EA!4E !5E !6EU TE !7E !8EA!9E @0U TB@1EB@2E @3E @4EU TE @5EB@6EB@7EB@8U TB@9EB#0EB#1EB#2EU VWWWWWWWWX

Continue: … 22-17! (squeeze); 6-10 27-24! (pinch); 2-6 24-15; 10-19 17-10; 7-14 29-25 … White is strong. (See also Page 55, Example 7.) 2. 9-14 22-18; 11-16 18-9; 5-14 25-22; 16-19 24-15; 10-19 23-16; 12-19 22-17!; 7-10 27-24!; 8-12? (even weaker than 2-7 into the previous example) 24-15; 10-19 17-10; 6-15 21-17; 12-16 29-25; 4-8 25-22 … Black’s double-corner is completely open, and he has a congested, or ‘stuffy’, singlecorner: a very powerful white position. 3. 9-14 24-20; 11-15 22-18; 15-22 25-9; 5-14 29-25; 10-15 25-22; 7-10 22-17! (applying pressure: a ‘hidden’ squeeze!); 15-19? 23-16; 12-19 27-24!; 8-12 24-15; 10-19 17-10; 6-15 21-17! … Similar to the previous example: a likely White win. 4. 11-16 22-18; 7-11 (very strong for White) 18-14; 10-17 21-14; 9-18 23-14; 3-7 26-23; 11-15 24-19; 15-24 28-19; 6-9! (there is already a black man in position on 16) 31-26; 9-18 23-14; 16-23 26-19 (here the technique has been used to reduce the pieces and blunt White’s attack: the same position was reached on Page 56, Example 6): Forms Diagram 7

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Diagram 7

QRRRRRRRRS TEA1EA2E 3EA4U TA5E 6EA7EA8EU TE 9E !0E !1EA!2U T !3EB!4E !5E !6EU TE !7E !8EB!9E @0U T @1E @2E @3E @4EU TEB@5E @6EB@7E @8U TB@9EB#0E #1EB#2EU VWWWWWWWWX Continue: 8-11 30-26; 1-6 25-21? (allowing Black to repeat the medicine); 11-16! 26-23; 6-9! 29-25; 918 23-14; 16-23 27-18; 12-16 25-22; 16-19 22-17; 4-8 17-13; 8-12 21-17; 12-16 (Black just waits) 3228; 16-20. Black win. R. Pask v C. Walker 1984 British Open Championship. 5. 11-15 24-20; 15-18 22-15; 10-19 23-16; 12-19 25-22; 9-14 (inferior) 22-17!; 7-10 27-24!; 2-7 24-15; 10-19 17-10; 6-15 21-17 … and White stands best.

Motif Number 3: Working Behind The Lines KEY INFORMATION • As mentioned in SOIC/D, time is one of three key elements operating in the game, and is multifaceted; embracing the opposition, the relative state of development, waiting moves, the initiative and gaining a tempo. • Also worthy of mention is the playing of two or three moves in the correct order, which can make all the difference! (Additionally, particularly in the opening and early midgame, different move orders can permit or prevent specific attacks and defences. The most successful players are keenly aware of this, and carefully judge the amount of rope they wish to give each opponent.) • This particular stratagem involves gaining a tempo; other instances of tempo-gaining being shown under, among others, Optional Jumps (SOIC/D); Hobson’s Choice (SOIC/D); Avoiding Backward Men (Diagram 25); Rapid Development Of The E-Line (this chapter) and Putting The Question (this chapter). Its usefulness is often overlooked! Examples 1. 11-15 24-19; 15-24 28-19; 8-11 22-18; 11-16 25-22; 10-14 22-17; 9-13 17-10; 6-22 26-17; 13-22 3026; 5-9 26-17; 9-14 17-10; 7-14 29-25; 4-8 25-22; 8-11: Forms Diagram 8 over the page. The black men on 14 and 16 hold the entire white army at bay. Note that … after 22-18; and the 1-5 18-9; 5-14 exchange, 31-26 is not playable due to the 2 for 1 threat. Therefore White plays 31-26 first, ready to play 26-22 once the man currently on 22 has moved.

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Diagram 8

QRRRRRRRRS TEA1EA2EA3E 4U T 5E 6E 7E 8EU TE 9E !0EA!1EA!2U T !3EA!4E !5EA!6EU TE !7E !8EB!9E @0U TB@1EB@2EB@3E @4EU TE @5E @6EB@7E @8U T @9E #0EB#1EB#2EU VWWWWWWWWX Continue: … 31-26!; 1-5 22-18; 3-7 18-9; 5-14 26-22! (got there!) … to a draw. 2. I employed the same idea to defeat J. Gillbard in a game played in the 1980 British Open Championship. Diagram 9

QRRRRRRRRS TEA1EA2EA3E 4U T 5E 6E 7E 8EU TE 9E !0EA!1EA!2U T !3EA!4E !5EA!6EU TE !7E !8EB!9EA@0U TB@1EB@2EB@3EB@4EU TE @5E @6EB@7E @8U T @9E #0EB#1EB#2EU VWWWWWWWWX Continue: … 31-26!; 1-5 22-18; 3-7 18-9; 5-14 26-22!; 2-6 22-18; 6-9 19-15; 16-19 15-8; 19-26 8-3; 1423 3-10; 26-30 27-18; 20-27 32-23. White wins. I knew no book play whatsoever at the time, but later discovered I had been following published analysis by the legendary Sam Levy. 3. 10-14 23-19; 7-10 (very tough for Black) 19-15; 11-18 22-15; 10-19 24-15; 3-7 25-22; 7-10 27-24; 10-19 24-15; 8-11 15-8; 4-11 28-24; 6-10 26-23; 2-7! (the illogical 9-13? loses) 24-19; 11-15! 32-28; 15-24 28-19; 7-11! 30-26; 11-15! 19-16; 12-19 23-16 … To an analytical draw. 4. In Diagram 10 over the page, arising out of the Glasgow opening – see Chapter 5 -, White’s attempt to grip Black with men on 17 and 19 is foiled by means of a clever 5-9 move. Continue: 5-9! (driving the white man into 13, and breaking the grip) 17-13 (forced); 10-15 (11-15 is fine, but this is stronger) 19-10; 6-15 13-6; 1-10 22-17; 14-18 17-14; 10-17 21-14 … and White must employ care to draw. PAGE 82

Diagram 10

QRRRRRRRRS TEA1EA2E 3E 4U TA5EA6E 7E 8EU TE 9EA!0EA!1EA!2U T !3EA!4E !5E !6EU TEB!7E !8EB!9EB@0U TB@1EB@2E @3E @4EU TEB@5E @6E @7E @8U T @9E #0EB#1EB#2EU VWWWWWWWWX Motif Number 4: Rapid Development Of The E-Line KEY INFORMATION • ‘When in doubt, move 4-8’, is something the student player is often advised to do; it being in line with the principle of rapid single-corner development. Although this often holds true, like all general advice it must be appraised in light of the specific position at hand. Applied carelessly, it can result in the loss of a tempo, and an inferior, if not a losing, position. 1. 10-15 21-17; 11-16 17-13; 16-20 24-19; 15-24 28-19; 8-11 22-18; 11-16 26-22; 7-10! (Black’s plan is to line up 3 men on his E-line as rapidly as possible, in order to prepare for the 14-17 2 for 2 exchange: there is no time to delay!) 25-21; 9-14! (4-8 will draw, but is greatly inferior) 189; 5-14 22-18; 1-5 18-9; 5-14 29-25; 3-7! (poised for action) 25-22; 14-17 21-14; 10-26 31-22; 710! … to a clean-cut draw. 2. 12-16 21-17; 9-14 17-13; 16-19 24-15; 10-19 23-16; 11-20 26-23; 7-10! (8-11 is in fact the regular move, but the text, suggested by the great Dr Tinsley, is more logical and no doubt best) 22-18; 3-7! 18-9; 5-14 … and an equal position. 3. 9-13 24-20; 10-14 22-18; 5-9 25-22; 6-10 28-24; 10-15 22-17; 13-22 26-10; 7-14 30-26; 15-22 26-10; 2-7 10-6; 1-10 29-25; 10-14 25-22; 7-10 24-19; 11-16 20-11; 8-24 27-20; 3-7! (although 4-8 will draw, the continuation is delicate: the text makes for a clear finish) 22-18; 7-11 31-26; 11-16! 20-11; 10-15 26-22; 15-19 23-16; 14-23 21-17; 12-19 17-13; 9-14 22-18; 14-17. Drawn. A. Long v E. Zuber 1986 Practice. 4. 9-14 22-18; 5-9 25-22; 11-16 24-19; 8-11 28-24; 16-20 22-17; 9-13 18-9; 13-22 26-17; 6-22 30-26 (compare this with Page 55, Black Examples, No 3: it’s a common idea); 11-16! 26-17; 10-14! (a similar, ‘gripping’ idea was shown under Motif number 3)17-10; 7-14 29-25: Forms Dig 11 Diagram 11

QRRRRRRRRS TEA1EA2EA3EA4U T 5E 6E 7E 8EU TE 9E !0E !1EA!2U T !3EA!4E !5EA!6EU TE !7E !8EB!9EA@0U TB@1E @2EB@3EB@4EU TEB@5E @6EB@7E @8U T @9E #0EB#1EB#2EU VWWWWWWWWX

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Continue: 4-8? (incredibly, this innocent-looking move loses! Instead, rapid E-line development not only saves the day, but actually maintains Black’s initiative. Continue: 3-7! 25-22; 7-10! 31-26; 2-7! 3228; 7-11! 22-18; 1-5 18-9; 5-14 19-15; 10-19 24-8; 4-11 26-22; 11-15 22-17; 15-19 17-10; 19-26 27-23. Drawn. Analysis by K. Grover) 25-22; 3-7 31-16; 7-10 22-18; 1-5 18-9; 5-14 26-22; 2-7 Forms Dig 12 Diagram 12

QRRRRRRRRS TE 1E 2E 3E 4U T 5E 6EA7EA8EU TE 9EA!0E !1EA!2U T !3EA!4E !5EA!6EU TE !7E !8EB!9EA@0U TB@1EB@2EB@3EB@4EU TE @5E @6EB@7E @8U T @9E #0E #1EB#2EU VWWWWWWWWX Continue: … 32-28! (known as the Drummond-Donaldson win: a late midgame classic in its own right); 8-11 22-18; 14-17 21-14; 10-17 19-15; 16-19 23-16; 12-19 15-8; 19-23 24-19!; 23-32 8-3; 32-27 3-10; 27-23 10-14; 23-16 14-21. White wins. 5. 10-14 23-19; 11-15 19-10; 6-15 22-18; 15-22 26-10; 7-14 25-22; 8-11 24-19; 11-16 27-23; 9-13 22-18; 3-7! (superior to 4-8, which loses a tempo) 18-9; 5-14 29-25; 7-10! 25-22; 2-7! 22-18; 1-5 18-9 5-14 … to a draw. W. Edwards v P. McCarthy 1993. 6. 9-13 22-18; 12-16 24-20; 8-12 28-24; Now 4-8! is best, since 24-19 is well met with 10-15 1910; 6-22 25-18; 16-19 23-16; 12-19 whereas 3-8? loses after 24-19! since the 11-15 break-out is unavailable. (It loses a man.) This example should be compared with Page 74, Example 1. Don’t play by rote! 7. 10-15 24-19; 15-24 28-19; 6-10 22-17; 9-14 25-22; 11-15 27-24; 8-11 23-18; 14-23 17-14; 10-17 21-14; 7-10 14-7; 3-10 31-27; 5-9 27-18; 1-5 32-28; 9-14 18-9; 5-14 26-23; 2-6 30-26!; 4-8? (6-9 draws comfortably; this loses!) 24-20; 15-24 28-19; 11-15 20-16!; 15-24 22-18; 12-19 18-2; 8-12 23-16; 12-19 2-7; 10-15 7-11; 15-18 11-16; 18-23 16-20; 23-30 20-27. White wins. B. Lucas v R. Pask 1998. Motif Number 5: Waiting Moves KEY INFORMATION • You have already seen how the 32-27 (1-6 for Black) waiting move features in an echelon formation. • You have also seen how, when your opponent has established a supported man on 17 (if he’s Black), you can take the sting out of his attack by playing a series of waiting moves on the double-corner side. • However, waiting moves have far greater utility than this, as the following examples demonstrate.

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1. 9-13 21-17; 6-9 25-21; 11-15 30-25; 9-14 24-19; 15-24 28-19; 5-9 32-28! (keeps the body of White’s position intact, and is therefore superior to 22-18: bear in mind that the first player forced to break his position usually comes off worst.) 7-11 19-15 … to a draw. 2. 11-15 23-18; 8-11 27-23; 4-8 23-19; 9-14 18-9; 5-14 22-17; 14-18? 17-14; 10-17 21-14; 11-16 19-10; 6-15 24-20; 16-19 (White now proceeds to play a string of waiting moves on his left wing) 25-21!; 811 29-25!; 2-6 21-17! … to a white win. 3. 10-14 24-19; 7-10 27-24; 11-15 24-20; 15-24 28-19; 9-13! (8-11? is too early) 32-28!; 5-9! 22-18; 811 25-22; 4-8! 30-25; 10-15 (the correct time to break the position) 19-10; 6-15 … to a draw. 4. 9-14 22-18; 10-15 18-9; 5-14 26-22; 15-18 22-15; 11-18 24-20; 8-11 25-22; 18-25 29-22; 7-10! 2824; 6-9! 31-26; 3-8! 23-19; 9-13 27-23; 1-5! 32-28; 11-15 … to a draw. 5. 9-13 24-19; 6-9 22-18; 11-15 18-11; 8-24 28-19; 9-14 25-22; 4-8 22-18; 8-11 18-9; 5-14 29-25; 1-6! (the echelon waiting-move idea from the black viewpoint) 25-22; 11-15 … to a draw. 6. 11-15 23-19; 9-13 22-18; 15-22 25-18; 13-17 21-14; 10-17 29-25; 5-9 25-22; 17-21 27-23; 8-11 3227! (a further example of waiting on the double-corner side); 4-8 24-20; 6-10 27-24! … to a draw. E. Lowder v D. Oldbury 1983. 7. 11-15 24-20; 15-18 22-15; 10-19 23-16; 12-19 27-24; 7-10 24-15; 10-19 32-27; 6-10 25-22; 8-12 2218; 9-14 18-9; 5-14 29-25; 4-8 25-22; 10-15? (the natural 8-11 is best) 27-24; 2-7 22-17; 14-18 17-14 (White has all the waiting moves in the world!); 8-11 14-9; 3-8 21-17; 18-23 9-6!; 1-10 26-22. White wins. R. Pask v J. McCarthy 1997. Motif Number 6: Putting The Question KEY INFORMATION • When faced with the choice of two jumps, questions of tempo often arise. The importance of jumping the men out correctly - both from an attacking and defensive viewpoint - cannot be over-emphasized. • Taking two men in one jump, as opposed to making two single jumps, ‘gains a move’, as the following example illustrates: 11-15 23-19; 9-14 27-23; 8-11 22-18; 15-22 25-9; 5-14 is the same as 10-14 22-18; 11-15 18-11; 8-15 24-19; 15 24 28-19; 6-10 25-22 with the colours reversed. Examples 1. 9-13 22-18; 12-16 24-20; 8-12 27-24; 3-8 24-19; 11-15 18-11; 8-24 28-19! (‘putting the question’ to Black: forcing him to find a good waiting move. Instead, 20-11 defuses the tension, and leads to equality); 10-14 20-11; 7-16 19-15 … to a draw. 2. 9-13 22-18; 10-15 25-22; 6-10 23-19; 11-16 18-11; 16-23 (8-15? allows White to gain a tempo with 24-20! and loses) 27-18; 8-15 (this blunts White’s attack; 7-16? loses after 18-14!) 18-11; 7-16 22-18 … to a draw, although White is still strong. 3. 10-14 22-18; 11-16 25-22; 16-20 24-19; 8-11 19-15; 4-8 22-17; 7-10? (9-13 draws) 30-25; 10-19 1710!; 6-22 23-7!; 3-10 25-18 …. This judicious order of jumps has severely disrupted Black’s position, and White should win. PAGE 85

4. 11-15 24-19; 15-24 28-19; 8-11 22-18; 11-16 25-22; 16-20 22-17; 4-8 17-13; 8-11 26-22; 10-14 1915; 3-8? (12-16 draws) 22-17; 7-10 30-26; 10-19 17-10!; 6-22 23-7!; 2-11 13-6; 1-10 26-17 … to a white win. C. Barker v C. Freeman. Note the similarity to Example 3. 5. 12-16 21-17; 16-19 24-15; 10-19 23-16; 11-20 25-21; 8-11 22-18; 6-10 29-25; 1-6 17-14; 10-17 2114; 3-8! (the ‘automatic’ 4-8? allows White to build up a crushing long dyke) 26-23; 11-15 18-11; 8-15! (draws out the man on 31, and leads to an easy draw) 31-26; 9-18 23-14 … to a draw. 6. 10-14 24-19; 6-10 22-17; 11-15 26-22; 15-24 28-19; 8-11 (7-11 best) 22-18; 9-13 (11-15 is okay) 189: Forms Diagram 13 Diagram 13

QRRRRRRRRS TEA1EA2EA3EA4U TA5E 6EA7E 8EU TEB9EA!0EA!1EA!2U TA!3E !4E !5E !6EU TEB!7E !8EB!9E @0U TB@1E @2EB@3E @4EU TEB@5E @6EB@7E @8U TB@9EB#0EB#1EB#2EU VWWWWWWWWX

Continue: 13-22! (5-14 loses as it allows White to gain a tempo by jumping 2 men with one move: 2724; 13-22 25-9; 1-5 9-6; 2-9 29-25 etc…) 25-18; 5-14 (here, all the jumps are singles, and Black is able to draw: it is generally not wise to give your opponent ‘free’ moves when you are defending) 18-9; 1-5 9-6; 2-9 23-18 … to a draw. W. Ryan v M. Tinsley 1950. Motif Number 7: Squeezing A Defended Man KEY INFORMATION Threatening a man which is already defended may appear pointless, but can be very effective as a means of forcing your opponent to make an undesired waiting move. Examples 1. 11-15 22-17; 15-19 24-15; 10-19 23-16; 12-19 25-22; 7-10 (inferior to 8-11) 27-24!; 8-12 24-15; 1019 32-27 (drawing out the man on 3 so that the 9-14 break will not be available); 3-7 22-18 … White stands best. 2. 11-16 22-18; 16-20 18-14; 9-18 23-14; 10-17 21-14; 8-11 25-22; 11-15 24-19; 15-24 28-19; 4-8 2925; 8-11 25-21; 11-16 26-23; 6-9 22-18; 1-6 30-25; 6-10! (draws out the man on 31) 31-26 … to a draw. 3. 12-16 21-17; 16-20 17-13; 11-15 24-19; 15-24 28-19; 8-11 22-18; 9-14 18-9; 5-14 25-22; 11-15 1916; 14-17 29-25; 4-8 25-21; 8-12 21-14; 10-17! (12-19? is very weak) 32-28 (forced out); 12-19 2316; 7-10! … to a black win. D.Oldbury v R.Pask 1990. PAGE 86

4. 11-15 21-17; 9-13 25-21; 8-11 30-25; 4-8 24-19; 15-24 28-19; 11-16 22-18; 13-22 26-17; 8-11 1714; 10-17 21-14; 16-20 25-21 (25-22 easier); 6-9 29-25; 1-6 32-28?: Forms Diagram 14 Diagram 14

QRRRRRRRRS TE 1EA2EA3E 4U TA5EA6EA7E 8EU TEA9E !0EA!1EA!2U T !3EB!4E !5E !6EU TE !7EB!8EB!9EA@0U TB@1E @2EB@3E @4EU TEB@5E @6EB@7EB@8U T @9E #0EB#1E #2EU VWWWWWWWWX Continue: 6-10! (drawing out the man on 31) 31-26; 10-17 21-14; 11-16 19-15; 16-19 23-16; 12-19 1510 … to a black win. M. Tinsley v E. Lowder 1979. 5. 9-14 24-20; 5-9 22-18; 10-15 28-24; 15-22 26-10; 7-14 25-22; 1-5 30-26; 3-7 24-19; 14-18? 22-15; 11-18 23-14; 9-18 29-25; 7-11 26-22!; 2-7 (drawn out) 22-15; 11-18 31-26; 18-23 27-18; 7-11 2016!; 11-20 32-27; 8-11 21-17 … to a white win. Analysis by R. Fortman. 6. 9-13 23-18; 10-15 26-23; 6-10 30-26; 1-6 18-14; 10-17 21-14; 15-18 22-15; 11-18 24-19?; 6-10! (somewhat different from the previous examples, but has in common that the squeezed man is already defended – by the man on 23) 25-21; 10-17 23-14; 17-22! 26-17; 13-22 27-23; 8-11 21-17; 11-16 1713; 7-10 14-7; 3-10 28-24; 4-8 24-20; 8-11 32-28; 5-9 13-6; 2-9. Black win. R. Pask v W. Leggett 1982. Motif Number 8: Sacrificing For A King KEY INFORMATION Although made too much of, in my view, in some beginner’s books, the carefully thought out sacrifice of a man to obtain an early king can, especially against weaker players, often pay dividends. Examples 1. 11-16 24-20; 16-19 23-16; 12-19 22-18; 8-11 27-23; 4-8 23-16; 8-12 32-27; 12-19 27-23; 11-16 2011; 7-16 25-22; 10-14 29-25; 6-10 18-15; 9-13 15-6; 1-10 22-18; 2-7 18-9; 5-14 25-22; 10-15: Forms Diagram 15 on the next page. Continue: … 21-17!; 14-21 23-18; 7-11 18-14; 16-20 14-9; 3-8! (part of a carefully conceived plan to return the man and get a clean draw) 9-6; 11-16! 6-2; 8-12! 2-7; 1518! 22-15; 21-25 30-21; 19-24 28-19; 16-30. Drawn. T.Wiswell v M.Hopper 1951. A good example of Transition Technique Number 3. 2. 10-15 23-18; 7-10 26-23; 10-14 24-19; 15-24 28-19; 11-16 27-24; 16-20 31-27; 8-11 22-17; 11-16 17-10; 6-22 25-18; 9-14 18-9; 5-14 29-25; 14-18! 23-14; 16-23 27-18; 20-27 32-23; 12-16! (through, with a completely intact king-row) 21-17!; 16-20 23-19!; 20-24 18-15; 24-27 17-13; 2-7!! (this has been missed several times in important play). Drawn. M. Tinsley v M. Chamblee 1948. PAGE 87

Diagram 15

QRRRRRRRRS TE 1E 2EA3E 4U T 5E 6EA7E 8EU TE 9E !0E !1E !2U TA!3EA!4EA!5EA!6EU TE !7E !8EA!9E @0U TB@1EB@2EB@3E @4EU TE @5EB@6E @7EB@8U T @9EB#0EB#1E #2EU VWWWWWWWWX 3. 11-15 21-17; 9-14 25-21; 8-11 17-13; 11-16 22-17; 16-20 24-19; 15-24 28-19; 4-8 29-25; 14-18! 2314; 8-11 26-23; 11-15 32-28; 15-24 28-19; 5-9! 14-5; 10-14 17-10; 6-24 – White is perfectly safe provided he doesn’t a) panic or b) overplay his position - 23-18; 24-28 18-15!; 28-32 31-26; 32-23 26-19; 20-24 21-17!; 24-27 13-9!; 27-31 17-13!; 31-27 9-6; 2-9 13-6; 1-10 15-6; 7-11 6-1; 27-23. Drawn. W. Hellman v W. Ryan. 1949. 4. 12-16 21-17; 16-20 17-13; 8-12 25-21; 11-15 24-19; 15-24 28-19; 4-8 29-25; 8-11 19-16; 12-19 2316; 11-15 22-17; 15-19 25-22; 10-15 27-23; 19-24 23-18; 15-19 32-28?; 19-23! 26-19; 24-27 31-24; 20-27 … to a black win. R. Pask v C. Brewer 1986. 5. 9-14 22-17; 5-9 24-19; 11-15 17-13; 15-24 28-19; 1-5 25-22; 14-17 21-14; 9-25 29-22; 10-14 22-18; 14-17 18-14!; 6-10 23-18; 17-21 27-23!; 10-17 13-9; 5-14 18-9 … to a long draw. M. Loew v H. Koff 1952. 6. 12-16 22-17; 16-20 24-19; 9-14 25-22; 11-15 17-13; 15-24 28-19; 8-11 22-18; 4-8 18-9; 5-14 29-25; 11-15 19-16; 15-18!? 16-12; 10-15 26-22; 20-24! 27-20; 18-27 32-23; 14-18! 23-14; 15-19 to an amazing (unforced) black win with 2 men short! R. Leschensky v D. Oldbury 1989. 7. 11-15 23-19; 9-14 27-23; 8-11 22-18; 15-22 25-9; 5-14 29-25; 11-15 25-22; 4-8 24-20; 15-24 28-19; 10-15 19-10; 6-15 22-18; 15-22 26-10; 7-14 30-26; 8-11 26-22; 11-15 22-17; 14-18! 23-14; 15-18 Forms Diagram 16 Diagram 16

QRRRRRRRRS TEA1EA2EA3E 4U T 5E 6E 7E 8EU TE 9E !0E !1EA!2U T !3EB!4E !5E !6EU TEB!7EA!8E !9EB@0U TB@1E @2E @3E @4EU TE @5E @6E @7E @8U T @9E #0EB#1EB#2EU VWWWWWWWWX

Continue: … 14-9; 18-22 17-13; 22-25 21-17; 25-30 9-6; 1-10 13-9; 30-25 17-13; 25-22 9-6; 2-9 13-6; 10-15 6-2; 15-18 2-6; 18-23 6-10; 22-25 10-6?; 3-7 6-2; 7-11 2-6; 25-22 6-10; 23-26 32-27; 26-30 27PAGE 88

23; 30-25 31-27; 22-17 23-19; 11-15 27-24; 17-14 10-17; 25-21 19-10; 21-7. Black wins. M. Tinsley v R. Armstrong 1990. Motif Number 9: The Run-Off KEY INFORMATION • The term ‘run-off’ describes the process by which an outpost man is squeezed two or three times in succession. Often used as a simplifying measure by the beginner - and just as often backfiring! - the value of the motif depends largely upon the strength of the outpost itself. • Unless the outpost is very weak, such run-offs tend to dissipate the attacking side’s advantage. • When defending against a strong outpost, such run-offs either limit the scope of the attacking side, or crystallize the weakness, depending on one’s viewpoint. Examples 1. 10-15 22-17; 15-19 24-15; 11-18 23-14; 9-18 - the outpost man on 18 is very weak, and here the runoff is strong for White – 26-23!; 6-9 23-14; 9-18 30-26!; 5-9 (1-6 loses) 26-23!; 9-14 17-10; 7-14 2522; 18-25 29-22 etc … 2. 10-14 22-17; 14-18 23-14; 9-18 – the outpost man on 18 is very weak, and here the run-off is strong for White – 26-23!; 6-9 23-14; 9-18 30-26!; 5-9 (2-6 is a tough draw) 26-23!; 9-14 17-10; 7-14 24-19 etc … 3. 12-16 22-17; 16-19 24-15; 11-18 23-14; 9-18 – the outpost man on 18 is of average strength, and here the run-off results in a tame draw – 26-23; 6-9 23-14; 9-18 30-26; 1-6 26-23; 6-9 23-14; 9-18 31-26; 8-11 (better than 2-6) 26-23; 2-6 23-14; 6-9 28-24; 9-18 17-14; 10-17 21-14 … to a draw. 4. 11-15 22-17; 15-18 23-14; 9-18 – the outpost man on 18 is of average strength, and here the run-off results in a tame draw – 26-23; 6-9 23-14; 9-18 30-26; 1-6 26-23; 6-9 23-14; 9-18 31-26; 8-11 (2-6 is weak) 26-23; 2-6 23-14; 6-9 24-19; 17-14; 10-17 21-14 … to a draw. 5. 9-13 23-18; 6-9 18-15! (also reached on Page 69, Example 1); 10-19 24-15; 11-18 22-15 – the outpost man on 15 is strong, and the run-off, although the best of a bad deal, leaves White well situated -; 7-11 26-22; 11-18 22-15; 3-7 (this and Black’s succeeding move represent a typical way of developing: see also Page 69, Example 2) 28-24; 1-6 25-22; 8-11 15-8; 4-11 etc … 6. 10-14 23-19; 7-10 19-15!; 11-18 22-15; 10-19 24-15 - the outpost man on 15 is strong, and the runoff, although the best of a bad deal, leaves White well situated -; 3-7 25-22; 7-10 27-24; 10-19 24-15 8-11 15-8; 4-11 etc … Some other examples of the early occupation of square 15/18, together with a rough guide as to the strength of the outpost are as follows: 9-13 23-18; 5-9 18-15 (average) & 9-13 23-19; 5-9 19-15 (average); 9-13 23-19; 6-9 19-15 (strong, as in Example 5); 9-13 23-18; 12-16 18-15 (average); 9-13 2319; 10-14 19-15 (average); 9-13 23-19; 11-16 19-15 (average); 9-13 24-19; 10-14 19-15 (quite strong); 9-14 23-19; 5-9 19-15 (average); 9-14 23-19; 11-16 19-15? (weak, being parallel to Example 2); 10-14

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23-19; 6-10 19-15 (strong); 10-14 23-19; 11-16 19-15 (average) & 11-16 23-18; 10-14 18-15 (average); 11-16 23-18; 7-11 18-15 (quite strong); 9-14 23-19; 14-18 (quite weak); 10-14 23-19; 14-18 (average); 10-14 24-19; 14-18 (slightly weak) & 10-14 24-20; 14-18 (slightly weak) & 10-15 21-17; 15-18 (slightly weak). Motif Number 10: The Delayed Steal KEY INFORMATION • The delayed steal is essentially a space-gaining manoeuvre. It has a number of applications; some of which are illustrated in the examples below. • It needs to be treated with extreme caution however, since the opponent has 2 moves to play with after the final squeeze. Examples. 1. 11-16 21-17; 16-20 17-13; 8-11 22-18; 10-15 25-22; 7-10 29-25; 9-14 18-9; 5-14 24-19; 15-24 28-19; 11-15 32-28; 15-24 28-19; 4-8 22-18: Forms Diagram 17 Diagram 17

QRRRRRRRRS TEA1EA2EA3E 4U T 5EA6E 7EA8EU TE 9EA!0E !1EA!2U TB!3EA!4E !5E !6EU TE !7EB!8EB!9EA@0U T @1E @2EB@3E @4EU TEB@5EB@6EB@7E @8U T @9EB#0EB#1E #2EU VWWWWWWWWX Black is an uncomfortable position, since the man on 14 is being threatened, and there appears to be no satisfactory way to defend it. Both 1-5 and 6-9 are clearly very weak, while 14-17 allows the powerful 18-14! The key is the delayed steal. Continue: 8-11! 18-9; 11-15! 19-16; 12-19 23-16; 1-5 16-11; 5-14 26-23; 14-17 31-26; 10-14 25-22; 6-10 13-9; 3-7 22-13; 7-16 … to a draw. Analysis by N. Wexler. 2. 9-14 22-18; 11-15 18-11; 8-15 25-22; 5-9 23-18; 14-23 27-11; 7-16 22-18; 16-20 24-19; 4-8 2925; 10-14 26-23; 8-11 25-22; 6-10 31-27; 3-7 30-25?; 9-13! 18-9; 11-15! 28-24; 1-5 9-6; 2-9 2117; 7-11 … to a black win. N. Wexler v T. Landry 1989. Norman is a brilliant New York player, with an extensive knowledge of published play, and an exceptionally keen grasp of strategy. He also encouraged me in my early stages, so I will always be grateful to him. 3. 9-14 22-18; 5-9 24-20; 10-15 28-24; 15-22 26-10; 7-14 25-22; 1-5 22-17; 14-18 23-14; 9-18 3026; 3-7 26-22; 18-25 29-22; 7-10 27-23; 5-9 17-13; 9-14 24-19! 11-16? (11-15 32-28; 15-24 2819; 2-7 draws) 20-11 8-24 22-18! (unexpected); 6-9 13-6; 2-9 32-28; 4-8 28-19 … to a white win. A favourite ploy of the late Tom Wiswell; another great New Yorker.

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4. 10-15 23-18; 9-14 18-9; 5-14 26-23; 15-18 22-15; 11-18 21-17; 14-21 23-14; 6-10 31-26; 10-17 24-19! (by regaining the man in this way, rather than with the immediate 25-22, White gets greater centre control); 8-11 27-23!; 7-10 25-22 (finally!); 11-15 22-13; 15-24 28-19 … to a draw. 5. 10-14 23-19; 11-16 22-17; 16-23 17-10; 7-14 26-19; 8-11 25-22; 6-10 27-23; 11-15 24-20; 15-24 28-19; 4-8 22-18; 8-11 29-25; 9-13 18-9; 5-14 25-22; 11-15 32-28; 15-24 28-19; 3-8 22-18?; 811! 18-9; 11-15 to a black win of frequent occurrence. 6. 10-14 24-20; 11-16 20-11; 8-15 22-18; 15-22 25-18; 4-8 29-25; 8-11 25-22; 6-10 28-24; 9-13 18-9; 5-14 23-18; 14-23 27-18; 12-16 18-14; 10-17 21-14; 11-15 14-9?; 16-19! 32-28; 1-5 31-27; 5-14 27-23 (getting the man back, but at a terrible cost: Black has plenty of time to set things up for an artistic finish); 14-17 23-16; 15-19 24-15; 7-11 16-7; 3-19 22-18; 17-22 26-17; 13-22 1815; 2-7. Black win. R. Pask v B. Lucas 1986. 7. 9-13 24-20; 10-15 28-24; 5-9 23-19; 6-10 27-23; 1-5 23-18; 11-16 20-11; 7-23 18-11; 8-15 2619; 3-7 30-26; 7-11 26-23; 9-14 22-18; 15-22 25-9; 5-14 29-25; 11-15 25-22; 2-7 24-20! (here just a means of obtaining a neat draw); 15-24 22-18!; 14-17 21-14; 10-17 32-28; 24-27 31-24; 17-22 23-19; 22-26 19-16; 12-19 24-15. Drawn. M. Tinsley v E. Lowder 1975. 8. 9-13 23-18; 11-15 18-11; 8-15 22-17; 13-22 25-11; 7-16 21-17; 5-9 17-13; 4-8 29-25; 16-20 2419; 9-14 27-23; 8-11 25-22; 11-15? (I was scared of 11-16 22-18; but it draws comfortably after 18-15 and 3-8) 32-27; 15-24 28-19; 3-7 22-18; 7-11 (the delayed steal, but it’s no good here) 189; 11-15 19-16; 12-19 23-16; 1-5 26-23!; 5-14 16-11! … to a white win. R. Pask v T. Landry 1984. 9. 11-15 24-19; 15-24 28-19; 8-11 22-18; 11-16 25-22; 16-20 22-17; 4-8 17-13; 8-11 26-22; 9-14 18-9; 5-14 22-18; 1-5 18-9; 5-14 29-25?; 11-15 25-22 (doesn’t work here); 15-24 22-18; 14-17 21-14; 10-17 32-28; 17-22! 28-19; 7-10 (you will notice that this, in conjunction with 17-22, is the usual continuation) … to an easy black win; again of frequent occurrence.

Motif Number 11: Getting Behind The men KEY INFORMATION Making the correct decision about which back-row man, or men, to move is essential if trouble is to be avoided. As I discussed in SOIC/D, it is impossible to make fool-proof generalisations, but if forced to specify the most important back-row man to retain, I would have to go for that on square 2 (square 31 for White). It will be noted that this knocks on the head the advice given by some to make a general policy of retaining men on 1 and 3 (30 and 32). In my experience this policy is very much more often wrong than right! In Examples 1 and 2 Black does indeed move this man, permitting White to get behind his men and undermine entire his entire position. Example 3 demonstrates a different take on this concept, and shows the importance of keeping your options open whenever possible.

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Examples 1. 11-16 24-19; 7-11 22-18; 3-7 25-22; 11-15 18-11; 8-24 27-11; 7-16 22-18; 9-14 18-9; 5-14 2925; 4-8 25-22; 16-19 23-16; 12-19 31-27; 10-15 26-23; 19-26 30-23; 8-11 27-24; 6-10 24-20 (forming the position on Page 43); 2-6? (1-6! draws) 22-17; 15-18 23-19; 18-23 19-16; 11-15 1611; 15-18 11-7 (White is free to wander at will); 6-9 17-13; 10-15 13-6; 1-10 7-2; 23-27 32-23; 18-27 2-6 … to a white win. Although Black’s 3 men mutually protect each other, they are not far enough advanced, and White is able to grip them while bringing other attacking forces to bear. 2. 11-15 24-20; 15-18 22-15; 10-19 23-16; 12-19 25-22; 8-12 22-18; 9-14 18-9; 5-14 29-25; 4-8 25-22; 8-11 22-17; 6-10 27-24; 11-15 32-27; 7-11 27-23; 2-7? [‘The weak spot, undermining the rear guard ranks, and allowing White to penetrate.’ (Richard Fortman)] Instead, 3-7! draws comfortably after 23-16; 12-19 26-23; 19-26 30-23; 15-18 24-19; 18-27 31-24; 1-5 etc …) 2316; 12-19 31-27 (with 3-7 played, this is well met with the 11-16 exchange); 3-8 27-23; 8-12 2316; 12-19 26-23; 19-26 30-23; 15-18 (Black’s position is ‘floating’ in mid-air) 23-19; 18-22 1916 … to a white win. J. Sweeney v E. Zuber 1983. 3. 11-15 21-17; 8-11 17-13; 9-14 25-21; 11-16 24-19; 15-24 28-19; 4-8 22-18; 8-11 18-9; 5-13 2925; 11-15 25-22; 15-24 27-11; 7-16 22-18; 1-5 18-9; 5-14 26-22; 16-19 23-16; 12-19 22-17; 3-8 32-27: Forms Diagram 18 Diagram 18

QRRRRRRRRS TE 1EA2E 3E 4U T 5EA6E 7EA8EU TE 9EA!0E !1E !2U TB!3EA!4E !5E !6EU TEB!7E !8EA!9E @0U TB@1E @2E @3E @4EU TE @5E @6EB@7E @8U T @9EB#0EB#1E #2EU VWWWWWWWWX

Continue: 8-11? (this hems Black in, restricting his freedom of movement. Instead, 2-7! allows Black to keep his options open, an important concept, and decide whether to move the man on 8 to 11 or 12 later on as required. After the correct 2-7 play 27-23; 19-26 30-23; 7-11! 31-27; 11-16! 27-24; 16-20 24-19; 8-12! 19-15; 10-26 17-1. A frequent draw.) 27-23!; 19-26 30-23; 2-7 31-27; 11-16 27-24; 16-20 24-19; 20-24 19-16; 24-27 23-19; 14-18 … to a white win. A. Jordan v L. Ginsberg 1912. Motif Number 12: The Slow-Moving Juggernaut KEY INFORMATION On Page 43 we saw several examples of how 3 men – ‘the eternal three’ – can mutually protect each other. However, when there are 4 or more men bunched in the centre of the board, and an enemy king threatening from behind, it takes a great deal of care to nurse them home safely. (Quite often it can’t be done.) Where possible therefore, you should try and avoid this kind of situation with the weak side. PAGE 92

Examples 1. 9-13 24-19; 5-9 28-24; 11-15 22-18; 15-22 25-18; 1-5 29-25; 8-11 24-20; 3-8 19-16; 12-19 2316; 8-12 27-23; 12-19 23-16; 10-14 25-22; 14-23 26-19; 6-10 32-28; 9-14 31-26; 11-15 16-12; 15-24 28-19; 7-11 12-8; 11-15 19-16; 4-11 16-7; 2-11 26-23; 13-17 22-13; 15-18 23-19; 11-15 19-16 … to a long and delicate draw. W. Ryan v W. Hellman 1949. 2. 9-13 24-19; 5-9 28-24; 11-15 22-18; 15-22 25-18; 1-5 32-28; 8-11 19-15; 10-19 24-8; 4-11 2925; 6-10 27-24; 10-15 25-22; 7-10 23-19; 9-14 18-9; 5-14 26-23; 2-6 24-20; 15-24 28-19; 13-17! 22-13; 11-15 30-26; 15-24 26-22; 10-15 22-17; 6-10 13-9; 15-19 23-16; 12-19 9-6; 14-18 6-2 … to a long and delicate draw. M. Tinsley v W. Hellman 1956. 3. 9-14 24-20; 10-15 22-17; 7-10 25-22; 3-7 29-25; 5-9 17-13; 11-16 20-11; 7-16 23-19; 15-24 2819; 16-23 26-19; 8-11 30-26; 11-15 22-17; 15-24 27-20; 4-8 26-23; 8-11 23-19; 14-18! 17-14; 10-17 21-5; 6-10 31-27; 11-15 27-24; 18-23 25-21; 2-6 32-28; 23-26 20-16; 26-31 16-11; 31-27 24-20; 15-24 28-19; 27-24 19-16; 12-19 11-7; 10-14 7-2; 6-9 13-6; 1-10 2-7; 10-15 5-1 … to a long and delicate draw. P. Davis v M. Tinsley 1989. 4. 11-16 24-20; 16-19 23-16; 12-19 22-18; 9-14 18-9; 5-14 25-22; 10-15 22-17; 6-10 29-25; 8-11 17-13; 4-8 25-22; 2-6 22-17; 8-12 27-23; 3-8 23-16; 12-19 26-23; 19-26 30-23; 8-12 28-24; 1518 24-19; 18-27 31-24; 11-15 20-16; 15-18 24-20; 18-22 19-15! (another recurring idea); 12-19 20-16; 14-18 (the first move in a carefully thought out plan to get his men away safely) 15-11; 19-24 11-2; 1-5 2-9; 5-14 32-28; 24-27 16-11; 18-23 11-7; 14-18. Drawn. N. Banks v M. Tinsley 1952. 5. 9-14 22-18; 5-9 24-20; 11-16 20-11; 8-22 25-18; 4-8 28-24; 8-11 29-25; 10-15 25-22; 7-10 2420; 3-7 27-24; 1-5 32-28; 9-13 18-9; 5-14 24-19; 15-24 28-19; 11-15 19-16; 12-19 23-16; 14-18 22-17; 13-22 26-17; 7-11 16-7; 2-11 17-14; 10-17 21-14; 15-19 31-26; 19-24 30-25; 24-27 2622; 18-23 22-17; 23-26 17-13 Forms Diagram 19 Diagram 19

QRRRRRRRRS TE 1E 2E 3E 4U T 5EA6E 7E 8EU TE 9E !0EA!1E !2U TB!3EB!4E !5E !6EU TE !7E !8E !9EB@0U T @1E @2E @3E @4EU TEB@5EA@6EA@7E @8U T @9E #0E #1E #2EU VWWWWWWWWX Continue: 27-32! (Black’s clever plan is place a king on 28, in order to guard against the fork of his men currently on 6 and 11. Instead, the ‘automatic’ 26-30 leads to trouble after 25-21; 30-26 14-9; 610 9-6; 11-15 6-2; 26-22 2-6; 22-18 13-9; 18-23 9-5; 27-32 5-1 etc … although Black can draw.) 2521; 32-28! 14-9; 6-10 9-6; 10-15 6-2; 15-19 2-7; 11-15 7-11; 15-18. Drawn. N. Banks v M. Tinsley 1952.

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6. 11-16 22-17; 7-11 17-13; 9-14 25-22; 11-15 24-19; 15-24 28-19; 8-11 22-18; 3-7 18-9; 5-14 2925; 11-15 25-22; 15-24 27-11; 7-16 22-18; 1-5 18-9; 5-15 26-22; 16-19 23-16; 12-19 22-17; 4-8 – At this point my opponent offered a draw, which I declined. In fact, White can play 32-27, forming Diagram 18, and draw with ease. That White lost, is indicative of the critical nature of the game. – 30-26?; 2-7 31-27; 7-11 32-28; 11-15 26-22; 8-11 27-24; 14-18 24-20; 18-25 17-14; 10-17 21-14; 15-18 (Black now has to get his men away to win) 14-9; 6-10 9-6; 11-15 6-2; 19-24 28-19; 15-24 27; 10-15 7-10; 15-19. Black wins. R. Pask v J. Caws 1997. Motif Number 13: Gambit/Man-Down Openings KEY INFORMATION • As noted in SOIC/D, in a free and open position, the gain of a piece is enough to ensure a won game. • In the examples which follow, the man-down side only survives because it obtains some distinct compensation, in terms of time and/or space, for the material deficit. • Even then, it is only through years of analysis and practical play that the soundness of these particular openings has been established. • Many players shy away from playing either side of these developments, unless forced. This is not as surprising as it may first seem. For one thing, danger abounds for both sides. For another, the role of knowledge is paramount – crossboard ability alone will not suffice. Examples 1. 11-15 23-19; 9-14 22-17; 5-9 17-13; 14-18! 19-16; 12-19 26-23; 19-26 30-5 … Also mentioned on Page 64, Black’s compensation in this gambit – the ‘Fife’ is that White is over-developed and has a man buried on 5. 2. 10-14 22-18; 12-16 24-20; 16-19! 23-16; 14-23 26-19; 8-12 (essential, to grip White’s men) … Black’s compensation in this gambit – the ‘White Doctor’ – is that White is over-developed and has an awkward configuration of men on his double-corner side. Allowed many hours to cogitate, with its book off of course, the Chinook program was unable to come up with the essential 16-19 sacrifice – its search capabilities, though highly impressive, were not nearly deep enough. In similar vein, Pat McCarthy played a series of practice games against Chinook using a long-established losing line of the Octopus. With its book turned off, it was unable to win. 3. 11-15 23-19; 8-11 21-17; 9-13 17-14!; 10-17 19-10; 7-14 25-21 (essential, to grip Black’s men) … White’s compensation in this gambit – the ‘Black Doctor’ – is that Black is over-developed and has an awkward configuration of men on his double-corner side. 4. 11-15 22-18; 15-22 25-18; 12-16 29-25; 10-14 24-19; 16-20 28-24; 8-12 19-15!; 14-17 21-14; 710 14-7; 3-28 … White’s compensation in this gambit – the ‘Wee Fife’ – is that Black is overdeveloped and has a man buried on 28. 5. 11-15 22-17; 8-11 23-19; 3-8 25-22; 11-16 27-23; 7-11 24-20!; 15-24 28-19; 10-14 17-10; 6-24 22-18 … White’s compensation here – the ‘Alma’ - is the extremely cramped nature of Black’s single-corner.

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6. 11-15 22-17; 8-11 17-13; 4-8 23-19; 15-18 24-20; 11-15 28-24; 8-11 26-23; 9-14 31-26; 5-9! 2117; 14-21 23-5 … Black’s compensation here – a branch of the ‘Old 14th’ – is White’s men on 5 and 13. (Of course, as stated above, this is not enough in itself to justify going a man down. As Derek Oldbury, the game’s leading theorist expressed it in Move Over: ‘At times, the decisive factor is not to be found in a strictly measurable form – because it consists solely of the peculiar relationship between pieces at a given moment.’) Continue: 15-18 26-23; 18-22 25-18; 10-15 1910; 6-22 23-18; 7-10 24-19; 3-7 27-23; 11-16 20-11; 7-16 32-28; 22-26 28-24; 16-20: Forms Diagram 20 Diagram 20

QRRRRRRRRS TEA1EA2E 3E 4U TB5E 6E 7E 8EU TE 9EA!0E !1EA!2U TB!3E !4E !5E !6EU TE !7EB!8EB!9EA@0U TA@1E @2EB@3EB@4EU TE @5EA@6E @7E @8U TB@9EB#0E #1E #2EU VWWWWWWWWX

Continue: … 18-15!; 20-27 15-6; 1-10 (2-9 also loses) 19-15; 10-19 23-16; 12-19 30-16. A nice example of the rebound shot. 7. 10-14 22-18; 7-10 25-22; 11-16 29-25; 8-11 18-15; 11-18 22-15; 10-19 24-15; 3-7 26-22; 9-13! 31-26; 16-19! 23-16; 12-19 27-23; 19-24! 28-19; 4-8 … Hard-boiled analysis, and nothing else, has shown that Black needs to utilise this man-down approach to survive here. 8. 10-14 22-18; 7-10 25-22; 11-16 24-20; 16-19 23-16; 12-19 27-23; 8-12 23-16; 14-23! 26-19; 4-8 … Similar to Examples 2 and 3, Black’s compensation in this gambit is that White is overdeveloped and has an awkward configuration of men on his double-corner side. 9. 11-16 21-17; 9-13 25-21; 5-9 23-18; 1-5 29-25; 8-11 17-14; 10-17 21-14; 6-10 24-20!; 10-17 2824; 17-21 27-23; 7-10 24-19; 3-7 32-28 … Here, White’s compensation for the man is Black’s severely cramped single-corner. 10. 12-16 24-20; 8-12 28-24; 3-8 23-18; 9-13 18-14; 10-17 21-14; 6-10 22-17! (22-18! is another way); 13-22 25-18; 10-17 29-25; 17-21 25-22 … Here, White’s compensation for the man is Black’s severely cramped single-corner. Note: In the 1930s, in his ‘On the Square’ column in the Los Angeles Mercury, Nathan Rubin wrote an excellent series of articles dealing extensively with man-down single-corner-cramp attacks such as Examples 9 and 10. Had Rubin ever chosen to write a book on the game, it would undoubtedly have been very well received. Motif Number 14: The Pitch Already featured in Chapter 3 under Transitions, and appearing freely in all phases of the game, the importance of this motif can hardly be overstated. Indeed, I was hard-pressed to limit myself to just PAGE 95

50 examples! Often coming as a complete surprise to the opponent, its elusive nature proved a stumbling block to early computer programs and, over the years, has produced some of the game’s most dramatic moments. Of course, it is far harder to spot a pitch 20 moves ahead than it is at the ‘moment of impact’, but here we’ll limit ourselves to precisely that. Incidentally, the run-ups (to the diagrammed positions) are given with the solutions in Chapter 6. Diagram 1

QRRRRRRRRS TEA1EA2E 3EA4U T 5E 6E 7E 8EU TEA9EA!0E !1EA!2U T !3EA!4EA!5E !6EU TE !7E !8EB!9E @0U TB@1EB@2EB@3EB@4EU TE @5E @6E @7E @8U TB@9EB#0EB#1E #2EU VWWWWWWWWX White to move and win

Diagram 2

QRRRRRRRRS TE 1EA2E 3E 4U T 5EA6E 7E 8EU TE 9EA!0E !1EA!2U T !3EA!4EA!5E !6EU TE !7E !8EB!9E @0U TB@1EB@2EB@3EB@4EU TE @5E @6E @7E @8U T @9EB#0E #1E #2EU VWWWWWWWWX White to move, Black draws

Note: Diagrams 3-50 are given on Pages 97-104.

SUMMARY • The systematic study of motifs is an essential part of a player’s early midgame armoury. • Of the dozens which exist, the most important are: The Elbow; The Squeeze & Pinch; Working Behind The Lines; Rapid Development Of The E-Line; Waiting Moves; Putting The Question; Squeezing A Defended Man; Sacrificing For A King; The Run-Off; The Delayed Steal; Getting Behind The Men; The Slow-Moving Juggernaut; Gambit/Man-Down Openings and The Pitch. • The last-named has perhaps the greatest application, but is often missed in practice. PAGE 96

Diagram 3

QRRRRRRRRS TE 1E 2E 3E 4U T 5E 6EA7E 8EU TEA9EA!0EA!1E !2U TA!3EA!4E !5E !6EU TE !7EB!8EB!9EA@0U TB@1EB@2EB@3E @4EU TEB@5E @6EB@7E @8U T @9E #0E #1E #2EU VWWWWWWWWX Black to move and draw

Diagram 5

QRRRRRRRRS TEA1E 2EA3EA4U T 5EA6EA7E 8EU TEA9EA!0E !1EB!2U T !3EA!4E !5EA!6EU TEB!7EB!8E !9E @0U TB@1EB@2EB@3E @4EU TE @5E @6EB@7EB@8U TB@9E #0EB#1E #2EU VWWWWWWWWX White to move and draw

Diagram 7

Diagram 4

QRRRRRRRRS TEA1EA2EA3EA4U TA5E 6EA7E 8EU TE 9EA!0EA!1EA!2U T !3EA!4EA!5E !6EU TEB!7E !8EB!9E @0U TB@1EB@2EB@3EB@4EU TE @5EB@6E @7E @8U TB@9EB#0EB#1EB#2EU VWWWWWWWWX White to move and draw

Diagram 6

QRRRRRRRRS TEA1EA2E 3E 4U TA5EA6E 7EA8EU TE 9EA!0E !1EA!2U T !3EA!4E !5E !6EU TEB!7E !8EA!9EB@0U TB@1EB@2E @3E @4EU TEB@5EB@6E @7E @8U T @9EB#0EB#1EB#2EU VWWWWWWWWX White to move and draw

Diagram 8

QRRRRRRRRS TE 1E 2E 3E 4U T 5E 6E 7E 8EU TEA9EA!0EA!1EA!2U T !3EA!4E !5E !6EU TEB!7EA!8EB!9EB@0U TB@1E @2E @3E @4EU TE @5E @6EB@7EB@8U T @9E #0E #1E #2EU VWWWWWWWWX

QRRRRRRRRS TEA1EA2E 3E 4U TA5EA6E 7EA8EU TEA9EA!0E !1EA!2U T !3E !4E !5E !6EU TEB!7E !8E !9EB@0U TB@1EB@2E @3EA@4EU TEB@5EB@6E @7E @8U T @9EB#0EB#1EB#2EU VWWWWWWWWX

White to move, Black draws

White to move and draw

PAGE 97

Diagram 9

QRRRRRRRRS TE 1E 2EA3EA4U TA5EA6EA7EA8EU TEA9EA!0EA!1EA!2U TA!3E !4EA!5E !6EU TEB!7EB!8E !9EB@0U TB@1EB@2E @3EB@4EU TE @5EB@6EB@7E @8U TB@9EB#0EB#1EB#2EU VWWWWWWWWX White to move and win

Diagram 11

QRRRRRRRRS TEA1E 2EA3E 4U T 5E 6E 7E 8EU TE 9E !0E !1E !2U T !3EA!4EA!5EA!6EU TE !7E !8EA!9E @0U TB@1E @2EB@3EB@4EU TE @5EB@6E @7EB@8U T @9EB#0E #1E #2EU VWWWWWWWWX White to move and win

Diagram 13

QRRRRRRRRS TE 1E 2E 3E 4U TA5EA6EA7E 8EU TE 9EA!0EA!1E !2U TB!3EB!4EA!5EA!6EU TEB!7E !8E !9EB@0U TA@1E @2E @3EB@4EU TE @5EB@6E @7EB@8U T @9EB#0E #1E #2EU VWWWWWWWWX Black to move and win

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Diagram 10

QRRRRRRRRS TE 1E 2EA3E 4U T 5E 6E 7E 8EU TEA9E !0EA!1EA!2U T !3EA!4E !5E !6EU TE !7E !8EB!9EA@0U TB@1E @2E @3EB@4EU TE @5E @6EB@7EB@8U T @9E #0E #1EB#2EU VWWWWWWWWX Black to move and win

Diagram 12

QRRRRRRRRS TEA1E 2E 3E 4U TA5E 6E 7E 8EU TEB9E !0E !1E !2U T !3EA!4EA!5EA!6EU TE !7EA!8E !9EA@0U TB@1E @2E @3EB@4EU TEB@5EB@6EB@7E @8U T @9E #0EB#1E #2EU VWWWWWWWWX White to move and win

Diagram 14

QRRRRRRRRS TE 1EA2EA3E 4U TA5E 6EA7E 8EU TE 9EA!0EA!1EA!2U TA!3E !4E !5E !6EU TE !7EB!8EB!9EB@0U T @1EB@2E @3E @4EU TEB@5EB@6E @7E @8U T @9EB#0EB#1E #2EU VWWWWWWWWX Black to move and draw

Diagram 15

Diagram 16

QRRRRRRRRS TE 1E 2EA3EA4U T 5E 6E 7E 8EU TEA9EA!0EA!1EA!2U T !3EA!4E !5E !6EU TE !7E !8EB!9EB@0U TB@1EB@2EB@3E @4EU TE @5E @6EB@7E @8U T @9E #0EB#1E #2EU VWWWWWWWWX

QRRRRRRRRS TE 1EA2EA3E 4U TA5EA6E 7E 8EU TEA9EA!0EA!1EA!2U T !3EA!4E !5EA!6EU TE !7EB!8EB!9E @0U TB@1EB@2EB@3E @4EU TE @5EB@6E @7EB@8U T @9EB#0EB#1EB#2EU VWWWWWWWWX

White to move, Black draws

White to move and win

Diagram 17

QRRRRRRRRS TE 1EA2EA3EA4U TA5E 6EA7E 8EU TE 9E !0EA!1EA!2U TA!3EB!4EA!5E !6EU TE !7E !8E !9EB@0U TA@1EB@2EB@3EB@4EU TEB@5EB@6E @7EB@8U T @9EB#0E #1EB#2EU VWWWWWWWWX White to move and win

Diagram 19

QRRRRRRRRS TE 1E 2E 3E 4U TA5E 6E 7EA8EU TEA9EA!0EA!1EA!2U TA!3E !4E !5EA!6EU TEB!7EB!8EB!9E @0U T @1EB@2EB@3E @4EU TE @5EB@6E @7EB@8U T @9E #0EB#1E #2EU VWWWWWWWWX White to move and win

Diagram 18

QRRRRRRRRS TE 1E 2E 3E 4U T 5E 6EA7EA8EU TEA9E !0EA!1EA!2U TA!3E !4EB!5E !6EU TEA!7EB!8E !9EB@0U TA@1EB@2EB@3EB@4EU TE @5EB@6E @7E @8U T @9EB#0E #1E #2EU VWWWWWWWWX White to move and win

Diagram 20

QRRRRRRRRS TE 1E 2E 3E 4U T 5E 6EA7EA8EU TEA9E !0EA!1EA!2U TA!3E !4EB!5E !6EU TEA!7EB!8E !9EB@0U TA@1EB@2EB@3E @4EU TE @5E @6E @7EB@8U T @9EB#0EB#1E #2EU VWWWWWWWWX White to move and win

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Diagram 21

QRRRRRRRRS TE 1E 2EA3E 4U T 5E 6EA7E 8EU TE 9EA!0EA!1EA!2U T !3EA!4EA!5E !6EU TE !7E !8EB!9EA@0U TB@1E @2EB@3EB@4EU TEB@5E @6EB@7E @8U T @9EB#0E #1EB#2EU VWWWWWWWWX White to move and win

Diagram 23

QRRRRRRRRS TE 1E 2EA3E 4U T 5EA6E 7EA8EU TE 9EA!0EA!1EA!2U TB!3EA!4EA!5E !6EU TE !7E !8EB!9E @0U T @1EB@2EB@3EB@4EU TEB@5E @6E @7E @8U T @9E #0EB#1EB#2EU VWWWWWWWWX White to move and win

Diagram 25

QRRRRRRRRS TE 1EA2EA3E 4U TA5E 6E 7E 8EU TEA9EA!0E !1EA!2U TA!3EA!4E !5EA!6EU TE !7EB!8EB!9E @0U TB@1EB@2EB@3E @4EU TE @5EB@6E @7E @8U T @9EB#0EB#1EB#2EU VWWWWWWWWX White to move and win

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Diagram 22

QRRRRRRRRS TE 1E 2E 3EA4U T 5E 6E 7E 8EU TEA9E !0E !1EA!2U TA!3E !4EB!5E !6EU TE !7EB!8EA!9E @0U TB@1E @2E @3EB@4EU TE @5E @6E @7E @8U T @9E #0E #1EB#2EU VWWWWWWWWX White to move and win

Diagram 24

QRRRRRRRRS TE 1E 2EA3E 4U TA5E 6EA7E 8EU TE 9EA!0E !1E !2U TB!3EB!4EA!5EB!6EU TEB!7E !8EA!9EA@0U T @1E @2E @3E @4EU TE @5EB@6EB@7EB@8U T @9E #0E #1E #2EU VWWWWWWWWX White to move and win

Diagram 26

QRRRRRRRRS TE 1E 2E 3E 4U T 5EA6E 7E 8EU TE 9E !0EA!1EA!2U TA!3E !4EA!5E !6EU TE !7E !8E !9EB@0U TA@1EB@2EB@3EB@4EU TE @5EB@6E @7E @8U T @9EB#0E #1E #2EU VWWWWWWWWX Black to move and draw

Diagram 27

QRRRRRRRRS TE 1EA2E 3E 4U TA5E 6EA7E 8EU TE 9E !0EA!1EA!2U TA!3EB!4E !5E !6EU TEB!7E !8EA!9EB@0U TB@1EB@2E @3E @4EU TE @5E @6EB@7E @8U T @9E #0E #1EB#2EU VWWWWWWWWX Black to move and win

Diagram 29

QRRRRRRRRS TE 1EA2E 3EA4U TA5EA6E 7EA8EU TE 9EA!0E !1EA!2U T !3E !4EB!5E !6EU TE !7EA!8EB!9E @0U T @1E @2E @3EB@4EU TEB@5EB@6EB@7E @8U TB@9E #0E #1EB#2EU VWWWWWWWWX White to move and win

Diagram 31

QRRRRRRRRS TE 1EA2E 3E 4U T 5E 6E 7EA8EU TEA9EA!0E !1EA!2U T !3EA!4E !5EA!6EU TE !7EB!8E !9E @0U TB@1EB@2EB@3E @4EU TE @5EB@6E @7EB@8U T @9EB#0E #1E #2EU VWWWWWWWWX White to move and draw

Diagram 28

QRRRRRRRRS TEA1E 2E 3EA4U TA5EA6EA7E 8EU TE 9E !0EA!1EA!2U T !3EB!4EB!5E !6EU TE !7EB!8E !9EA@0U T @1E @2EB@3EB@4EU TE @5E @6EB@7EB@8U T @9E #0E #1EB#2EU VWWWWWWWWX Black to move and win

Diagram 30

QRRRRRRRRS TE 1E 2E 3E 4U T 5EA6E 7E 8EU TEA9E !0EA!1E !2U TB!3E !4E !5E !6EU TE !7EB!8EA!9EB@0U T @1EB@2E @3E @4EU TE @5E @6E @7E @8U T @9E #0E #1E #2EU VWWWWWWWWX White to move and win

Diagram 32

QRRRRRRRRS TE 1E 2EA3EA4U TA5E 6E 7E 8EU TEA9E !0E !1EA!2U T !3EA!4EA!5E !6EU TE !7E !8E !9EB@0U TB@1E @2EB@3E @4EU TEB@5E @6E @7E @8U T @9EB#0EB#1EB#2EU VWWWWWWWWX White to move and win

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Diagram 33

QRRRRRRRRS TE 1E 2EA3E 4U T 5EA6EA7E 8EU TE 9EA!0E !1EA!2U TA!3E !4EA!5E !6EU TE !7E !8EB!9E @0U TB@1E @2EB@3EB@4EU TE @5E @6E @7E @8U TB@9EB#0EB#1E #2EU VWWWWWWWWX White to move and win

Diagram 35

Diagram 34

QRRRRRRRRS TEA1EA2E 3E 4U TA5EA6EA7EA8EU TE 9E !0EA!1EA!2U TB!3E !4E !5EA!6EU TEB!7EB!8EB!9EA@0U TA@1EB@2EB@3E @4EU TE @5E @6EB@7EB@8U T @9EB#0EB#1EB#2EU VWWWWWWWWX White to move and win

Diagram 36

QRRRRRRRRS TEA1EA2E 3EA4U T 5E 6EA7EA8EU TE 9EA!0EA!1EA!2U T !3EA!4EA!5E !6EU TE !7E !8EB!9E @0U TB@1EB@2EB@3EB@4EU TE @5EB@6EB@7EB@8U T @9EB#0EB#1E #2EU VWWWWWWWWX

QRRRRRRRRS TE 1EA2EA3E 4U TA5EA6EA7E 8EU TE 9E !0EA!1EB!2U TB!3E !4EA!5E !6EU TE !7EB!8E !9EA@0U TA@1EB@2E @3E @4EU TE @5EB@6EB@7E @8U T @9EB#0EB#1EB#2EU VWWWWWWWWX

White to move and win

White to move, Black draws

Diagram 37

QRRRRRRRRS TE 1EA2EA3E 4U TA5EA6EA7E 8EU TE 9E !0EA!1EA!2U T !3EB!4E !5E !6EU TE !7E !8EB!9EA@0U TB@1E @2EB@3E @4EU TE @5E @6EB@7EB@8U TB@9E #0E #1EB#2EU VWWWWWWWWX Black to move and win

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Diagram 38

QRRRRRRRRS TE 1E 2E 3E 4U T 5EA6EA7EA8EU TE 9EA!0EA!1EA!2U TB!3EA!4E !5E !6EU TE !7EA!8EB!9E @0U TB@1E @2EB@3EB@4EU TE @5EB@6EB@7EB@8U T @9E #0E #1E #2EU VWWWWWWWWX Black to move and draw

Diagram 39

QRRRRRRRRS TE 1EA2E 3E 4U TB5E 6EA7E 8EU TE 9EA!0EA!1EA!2U T !3EA!4EA!5EA!6EU TE !7E !8EB!9EA@0U TB@1EB@2EB@3EB@4EU TE @5E @6EB@7E @8U T @9EB#0E #1EB#2EU VWWWWWWWWX White to move and win

Diagram 41

Diagram 40

QRRRRRRRRS TE 1E 2EA3E 4U T 5EA6E 7EA8EU TE 9EA!0EA!1E !2U TB!3EA!4EA!5E !6EU TE !7E !8EA!9EB@0U T @1EB@2E @3EB@4EU TE @5E @6E @7EB@8U T @9EB#0EB#1EB#2EU VWWWWWWWWX White to move and win

Diagram 42

QRRRRRRRRS TE 1EA2E 3EA4U TA5E 6EA7E 8EU TE 9E !0EA!1EA!2U TA!3EB!4E !5E !6EU TE !7E !8EA!9EB@0U T @1EB@2E @3E @4EU TE @5EB@6EB@7EB@8U T @9EB#0EB#1E #2EU VWWWWWWWWX

QRRRRRRRRS TEA1EA2EA3E 4U T 5E 6E 7EA8EU TEA9E !0EA!1EA!2U T !3E !4EB!5E !6EU TEB!7EB!8E !9EB@0U T @1EA@2EB@3E @4EU TE @5E @6EB@7E @8U TB@9E #0EB#1E #2EU VWWWWWWWWX

White to move, Black draws

Black to move and draw

Diagram 43

Diagram 44

QRRRRRRRRS TE 1E 2E 3E 4U T 5E 6EA7EA8EU TEA9EA!0E !1EA!2U T !3EA!4EA!5E !6EU TE !7E !8EB!9EB@0U TB@1EB@2E @3EB@4EU TE @5E @6EB@7E @8U T @9E #0E #1EB#2EU VWWWWWWWWX

QRRRRRRRRS TE 1E 2EA3E 4U T 5E 6EA7E 8EU TE 9E !0EA!1EB!2U TA!3E !4E !5E !6EU TEA!7EB!8EB!9EB@0U T @1E @2E @3E @4EU TE @5E @6E @7E @8U T @9E #0E #1E #2EU VWWWWWWWWX

White to move, Black draws

White to move and draw

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Diagram 45

QRRRRRRRRS TE 1E 2E 3E 4U T 5E 6E 7E 8EU TEA9EA!0E !1E !2U TA!3E !4E !5EA!6EU TEB!7EB!8E !9EA@0U T @1EB@2E @3EB@4EU TE @5E @6EB@7E @8U T @9E #0E #1E #2EU VWWWWWWWWX Black to move and draw

Diagram 47

QRRRRRRRRS TE 1EA2E 3E 4U TA5EA6E 7E 8EU TEA9E !0EB!1E !2U TB!3EA!4E !5E !6EU TE !7E !8EB!9E @0U TB@1E @2EB@3E @4EU TE @5E @6E @7E @8U TB@9E #0E #1E #2EU VWWWWWWWWX White to move and win

Diagram 49

QRRRRRRRRS TE 1E 2E 3E 4U T 5EA6EA7EA8EU TE 9EA!0E !1EA!2U TA!3E !4EB!5EA!6EU TE !7E !8EB!9EA@0U TB@1E @2EB@3EB@4EU TE @5E @6EB@7E @8U T @9E #0EB#1EB#2EU VWWWWWWWWX White to move and win

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Diagram 46

QRRRRRRRRS TEA1E 2EA3E 4U TA5EA6EA7EA8EU TEA9E !0E !1E !2U TB!3E !4E !5EA!6EU TEB!7EB!8E !9E @0U TB@1E @2EA@3EB@4EU TEB@5E @6EB@7E @8U T @9EB#0E #1EB#2EU VWWWWWWWWX Black to move and draw

Diagram 48

QRRRRRRRRS TE 1E 2EA3E 4U T 5EB6E 7EA8EU TE 9EA!0E !1E !2U T !3EA!4EA!5E !6EU TEB!7E !8E !9EA@0U TB@1E @2EB@3EB@4EU TE @5E @6EB@7E @8U T @9E #0E #1E #2EU VWWWWWWWWX Black to move and draw

Diagram 50

QRRRRRRRRS TEA1EA2EA3E 4U T 5E 6E 7E 8EU TEA9EB!0E !1EA!2U T !3E !4E !5EA!6EU TEB!7E !8E !9E @0U T @1EB@2EA@3EB@4EU TE @5E @6E @7E @8U T @9EB#0EB#1EB#2EU VWWWWWWWWX Black to move and draw

LANDINGS KEY INFORMATION Opening or early midgame positions which are arrived at via a number of different routes – transpositions – are known as landings. (Quite often these landings occur with the colours reversed, and are apt to be missed.) Expert players study these transpositions carefully, so as to make maximum use of their knowledge and partially reduce the enormous scope of the game. It is important to remember that ‘The essence of any transposition system is in the routes to the landings, and not in how to play the positions themselves; the latter knowledge being gained in a natural manner through the crossboard experience obtained as a result of applying the system.’ (Derek Oldbury) Indeed, unless ‘You want to be hit by a passing truck as you cross the road,’ (Dr Marion Tinsley) you should never assume an inferior or weak move on the part of your opponent. All the worthwhile transpositions are sound in every respect; the others being of academic interest only. The two main transposition systems are the Pioneer system (utilising the pyramid formation), and the Defiance system (utilising the pyramid/echelon formation). The Pioneer System Diagram 1: The Master Pioneer Landing This arises logically from 7 of the 3-move ballots, and can also lead into Diagrams 2 and 3. Diagram 1

QRRRRRRRRS TEA1EA2EA3EA4U T 5EA6EA7E 8EU TE 9EA!0EA!1EA!2U T !3EA!4E !5E !6EU TEB!7E !8E !9EA@0U TB@1E @2EB@3EB@4EU TE @5EB@6EB@7EB@8U TB@9EB#0EB#1EB#2EU VWWWWWWWWX White to move and draw Sample Continuation … 29-25; 11-15! (4-8? gives up the centre and, remarkably, loses: ‘Dunne’s loss/win’) 25-22 (24-19; 15-24 28-19; 4-8 25-22; 8-11 17-13 forms Diagram 3); 7-11 17-13; 4-8 24-19 (30-25 forms Diagram 2); 15-24 28-19; 11-15 32-28; 15-24 28-19; 8-11 19-16; 12-19 23-7; 2-11 26-23; 11-15 30-26 … to a draw.

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Transpositions into Diagram 1: • 9-14 22-17; 11-16 25-22; 8-11 22-18; 16-20 18-9; 5-14 • 11-16 21-17; 9-14 25-21; 8-11 22-18; 16-20 18-9; 5-14 • 11-16 21-17; 16-20 25-21; 8-11 22-18; 9-14 18-9; 5-14 • 11-16 22-17; 16-20 25-22; 8-11 22-18; 9-14 18-9; 5-14 • 11-16 22-18; 8-11 25-22; 16-20 22-17; 9-14 18-9; 5-14 • 11-16 22-18; 16-20 25-22; 8-11 22-17; 9-14 18-9; 5-14 • 12-16 22-18; 16-20 25-22; 8-12 22-17; 9-14 18-9; 5-14 Diagram 2: Pioneer Sub-Landing Diagram 2

QRRRRRRRRS TEA1EA2EA3E 4U T 5EA6E 7EA8EU TE 9EA!0EA!1EA!2U TB!3EA!4EA!5E !6EU TE !7E !8E !9EA@0U TB@1EB@2EB@3EB@4EU TEB@5EB@6EB@7EB@8U T @9E #0EB#1EB#2EU VWWWWWWWWX Black to move and draw Sample Continuation 11-16 24-19; 15-24 28-19; 3-7 22-18; 1-5 18-9; 5-14 26-22; 14-17 21-14; 10-26 31-22; 7-10 22-18 … to a draw. Transpositions into Diagram 2 (in addition to the 7 ballots already given): • 10-15 21-17; 11-16 17-13; 16-20 23-18; 8-11 26-23; 7-10 25-21; 9-14 18-9; 5-14 29-25; 4-8 30-26 • 10-15 23-18; 12-16 26-23; 8-12 30-26; 16-20 21-17; 7-10 17-13; 4-8 25-21; 9-14 18-9; 5-14 29-25 • 11-16 21-17; 8-11 17-13; 16-20 22-18; 10-15 26-22; 7-10 25-21; 9-14 18-9; 5-14 29-25; 4-8 30-26 • 11-16 23-18; 8-11 26-23; 16-20 22-17; 9-14 18-9; 5-14 25-22; 11-15 29-25; 7-11 17-13; 4-8 30-26 PAGE 106

• 11-16 23-18; 9-14 18-9; 5-14 22-17; 16-20 25-22; 8-11 26-23; 11-15 29-25; 7-11 17-13; 4-8 30-26 • 11-16 23-18; 16-20 26-23; 8-11 22-17; 9-14 18-9; 5-14 25-22; 11-15 29-25; 7-11 17-13; 4-8 30-26 • 12-16 21-17; 16-20 17-13; 8-12 22-18; 10-15 26-22; 7-10 25-21; 9-14 18-9; 5-14 29-25; 4-8 30-26 • 12-16 23-18; 16-20 26-23; 8-12 22-17; 9-14 18-9; 5-14 25-22; 11-15 29-25; 7-11 17-13; 4-8 30-26 Diagram 3: Pioneer Sub-Landing Diagram 3

QRRRRRRRRS TEA1EA2EA3E 4U T 5EA6EA7E 8EU TE 9EA!0EA!1EA!2U TB!3EA!4E !5E !6EU TE !7E !8EB!9EA@0U TB@1EB@2EB@3E @4EU TE @5EB@6EB@7E @8U T @9EB#0EB#1EB#2EU VWWWWWWWWX Black to move and draw Sample Continuation 11-16 30-25; 14-17 21-14; 10-17 13-9; 6-13 25-21; 2-6 21-14; 1-5 22-17; 13-22 26-17; 6-10 27-24; 2027 31-24 … to a draw. Transpositions into Diagram 3 (in addition to the 7 ballots already given): • 9-14 22-17; 11-15 25-22; 8-11 17-13; 11-16 24-19; 15-24 28-19; 4-8 22-18; 8-11 18-9; 5-14 29-25; 16-20 25-22 • 9-14 22-18; 11-16 18-9; 5-14 24-19; 8-11 25-22; 11-15 29-25; 15-24 28-19; 4-8 22-17; 8-11 25-22; 16-20 17-13 • 9-14 24-19; 11-16 22-18; 8-11 18-9; 5-14 25-22; 11-15 29-25; 15-24 28-19; 4-8 22-17; 8-11 25-22; 16-20 17-13 • 11-15 21-17; 8-11 17-13; 9-14 25-21; 11-16 24-19; 15-24 28-19; 4-8 22-18; 8-11 18-9; 5-14 29-25; 16-20 25-22 • 11-15 21-17; 9-14 25-21; 8-11 17-13; 11-16 24-19; 15-24 28-19; 4-8 22-18; 8-11 18-9; 5-14 29-25; 16-20 25-22

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• 11-15 24-19; 15-24 28-19; 8-11 22-18; 11-16 25-22; 16-20 22-17; 4-8 17-13; 9-14 18-9; 5-14 29-25; 8-11 25-22 • 11-16 22-17; 8-11 25-22; 11-15 17-13; 9-14 24-19; 15-24 28-19; 4-8 22-18; 8-11 18-9; 5-14 29-25; 16-20 25-22 • 11-16 24-19; 8-11 22-18; 4-8 25-22; 16-20 22-17; 9-14 18-9; 5-14 29-25; 11-15 25-22; 15-24 28-19; 8-11 17-13 • 11-16 24-19; 16-20 22-18; 8-11 25-22; 4-8 22-17; 9-14 18-9; 5-14 29-25; 11-15 25-22; 15-24 28-19; 8-11 17-13 • 12-16 24-19; 16-20 22-18; 8-12 25-22; 4-8 22-17; 9-14 18-9; 5-14 29-25; 11-15 25-22; 15-24 28-19; 8-11 17-13

The Defiance System Diagram 4: The Master Defiance Landing This arises logically from 5 of the 3-move ballots, and can also lead into Diagrams 5 and 6. Diagram 4

QRRRRRRRRS TEA1EA2EA3EA4U T 5EA6EA7E 8EU TE 9EA!0EA!1EA!2U T !3EA!4E !5E !6EU TE !7E !8EB!9E @0U TB@1E @2EB@3EB@4EU TEB@5EB@6E @7EB@8U T @9EB#0EB#1EB#2EU VWWWWWWWWX Black to move and draw Sample Continuation 11-15 (6-9 25-22; 9-13 24-20; 11-15 32-27; 15-24 28-19 forms Diagram 5) 25-22; 4-8 (7-11 forms Diagram 6) 24-20; 15-24 28-19; 10-15 19-10; 6-15 22-18; 15-22 26-10; 7-14 31-27; 8-11 23-18; 14-23 27-18 … to a draw. Transpositions into Diagram 4: • 9-14 22-18; 11-15 18-11; 8-15 24-19; 15-24 28-19; 6-9 25-22; 4-8 (CR) • 9-14 24-19; 11-15 27-24; 8-11 22-18; 15-22 25-9; 5-14 29-25 PAGE 108

• 10-14 22-18; 6-10 25-22; 11-15 18-11; 8-15 24-19; 15-24 28-19; 4-8 (CR) • 10-14 22-18; 11-15 18-11; 8-15 24-19; 15-24 28-19; 6-10 25-22; 4-8 (CR) • 11-15 23-19; 9-14 27-23; 8-11 22-18; 15-22 25-9; 5-14 29-25 Diagram 5: Defiance Sub-Landing Diagram 5

QRRRRRRRRS TEA1EA2EA3EA4U T 5E 6EA7E 8EU TE 9EA!0E !1EA!2U TA!3EA!4E !5E !6EU TE !7E !8EB!9EB@0U TB@1EB@2EB@3E @4EU TE @5EB@6EB@7E @8U T @9EB#0EB#1E #2EU VWWWWWWWWX Black to move and draw Sample Continuation 4-8 22-18; 1-5 18-9; 5-14 26-22; 14-17 21-14; 10-26 31-22; 8-11 30-25; 11-16 20-11; 7-16 25-21; 2-7 19-15; 16-19 23-16; 12-19 21-17; 3-8 17-14 … to a draw. Transpositions into Diagram 5 (in addition to the 5 ballots already given): • 9-13 23-19; 5-9 22-18; 11-15 18-11; 8-15 25-22; 9-14 27-23; 4-8 24-20; 15-24 28-19; 8-11 22-18; 15 18-9 5-14 (CR) • 9-13 23-19; 6-9 27-23; 9-14 22-18; 11-15 18-11; 8-15 24-20; 15-24 28-19; 4-8 25-22; 8-11 22-18; 16 18-9; 5-14 (CR) • 9-13 23-19; 10-14 27-23; 6-10 22-18; 11-15 18-11; 8-15 24-20; 15-24 28-19; 4-8 25-22; 8-11 22-18; 1-6 18-9; 5-14 (CR) • 9-13 24-19; 6-9 27-24; 9-14 22-18; 11-15 18-11; 8-15 24-20; 15-24 28-19; 4-8 25-22; 8-11 22-18; 16 18-9; 5-14 (CR) • 9-13 24-19; 10-14 27-24; 6-10 22-18; 11-15 18-11; 8-15 24-20; 15-24 28-19; 4-8 25-22; 8-11 22-18; 1-6 18-9; 5-14 (CR) • 10-14 23-19; 6-10 27-23; 9-13 22-18; 11-15 18-11; 8-15 24-20; 15-24 28-19; 4-8 25-22; 8-11 22-18; 1-6 18-9; 5-14 (CR)

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• 10-14 24-19; 6-10 27-24; 9-13 22-18; 11-15 18-11; 8-15 24-20; 15-24 28-19; 4-8 25-22; 8-11 22-18; 1-6 18-9; 5-14 (CR) • 10-14 24-20; 6-10 22-18; 11-15 18-11; 8-15 23-19; 15-24 28-19; 4-8 25-22; 8-11 27-23; 9-13 22-18; 1-6 18-9; 5-14 (CR) Diagram 6: Defiance Sub-Landing Diagram 6

QRRRRRRRRS TEA1EA2EA3EA4U T 5EA6E 7E 8EU TE 9EA!0EA!1EA!2U T !3EA!4EA!5E !6EU TE !7E !8EB!9E @0U TB@1EB@2EB@3EB@4EU TE @5EB@6E @7EB@8U T @9EB#0EB#1EB#2EU VWWWWWWWWX White to move and draw Sample Continuation … 22-18; 15-22 26-17; 11-15 24-20; 15-24 28-19; 4-8 30-26; 8-11 19-16; 12-19 23-7; 2-11 26-23 … to a draw. Transpositions into Diagram 6 (in addition to the 5 ballots already given): • 9-13 23-19; 10-14 22-17; 13-22 25-9; 5-14 27-23; 7-10 29-25; 11-15 25-22; 8-11 • 9-13 24-19; 10-14 22-17; 13-22 25-9; 5-14 27-24; 7-10 29-25; 11-15 25-22; 8-11 • 10-14 22-17; 7-10 24-19; 9-13 27-24; 13-22 25-9; 5-14 29-25; 11-15 25-22; 8-11 • 10-14 23-19; 7-10 22-17; 9-13 27-23; 13-22 25-9; 5-14 29-25; 11-15 25-22; 8-11 • 10-14 24-19; 7-10 22-17; 9-13 27-24; 13-22 25-9; 5-14 29-25; 11-15 25-22; 8-11 • 10-14 24-20; 11-16 20-11; 8-15 22-18; 15-22 25-18; 4-8 28-24; 8-11 24-19; 6-10 26-22 (CR) • 10-15 23-19; 7-10 27-23; 9-14 22-18; 15-22 25-9; 5-14 29-25; 11-15 25-22; 8-11 • 11-15 23-19; 9-13 22-17; 13-22 25-11; 8-15 29-25; 5-9 25-22; 9-14 27-23; 7-11 SUMMARY • Landings are opening or early midgame positions arrived at via a number of different routes transpositions. All worthwhile transpositions are sound in every respect. • Experts utilise these landings to make maximum use of their knowledge. • The essence of any transposition system is in the routes to the landings. • The two main transposition systems are the Pioneer system and the Defiance system. PAGE 110

ADVANCED TACTICS As explained in SOIC/D, it is in the skilful use of direct (‘Do something about this or else...’) and indirect (‘You can’t go there because…’) threats, that elementary tactical devices come into their own: as a form of remote control. Between experts, it is rare indeed for a coup to actually be executed. However, the devices given here, commonly referred to as shots or strokes, are in a different category, being sufficiently complex/subtle to fool even master players on occasions; particularly, and to some extent this also applies to 2 for 1s and 3 for 2s, when visualizing the position ten or twelve moves ahead. KEY INFORMATION Prior to Willie Ryan’s wonderful book, Tricks, Traps & Shots, these devices had a rather poor reputation, it being felt that most attempts to score with them involved the dangerous (and unnecessary) compromising of your position. However, Ryan made a strong case for their serious study, and demonstrated four main, sound, applications: • In steering your opponent in a particular direction (the shots occur ‘in the notes’); • In beating losing moves which are weak according to general principles; Note: It may be that the only way to beat such moves is through the use of a shot or stroke! (Also true of the ubiquitous pitch.) • In beating losing moves which are, ostensibly, strong according to general principles. (That is, genuine traps!) ‘Logic states that where there is no bait there is no trap.’ (Derek Oldbury) • In bringing a soundly played game to a neat, drawn conclusion. The 50 diagrams which follow, although by no means exhaustive, represent a good cross-section of the kind of advanced tactics likely to arise in actual play. None of them are contrived settings. Indeed, they are taken exclusively from top-class games and analysis. The run-ups themselves, illustrating the four applications listed above, are given alongside the solutions in Chapter 6. I have deliberately separated the run-ups from the diagrams, both to avoid associating a particular device with a specific ballot – the devices are far more universal -, and so that you may concentrate on spotting the coup itself. Diagram 1: 6 for 5

QRRRRRRRRS TE 1E 2EA3E 4U TA5EA6E 7EA8EU TE 9E !0EA!1EA!2U TA!3EB!4EB!5E !6EU TE !7EB!8EA!9EA@0U T @1EB@2E @3EB@4EU TE @5E @6EB@7EB@8U T @9EB#0E #1EB#2EU VWWWWWWWWX White to move and win PAGE 111

Diagram 2: 4 for 4

QRRRRRRRRS TE 1EA2EA3E 4U T 5EA6E 7EA8EU TE 9EA!0E !1EA!2U TA!3EA!4EB!5E !6EU TE !7EB!8EB!9EB@0U TB@1E @2EB@3E @4EU TE @5E @6E @7E @8U T @9EB#0EB#1E #2EU VWWWWWWWWX Black to move and win

Diagram 4: 4 for 4

QRRRRRRRRS TE 1EA2E 3E 4U TA5E 6E 7E 8EU TEA9EA!0EA!1EA!2U T !3EA!4E !5E !6EU TEA!7EB!8EB!9EB@0U TB@1E @2EB@3E @4EU TE @5EB@6E @7E @8U T @9EB#0EB#1E #2EU VWWWWWWWWX White to move and win

Diagram 6: 5 for 4

QRRRRRRRRS TE 1E 2E 3E 4U TA5EA6E 7EA8EU TE 9E !0EA!1EA!2U T !3E !4EB!5EA!6EU TE !7EB!8EB!9EA@0U T @1E @2EB@3EB@4EU TE @5E @6EB@7E @8U T @9E #0E #1EB#2EU VWWWWWWWWX White to move and win

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Diagram 3: 5 for 6

QRRRRRRRRS TEA1E 2EA3E 4U T 5EA6EA7EA8EU TEA9E !0E !1EA!2U TB!3EA!4E !5E !6EU TE !7EA!8EB!9EA@0U TB@1EB@2EB@3EB@4EU TEB@5E @6EB@7EB@8U T @9E #0EB#1E #2EU VWWWWWWWWX Black to move and draw

Diagram 5: 3 for 3

QRRRRRRRRS TE 1E 2E 3E 4U TA5E 6EA7EA8EU TE 9EA!0EA!1E !2U TA!3EB!4EA!5EA!6EU TEB!7E !8E !9EB@0U T @1EB@2EB@3EB@4EU TE @5E @6E @7E @8U T @9EB#0E #1EB#2EU VWWWWWWWWX White to move and win

Diagram 7: 6 for 6

QRRRRRRRRS TEA1E 2EA3E 4U T 5EA6E 7EA8EU TE 9EB!0E !1EA!2U T !3E !4EB!5EA!6EU TEB!7EA!8EB!9EA@0U T @1E @2EA@3E @4EU TEB@5E @6EB@7E @8U TB@9EB#0E #1EB#2EU VWWWWWWWWX White to move and win

Diagram 8: 4 for 3

QRRRRRRRRS TE 1EA2E 3E 4U TD5E 6E 7E 8EU TE 9E !0E !1E !2U TA!3EA!4EA!5EA!6EU TE !7E !8EA!9E @0U TA@1EB@2E @3E @4EU TE @5EB@6EB@7EB@8U T @9EB#0E #1E #2EU VWWWWWWWWX White to move and win

Diagram 10: 4 for 4

QRRRRRRRRS TE 1EA2E 3EA4U T 5EA6E 7EA8EU TEA9EA!0EA!1EA!2U T !3EA!4EB!5E !6EU TE !7EB!8EB!9EA@0U TB@1E @2EB@3E @4EU TE @5EB@6EB@7EB@8U T @9EB#0EB#1E #2EU VWWWWWWWWX White to move and win

Diagram 12: 4 for 4

QRRRRRRRRS TE 1E 2E 3E 4U TA5E 6EA7ED8EU TEA9E !0E !1EA!2U TA!3EA!4E !5EA!6EU TE !7E !8EA!9EA@0U T @1EB@2EB@3E @4EU TE @5EB@6EB@7EB@8U T @9EB#0E #1EB#2EU VWWWWWWWWX Black to move and win

Diagram 9: 5 for 5

QRRRRRRRRS TE 1EA2EA3E 4U TA5E 6EA7E 8EU TE 9EA!0E !1EB!2U TB!3E !4E !5E !6EU TEB!7EA!8EB!9EA@0U TA@1E @2E @3E @4EU TE @5EB@6EB@7E @8U T @9EB#0EB#1E #2EU VWWWWWWWWX White to move and win

Diagram 11: 6 for 5

QRRRRRRRRS TE 1E 2E 3E 4U TA5EA6EA7EA8EU TE 9EA!0E !1EA!2U TB!3EA!4EA!5EB!6EU TEB!7EA!8EB!9E @0U TB@1EB@2E @3EB@4EU TEB@5E @6E @7E @8U TB@9E #0E #1E #2EU VWWWWWWWWX White to move and win

Diagram 13: 3 for 3

QRRRRRRRRS TEA1EA2E 3E 4U T 5E 6E 7E 8EU TEA9E !0ED!1EA!2U T !3E !4EA!5E !6EU TE !7EB!8E !9E @0U TA@1EB@2E @3EA@4EU TE @5EB@6E @7E @8U T @9EB#0E #1EB#2EU VWWWWWWWWX Black to move and win

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Diagram 14: 3 for 3

QRRRRRRRRS TEA1E 2EA3E 4U TA5EA6EA7E 8EU TE 9EA!0E !1EA!2U TB!3EA!4E !5E !6EU TEB!7E !8EB!9E @0U TB@1EB@2E @3E @4EU TE @5E @6EB@7E @8U T @9EB#0E #1EB#2EU VWWWWWWWWX Black to move and win

Diagram 16: 5 for 6

QRRRRRRRRS TEA1E 2EA3E 4U T 5EA6EA7E 8EU TEA9EA!0EA!1EA!2U T !3EA!4EA!5E !6EU TE !7EA!8EB!9EB@0U TB@1EB@2EB@3EB@4EU TEB@5EB@6EB@7E @8U T @9E #0EB#1EB#2EU VWWWWWWWWX White to move and win

Diagram 18: 4 for 4

QRRRRRRRRS TEA1EA2EA3E 4U T 5EA6E 7EA8EU TE 9E !0E !1E !2U TB!3EA!4EB!5EB!6EU TE !7EA!8E !9E @0U TB@1EB@2E @3E @4EU TEB@5EB@6E @7EB@8U T @9E #0E #1E #2EU VWWWWWWWWX Black to move and win

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Diagram 15: 4 for 5

QRRRRRRRRS TEA1E 2EA3E 4U TA5EA6EA7EA8EU TEA9E !0E !1EA!2U TB!3EB!4EA!5E !6EU TE !7EA!8E !9E @0U T @1EB@2EA@3EB@4EU TEB@5EB@6EB@7EB@8U T @9EB#0E #1EB#2EU VWWWWWWWWX Black to move and win

Diagram 17: Delayed 5 for 5

QRRRRRRRRS TEA1EA2E 3EA4U T 5EA6E 7EA8EU TEA9EB!0E !1E !2U TA!3E !4EB!5EA!6EU TE !7EA!8EA!9E @0U T @1EB@2E @3E @4EU TEB@5EB@6EB@7EB@8U TB@9E #0EB#1EB#2EU VWWWWWWWWX White to move and win

Diagram 19: 3 for 5

QRRRRRRRRS TE 1E 2EA3E 4U TA5EA6E 7E 8EU TE 9E !0EA!1E !2U TB!3E !4EA!5E !6EU TEB!7EA!8E !9EA@0U T @1EB@2E @3E @4EU TEB@5EB@6EB@7EA@8U T @9E #0E #1EB#2EU VWWWWWWWWX Black to move and draw

Diagram 20: 5 for 6

QRRRRRRRRS TEA1E 2EA3EA4U TA5EA6EA7EA8EU TE 9EA!0E !1E !2U TB!3E !4EA!5EB!6EU TE !7E !8EA!9E @0U T @1EB@2EA@3EB@4EU TE @5EB@6E @7EB@8U TB@9EB#0EB#1EB#2EU VWWWWWWWWX Black to move and draw

Diagram 22: 4 for 4

QRRRRRRRRS TE 1E 2E 3EA4U TA5E 6EA7EA8EU TEA9E !0EA!1EA!2U T !3EA!4E !5E !6EU TE !7E !8EB!9EB@0U TB@1E @2EB@3E @4EU TEB@5EB@6EB@7EB@8U T @9E #0E #1E #2EU VWWWWWWWWX Black to move and draw

Diagram 24: 4 for 4

QRRRRRRRRS TE 1E 2EA3E 4U TA5E 6EA7E 8EU TEB9EA!0E !1EB!2U T !3EA!4E !5E !6EU TE !7EA!8E !9EA@0U T @1E @2EB@3E @4EU TEB@5E @6EB@7EB@8U T @9EB#0E #1E #2EU VWWWWWWWWX Black to move and draw

Diagram 21: 6 for 6

QRRRRRRRRS TEA1EA2E 3EA4U TA5EA6EA7E 8EU TEA9EA!0EA!1EA!2U TB!3EA!4E !5E !6EU TE !7EB!8EB!9EA@0U TB@1E @2EB@3E @4EU TEB@5EB@6EB@7EB@8U TB@9EB#0E #1EB#2EU VWWWWWWWWX Black to move and draw

Diagram 23: 6 for 6

QRRRRRRRRS TE 1E 2EA3E 4U T 5EA6E 7EA8EU TEA9E !0EA!1EA!2U T !3E !4EB!5E !6EU TEA!7EB!8EB!9EA@0U T @1E @2E @3E @4EU TE @5EB@6EB@7EB@8U T @9EB#0E #1EB#2EU VWWWWWWWWX White to move and draw

Diagram 25: 3 for 4

QRRRRRRRRS TE 1E 2E 3E 4U T 5EA6E 7EA8EU TE 9EA!0E !1E !2U TB!3EA!4EA!5EA!6EU TE !7E !8E !9EA@0U TB@1EB@2EB@3E @4EU TE @5E @6EB@7EB@8U T @9E #0EB#1E #2EU VWWWWWWWWX White to move and draw

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Diagram 26: 4 for 5

QRRRRRRRRS TEA1E 2EA3E 4U TA5E 6EA7E 8EU TE 9EA!0EA!1EA!2U TA!3EB!4E !5EB!6EU TE !7E !8EB!9EB@0U T @1EB@2EB@3E @4EU TE @5EB@6E @7E @8U T @9EB#0E #1EB#2EU VWWWWWWWWX White to move and draw

Diagram 28: 4 for 3

QRRRRRRRRS TE 1E 2EA3E 4U T 5E 6EA7E 8EU TEB9EA!0EA!1EA!2U T !3E !4E !5EB!6EU TEA!7E !8EB!9EB@0U T @1E @2EB@3E @4EU TE @5EB@6E @7E @8U T @9EB#0E #1E #2EU VWWWWWWWWX Black to move and draw

Diagram 30: 4 for 3

QRRRRRRRRS TE 1E 2E 3E 4U TA5E 6ED7E 8EU TE 9E !0E !1E !2U TA!3EB!4E !5EA!6EU TEB!7E !8E !9EA@0U T @1EA@2EA@3E @4EU TE @5E @6E @7E @8U TB@9E #0EB#1E #2EU VWWWWWWWWX White to move and draw

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Diagram 27: 4 for 4

QRRRRRRRRS TEA1EA2E 3E 4U TB5E 6E 7E 8EU TE 9EA!0E !1EA!2U TA!3E !4EB!5EA!6EU TE !7E !8EB!9E @0U TA@1E @2EB@3E @4EU TE @5E @6E @7EB@8U T @9EB#0EB#1E #2EU VWWWWWWWWX Black to move and win

Diagram 29: 2 for 3

QRRRRRRRRS TEA1E 2E 3E 4U TA5EA6E 7E 8EU TEA9E !0E !1EA!2U TB!3EB!4EB!5EA!6EU TEB!7EB!8E !9EA@0U T @1E @2EA@3E @4EU TE @5E @6EB@7E @8U T @9EB#0E #1EB#2EU VWWWWWWWWX White to move and draw

Diagram 31: 3 for 4

QRRRRRRRRS TEA1E 2EA3E 4U TA5E 6E 7EA8EU TEB9E !0EA!1E !2U T !3EB!4EA!5EA!6EU TE !7E !8E !9EB@0U T @1EB@2E @3EB@4EU TEB@5EB@6E @7E @8U T @9EB#0E #1E #2EU VWWWWWWWWX White to move and win

Diagram 32: 6 for 5

QRRRRRRRRS TEA1E 2EA3E 4U TA5E 6EA7EA8EU TEA9EA!0E !1EA!2U T !3EB!4EA!5E !6EU TEB!7EA!8E !9EB@0U T @1E @2EB@3EB@4EU TEB@5EB@6EB@7E @8U T @9E #0EB#1EB#2EU VWWWWWWWWX White to move and win

Diagram 34: 5 for 5

QRRRRRRRRS TEA1E 2EA3E 4U TA5EA6EA7EA8EU TE 9E !0EA!1EA!2U TA!3EB!4EB!5E !6EU TE !7EA!8EB!9EB@0U TA@1E @2EB@3EB@4EU TEB@5E @6EB@7E @8U TB@9EB#0EB#1E #2EU VWWWWWWWWX Black to move and draw

Diagram 36: 4 for 4

QRRRRRRRRS TE 1EA2E 3E 4U T 5E 6E 7E 8EU TEA9EA!0EA!1EA!2U T !3EA!4E !5E !6EU TEA!7EB!8EB!9EB@0U TB@1E @2EB@3E @4EU TE @5EB@6E @7E @8U T @9EB#0E #1E #2EU VWWWWWWWWX White to move and win

Diagram 33: 4 for 5

QRRRRRRRRS TEA1E 2EA3E 4U T 5EA6E 7EA8EU TEA9EB!0E !1E !2U TB!3E !4EA!5EA!6EU TE !7E !8E !9EA@0U TB@1E @2EB@3EB@4EU TEB@5E @6EB@7E @8U TB@9E #0EB#1E #2EU VWWWWWWWWX White to move and draw

Diagram 35: 6 for 5

QRRRRRRRRS TE 1E 2E 3E 4U TA5E 6EA7E 8EU TEA9EA!0EA!1E !2U T !3E !4EA!5EA!6EU TE !7EB!8EA!9EB@0U TB@1EB@2EB@3E @4EU TE @5EB@6E @7EB@8U T @9E #0EB#1E #2EU VWWWWWWWWX White to move and win

Diagram 37: 2 for 5

QRRRRRRRRS TE 1E 2E 3EA4U TA5EA6E 7E 8EU TEA9EA!0E !1EA!2U TA!3E !4E !5EA!6EU TEB!7EB!8EA!9EA@0U T @1EB@2EB@3E @4EU TEB@5EB@6EB@7EB@8U T @9E #0EB#1E #2EU VWWWWWWWWX Black to move and draw

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Diagram 38: 4 for 4

QRRRRRRRRS TE 1EA2E 3EA4U TA5EA6E 7EA8EU TE 9EA!0EB!1E !2U TB!3EA!4EB!5EA!6EU TEB!7E !8EA!9E @0U TB@1E @2EA@3EB@4EU TEB@5E @6E @7EB@8U T @9EB#0E #1EB#2EU VWWWWWWWWX Black to move and draw

Diagram 40: 3 for 3

QRRRRRRRRS TE 1EA2E 3EA4U TA5EB6EA7E 8EU TEA9E !0E !1E !2U TA!3EA!4E !5E !6EU TE !7EA!8E !9E @0U TB@1E @2EB@3E @4EU TE @5EB@6EB@7EB@8U TB@9E #0EB#1E #2EU VWWWWWWWWX Black to move and draw

Diagram 42: 2 for 3

QRRRRRRRRS TE 1E 2EA3E 4U T 5E 6EA7E 8EU TE 9E !0E !1E !2U TA!3EA!4EA!5EB!6EU TE !7EA!8E !9EA@0U TB@1EB@2E @3EB@4EU TEB@5E @6EB@7E @8U T @9E #0EB#1E #2EU VWWWWWWWWX Black to move and draw

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Diagram 39: 5 for 5

QRRRRRRRRS TEA1EA2E 3EA4U T 5EA6E 7EA8EU TE 9EA!0EA!1EA!2U T !3EA!4EB!5E !6EU TE !7E !8EB!9EA@0U TB@1E @2EB@3E @4EU TEB@5EB@6EB@7EB@8U T @9EB#0E #1EB#2EU VWWWWWWWWX White to move and win

Diagram 41: 3 for 3

QRRRRRRRRS TE 1E 2E 3E 4U T 5EA6E 7EA8EU TEA9E !0E !1EA!2U TB!3E !4EB!5EA!6EU TE !7EB!8EB!9EA@0U T @1EB@2EB@3E @4EU TE @5E @6E @7E @8U T @9E #0EC#1EB#2EU VWWWWWWWWX White to move and draw

Diagram 43: 5 for 5

QRRRRRRRRS TEA1EA2E 3E 4U T 5EA6E 7EA8EU TEA9EA!0E !1EB!2U TB!3EA!4E !5E !6EU TE !7E !8EA!9E @0U TB@1EB@2E @3E @4EU TEB@5E @6EB@7E @8U T @9EB#0E #1EB#2EU VWWWWWWWWX Black to move and draw

Diagram 44: 3 for 3

QRRRRRRRRS TE 1E 2E 3E 4U T 5E 6E 7E 8EU TED9E !0E !1EA!2U T !3E !4E !5EA!6EU TEA!7E !8E !9EA@0U T @1E @2EB@3EB@4EU TE @5EA@6EB@7EB@8U T @9E #0E #1E #2EU VWWWWWWWWX White to move and draw

Diagram 46: 3 for 4

QRRRRRRRRS TE 1E 2EA3E 4U T 5EA6EA7E 8EU TEA9EA!0E !1EA!2U TB!3EA!4EA!5EB!6EU TEB!7EA!8EB!9E @0U TB@1EB@2E @3EB@4EU TEB@5E @6E @7E @8U TB@9E #0E #1E #2EU VWWWWWWWWX White to move and draw

Diagram 48: 4 for 4

QRRRRRRRRS TEA1EA2E 3E 4U T 5EA6EA7E 8EU TEA9EA!0EA!1EA!2U T !3EA!4E !5E !6EU TE !7EB!8EB!9EA@0U TB@1EB@2EB@3E @4EU TE @5EB@6EB@7EB@8U T @9EB#0EB#1E #2EU VWWWWWWWWX White to move and win

Diagram 45: 5 for 4

QRRRRRRRRS TEA1EA2E 3EA4U T 5EA6EA7EA8EU TE 9E !0E !1EA!2U TA!3EB!4EB!5E !6EU TE !7EA!8EA!9EB@0U TB@1E @2E @3E @4EU TEB@5EB@6EB@7E @8U T @9EB#0EB#1EB#2EU VWWWWWWWWX Black to move and draw

Diagram 47: 4 for 4

QRRRRRRRRS TEAE 2EAE 4U TAE 6EAE 8EU TE 9EA0EA1EA2U TA3EA4EA5E !6EU TE !7EA8EB9EB0U TB1EB2EB3EB4EU TEB5E @6EB7E @8U TB9EB0E #1EB2EU VWWWWWWWWX White to move and win

Diagram 49: 6 for 5

QRRRRRRRRS TEAE 2EAE 4U TAE 6EAEAEU TE 9EB0E !1E !2U T !3EB4EB5EA6EU TE !7EB8E !9EA0U T @1E @2EB3EB4EU TE @5E @6EB7E @8U T @9E #0E #1EB2EU VWWWWWWWWX Black to move and win

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Diagram 50: 5 for 6

QRRRRRRRRS TE 1E 2E 3E 4U TA5EA6E 7EA8EU TEA9EA!0E !1EA!2U T !3EA!4EB!5EA!6EU TEA!7EB!8EB!9EA@0U TB@1E @2EB@3E @4EU TEB@5EB@6EB@7E @8U T @9E #0E #1EB#2EU VWWWWWWWWX Black to move and draw

SUMMARY Advanced tactics have four main applications: • • • •

In steering your opponent in a particular direction; In beating losing moves which are weak according to general principles; In beating losing moves which look strong according to general principles (traps!); In bringing a soundly played game to a neat, drawn conclusion.

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CHAPTER 5: THE OPENING

•

Ballots

•

Developments

PAGE 121

BALLOTS KEY INFORMATION As mentioned in SOIC/D, there are 302 ways in which the first three moves – Black, White, Black – can be played. Of these, 83 can be eliminated because they are duplicates, and 45 because they result in the loss of a man. This leaves 174 3-move ballots available for consideration, of which 156 have been found to be sound. Assessing The Ballots The following table is presented in seven sections. Each section deals with one of Black’s initial moves, from the theoretically strong 11-15, through to the theoretically weak 9-13. Within each section, White’s rejoinders are similarly listed in order of strength, as are Black’s replies. For each ballot, Black and White are then given a score out of 100, to indicate which side stands best and by how much. The greater the disparity in scores, the longer the attacker is able to sustain, by force, an advantage. Black’s score is given first. Additionally, the name of the era in which the ballot was initially played is stated. As might be expected, the really lop-sided ballots all arose during the 3-move era. Although the scores, which have no strict mathematical basis, have been devised to avoid clumsy terminology, it is worth stating that in broad terms a Black score of 15-25 indicates White is Strong, 2642 that White is Best, 43-57 that the power is evenly divided, 58-74 that Black is Best and 75-85 that Black is Strong. (0-14 would indicate a Black loss; 86-100 a Black win!) Inevitably personal opinion has a role to play, but in ranking these ballots I have done my best to ensure internal consistency, and to reflect the general view of grandmasters past and present. I would also like to thank Richard Fortman and Norman Wexler for their assistance in eliminating any outright errors. It will also be noted that some apparent anomalies exist due to the need to avoid duplication. For example, after 11-15 24-20 Black has three moves which are superior to 15-18, namely 15-19, 7-11 and 10-14, but these are given in different sections of the table (under 11-16 24-20; 16-19, 10-15 24-20; 7-10 and 10-14 24-20; 11-15 respectively). Identifying these little transpositions is essential if you wish to play GAYP or the 2-move restriction. Ballot

Score

Era

[53/47] [51/49] [50/50] [53/47] [52/48] [50/50] [48/52] [54/46] [51/49]

GAYP GAYP GAYP GAYP GAYP 2-Move* 3-Move GAYP GAYP

(* By transposition) 11-15 23-19; 8-11 11-15 23-19; 9-14 11-15 23-19; 9-13 11-15 22-17; 8-11 11-15 22-17; 15-19 11-15 22-17; 9-13 11-15 22-17; 15-18 11-15 23-18; 8-11 11-15 23-18; 9-14

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11-15 23-18; 15-19 11-15 23-18; 10-14 11-15 23-18; 12-16 11-15 24-20; 8-11 11-15 24-20; 15-18 11-15 24-20; 12-16 11-15 22-18; 15-22 11-15 24-19; 15-24 11-15 21-17; 9-13 11-15 21-17; 9-14 11-15 21-17; 8-11 11-15 21-17; 15-19

[49/51] [48/52] [25/75] [54/46] [50/50] [40/60] [55/45] [58/42] [62/38] [50/50] [49/51] [40/60]

3-Move 2-Move* 3-Move GAYP 3-Move 3-Move GAYP GAYP GAYP 2-Move* 2-Move* 3-Move

9-14 22-18; 5-9 9-14 22-18; 11-15 9-14 22-18; 11-16 9-14 22-18; 10-15 9-14 22-17; 11-15 9-14 22-17; 11-16 9-14 22-17; 5-9 9-14 22-17; 6-9 9-14 24-20; 5-9 9-14 24-20; 11-15 9-14 24-20; 11-16 9-14 24-20; 10-15 9-14 24-19; 11-15 9-14 24-19; 5-9 9-14 24-19; 11-16 9-14 23-19; 11-16 9-14 23-19; 5-9 9-14 23-19; 14-18 9-14 23-18; 14-23

[50/50] [42/58] [38/62] [34/66] [50/50] [47/53] [38/62] [36/64] [50/50] [48/52] [47/53] [42/58] [51/49] [50/50] [42/58] [51/49] [50/50] [34/66] [85/15]

2-Move 3-Move 3-Move 3-Move 2-Move 2-Move 3-Move 3-Move 2-Move 3-Move 3-Move 3-Move GAYP* 2-Move 3-Move GAYP* GAYP* 3-Move 3-Move

11-16 22-18; 8-11 11-16 22-18; 16-20 11-16 22-18; 16-19 11-16 22-18; 7-11 11-16 23-18; 16-20 11-16 23-18; 9-14 11-16 23-18; 10-14 11-16 23-18; 8-11 11-16 23-18; 7-11 11-16 24-19; 8-11 11-16 24-19; 16-20 11-16 24-19; 7-11 11-16 22-17; 8-11 11-16 22-17; 16-20 11-16 22-17; 7-11

[47/53] [46/54] [42/58] [22/78] [48/52] [46/54] [45/55] [43/57] [36/64] [49/51] [48/52] [34/66] [50/50] [46/54] [36/64]

2-Move 2-Move 3-Move 3-Move 2-Move 3-Move 2-Move* 3-Move 3-Move 2-Move 2-Move 3-Move 2-Move 2-Move* 3-Move

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11-16 21-17; 9-13 11-16 21-17; 9-14 11-16 21-17; 16-20 11-16 21-17; 8-11 11-16 21-17; 7-11 11-16 24-20; 16-19 11-16 24-20; 7-11

[51/49] [47/53] [46/54] [36/64] [18/82] [53/47] [42/58]

2-Move 2-Move 2-Move* 3-Move 3-Move GAYP* 2-Move*

10-15 21-17; 11-16 10-15 21-17; 15-18 10-15 21-17; 6-10 10-15 21-17; 9-13 10-15 21-17; 7-10 10-15 22-17; 11-16 10-15 22-17; 7-10 10-15 22-17; 9-13 10-15 22-17; 6-10 10-15 22-17; 15-19 10-15 22-18; 15-22 10-15 23-18; 12-16 10-15 23-18; 7-10 10-15 23-18; 11-16 10-15 23-18; 9-14 10-15 23-18; 6-10 10-15 23-19; 7-10 10-15 23-19; 6-10 10-15 24-19; 15-24 10-15 24-20; 15-19 10-15 24-20; 7-10 10-15 24-20; 6-10

[46/54] [42/58] [32/68] [21/79] [19/81] [48/52] [36/64] [34/66] [20/80] [17/83] [49/51] [50/50] [48/52] [42/58] [36/64] [32/68] [51/49] [50/50] [52/48] [53/47] [52/48] [51/49]

2-Move 3-Move 3-Move 3-Move 3-Move 2-Move 3-Move 2-Move* 3-Move 3-Move 2-Move 2-Move 2-Move 3-Move 3-Move 3-Move GAYP* 2-Move 2-Move 2-Move GAYP* 3-Move

10-14 24-19; 6-10 10-14 24-19; 14-18 10-14 24-19; 11-16 10-14 24-19; 7-10 10-14 22-18; 11-15 10-14 22-18; 11-16 10-14 22-18; 6-10 10-14 22-18; 7-10 10-14 22-18; 12-16 10-14 22-17; 7-10 10-14 22-17; 14-18 10-14 23-19; 11-16 10-14 23-19; 14-18 10-14 23-19; 6-10 10-14 23-19; 7-10 10-14 23-19; 11-15 10-14 24-20; 11-15

[43/57] [42/58] [34/66] [30/70] [48/52] [45/55] [23/77] [21/79] [17/83] [49/51] [24/76] [50/50] [44/56] [28/72] [26/74] [25/75] [51/49]

2-Move 3-Move 3-Move 3-Move 2-Move 2-Move 3-Move 3-Move 3-Move 2-Move 3-Move 2-Move 3-Move 3-Move 3-Move 3-Move 2-Move

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10-14 24-20; 6-10 10-14 24-20; 11-16 10-14 24-20; 14-18 10-14 24-20; 7-10 10-14 23-18; 14-23

[49/51] [43/57] [42/58] [36/64] [66/34]

2-Move 3-Move 3-Move 3-Move 3-Move

12-16 24-20; 8-12 12-16 22-18; 16-20 12-16 22-18; 16-19 12-16 23-18; 16-20 12-16 23-18; 16-19 12-16 24-19; 16-20 12-16 22-17; 16-20 12-16 22-17; 16-19 12-16 21-17; 9-13 12-16 21-17; 16-20 12-16 21-17; 9-14 12-16 21-17; 16-19

[42/58] [47/53] [38/62] [48/52] [46/54] [48/52] [51/49] [50/50] [52/48] [50/50] [46/54] [42/58]

2-Move 2-Move 3-Move 2-Move 2-Move 2-Move 2-Move 2-Move 2-Move 2-Move 3-Move 3-Move

9-13 22-18; 12-16 9-13 22-18; 10-15 9-13 22-18; 6-9 9-13 22-18; 11-15 9-13 24-19; 11-15 9-13 24-19; 11-16 9-13 24-19; 6-9 9-13 24-19; 5-9 9-13 24-19; 10-14 9-13 23-18; 5-9 9-13 23-18; 12-16 9-13 23-18; 10-15 9-13 23-18; 11-15 9-13 23-18; 6-9 9-13 23-19; 11-16 9-13 23-19; 10-14 9-13 23-19; 5-9 9-13 23-19; 6-9 9-13 24-20; 11-15 9-13 24-20; 10-15 9-13 24-20; 5-9 9-13 24-20; 6-9 9-13 24-20; 10-14 9-13 22-17; 13-22 9-13 21-17; 5-9 9-13 21-17; 6-9

[34/66] [30/70] [20/80] [16/84] [46/54] [42/58] [38/62] [36/64] [28/72] [48/52] [44/56] [38/62] [34/66] [25/75] [45/55] [44/56] [43/57] [40/60] [50/50] [48/52] [40/60] [38/62] [36/64] [51/49] [56/44] [52/48]

2-Move 2-Move 3-Move 3-Move 2-Move 2-Move* 3-Move 3-Move 3-Move 2-Move 2-Move 3-Move 3-Move 3-Move 3-Move 3-Move 3-Move 3-Move 2-Move 3-Move 3-Move 3-Move 3-Move 2-Move GAYP* 3-Move

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Ballots 145-156 The following 12 ballots were only recently added to the 3-move deck: • • • • • • • • • • • •

9-13 22-18; 10-14 9-13 22-18; 11-16 9-13 23-18; 11-16 9-13 23-19; 10-15 9-13 24-20; 11-16 10-14 22-17; 9-13 10-14 22-17; 11-15 10-14 22-17; 11-16 10-15 23-19; 11-16 11-16 22-17; 9-13 11-16 23-19; 16-23 12-16 24-20; 10-15

It is too soon to evaluate these precisely, but suffice to say they all favour White to a large/very large degree and are, obviously, from the 3-move era. Early Thoughts When you come to play a 3-move ballot, it is vitally important to ‘think yourself in’ by considering the moves you could have played if you had been given the chance. Example: 11-15 21-17; 8-11. Black opens with the strongest move available. White’s reply is the weakest of his seven options, permitting the single-corner cramp with 9-13, but Black responds feebly with 8-11, allowing White to secure a tiny edge with 17-13; getting the man on 17 safely out of the way. This kind of ‘thinking out loud’ may appear faintly ridiculous, but is actually essential if you wish to be fully tuned-in to what is happening: otherwise you will be committed to a particular development without knowing how or why. Experienced players go through this process automatically, and are therefore scarcely aware of it.

SUMMARY • Of the 302 possible 3-move combinations, 156 3-move ballots are accepted as sound. • For 144 of the ballots, the balance of power has been carefully assessed and expressed numerically. • Ballots 145-156, added to the deck recently, have yet to be assessed precisely, but all favour White to a marked degree. • When playing a 3-move ballot, it is vitally important to ‘set the scene’ by considering the moves you could have played if you had been given the chance.

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DEVELOPMENTS KEY INFORMATION ‘The opening is an initial combination of moves, fully executed, resulting in the achievement of definite, complete, preliminary objectives by both sides.’ (Maurice Chamblee) Although there may be room for debate over precisely when the opening finishes and the midgame starts, and one could argue that with the weak side of a 3-move ballot the defender’s ‘objective’ may simply be that of survival!, it is clear from the above that an opening certainly doesn’t consist of 1, 2 or 3 moves, and most definitely doesn’t comprise the entire game! Thus, most books which purport to deal with the opening miss the boat; invariably giving a series of complete games. Although valuable for discerning experts, in the mind of a player just starting out this has the undesirable effect of tying a particular endgame or late midgame with a particular ballot. Although, as we saw on Pages 48 and 49, there are some ‘endgame-openings’, this is certainly not the norm. In the limited space available, I have therefore attempted to do three things: • To present the 144 ballots in a logical order for playing and study purposes – first GAYP ballots, then 2-move ballots and finally 3-move ballots; • To generally only take each ballot to the depth prescribed by Chamblee; • To give one variation from Black’s viewpoint, and one from White’s viewpoint. More ambitious readers are recommended to read the excellent Basic Checkers by Richard Fortman, and Solid Checkers & Key Openings by myself. [R]: My preferred attack/defence. GAYP Ballots 1) 11-15 23-19; 8-11 22-17; 11-16[R](1)(A) 24-20; 16-23 27-11; 7-16 20-11; 3-7 28-24; 7-16 24-20; 1619 … Variation 1: 4-8 25-22; 9-13 27-23; 6-9 23-18; 9-14 18-9; 5-14 26-23 … A: This is known as the Glasgow. 4-8 forms the Old 14th. Other good options at the 5th move are 9-14 25-22; 6-9 17-13; 2-6 the Souter; 9-14 25-22; 3-8 26-23; 5-9 17-13; 11-16 the Whilter; 9-13 17-14; 1017 21-14; 15-18 24-20 the Laird and Lady or Mixed; 3-8 25-22; 11-16 27-23; 7-11 24-20!; 15-24 28-19 the Alma; 15-18 19-15; 10-19 24-8; 4-11 17-14 11-15 28-24 the Centre. 2) 11-15 23-19; 9-14 27-23[R](1)(A); 8-11 22-18; 15-22 25-9; 5-14 29-25; 11-15 25-22 … Variation 1: 22-17; 7-11 25-22; 11-16 26-23; 5-9 17-13; 3-7 again forms the Whilter. A: This is known as the Defiance. 3) 9-14 23-19; 5-9 27-23[R](1); 11-15 (A) 22-18; 15-22 25-18; 7-11 26-22; 11-15 18-11; 8-15 24-20; 15-24 28-19 … Variation 1: 22-17; 11-15(B) 17-13; 14-18(C) 19-16; 12-19 26-23; 19-26 30-5; 15-18 25-22 … A: In GAYP play this arose from 11-15 23-19; 9-14 27-23; 5-9 B: In GAYP play this arose from 11-15 23-19; 9-14 22-17; 5-9 C: This is known as the Fife.

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4) 9-14 23-19; 11-16 26-23; 5-9[R](1) 22-17; 7-11 17-13; 11-15 25-22 into 11-15 23-19; 9-14 22-17; 711 25-22; 11-16 26-23; 5-9 17-13 Variation 1: 16-20 30-26; 8-11 19-16; 12-19 24-8; 4-11 23-19 … 5) 10-15 23-19; 7-10 (Same as 11-15 23-19; 7-11) 22-18(1)(A); 15-22 25-18; 9-14 18-9; 5-14 27-23 1115 24-20; 15-24 28-19 … Variation 1: 27-23[R]; 9-14 22-18; 15-22 25-9; 5-14 29-25; 11-15 25-22 … A: This is sometimes referred to as the Whilter Exchange. Both 26-23 and 22-17 tend to run into the Whilter. 6) 11-15 23-19; 9-13 (A) 22-18; 15-22 25-18; 10-14[R](1) 18-9; 5-14 27-23; 8-11 26-22 6-10 … Variation 1: 7-11 27-23; 10-15 19-10; 6-22 26-17; 13-22 30-26; 5-9 26-17; 9-13 17-14 … A: This is known as the Will O’ The Wisp. 7) 11-15 22-17; 8-11 23-19[R](1) into 11-15 23-19; 8-11 22-17 Variation 1: 17-14(A); 9-18 23-14; 10-17 21-14; 12-16 26-23; 16-19 23-16; 11-20 24-19 … A: This is known as the White Dyke. 8) 11-15 22-17; 15-19(A) 24-15; 10-19 23-16; 12-19 25-22; 8-11 27-23[R](1); 4-8 23-16; 11-20 22-18... Variation 1: 30-25; 4-8 22-18; 11-16 17-14; 8-12 27-23 … A: This is known as the Dyke. 9) 11-15 23-18; 8-11(A) 27-23; 4-8[R](1) 23-19; 10-14 19-10; 14-23 26-19; 7-14 24-20 … Variation 1: 10-14 22-17; 15-22 17-10; 6-15 26-17; 11-16 24-19 … A: This is known as the Cross. 10) 11-15 23-18; 9-14(A) 18-11[R](1); 8-15 22-18; 15-22 25-9; 5-14 29-25; 4-8 25-22 … Variation 1: 18-9; 5-14 22-17; 8-11 25-22; 4-8 29-25; 12-16 24-19; 16-23 27-9; 6-13 17-14 … A: This is known as the Cross-Choice. 11) 11-15 24-20; 8-11(A) 28-24; 4-8(1) 23-19; 15-18 22-15; 11-18 26-22; 7-11 22-15; 11-18 30-26 … Variation 1: 3-8[R] 23-19; 9-14 22-17; 5-9 17-13; 1-5 26-23 … A: This is known as the Ayrshire Lassie. 12) 10-15 24-20; 7-10 28-24 [R](1); 3-7 into 11-15 24-20; 8-11 28-24; 3-8 Variation 1: 22-17; 3-7 17-13; 9-14 25-22; 11-16 20-11; 7-16 29-25 … 13) 11-16 24-20; 16-19(A) (Same as 11-15 24-20; 15-19) 23-16; 12-19 22-18; 9-14[R](1) 18-9; 5-14 2522; 10-15 22-17; 6-10 29-25 … Variation 1: 10-14 18-15; 14-18 27-23; 18-27 32-16; 7-10 16-12; 10-19 31-27 … A: This is known as the Bristol. 14) 11-15 22-18(A); 15-22 25-18; 12-16[R](1) 29-25; 9-13 18-14; 10-17 21-14; 16-20 23-18 … Variation 1: 8-11 29-25; 4-8 24-20; 12-16 26-22; 8-12 28-24 … A: This is known as the Single-Corner. 15) 11-15 24-19(A); 15-24 28-19; 8-11 22-18; 11-16(1) 25-22; 16-20 22-17; 4-8 17-13; 8-11 26-22 … Variation 1: 9-14[R] 18-9; 5-14 25-22; 11-15 32-28; 15-24 28-19 … A: This is known as the Second Double-Corner. PAGE 128

16) 9-14 24-19; 11-15 22-18(1); 15-24 18-9; 5-14 28-19; 8-11 into 11-15 24-19; 15-24 28-19; 8-11 2218; 9-14 18-9; 5-14 Variation 1: 27-24 [R] into 11-15 23-19; 9-14 27-23 17) 11-15 21-17; 9-13(A) 25-21; 8-11(1) 30-25; 4-8 24-19; 15-24 28-19; 11-15 17-14; 15-24 27-20; 1017 21-14 … Variation 1: 5-9[R] 29-25; 9-14 23-18; 14-23 27-11; 8-15 17-14; 10-17 21-14 … A: This is known as the Switcher. 18) 9-13 21-17; 5-9 25-21; 11-15[R](1) into 11-15 21-17; 9-13 25-21; 5-9 Variation 1: 9-14 22-18; 13-22 18-9; 6-13 26-17; 13-22 30-26; 11-15 26-17 … 2-Move Ballots 1) 11-15 22-17; 9-13 24-20[R](1)(A); 13-22 25-11; 8-15 29-25; 4-8 25-22; 5-9 23-18; 8-11 27-24 … Variation 1: 17-14; 10-17 21-14(B); 8-11 24-19; 15-24 28-19; 11-16 25-21 … A: This is known as the Wagram. B: This is known as the Boston. 2) 9-13 24-20; 11-15 22-17[R](1) into 11-15 22-17; 9-13 24-20 Variation 1: 23-18; 8-11 27-23; 5-9 28-24; 10-14 23-19; 14-23 19-10; 7-14 26-19 … 3) 11-15 23-18; 10-14 18-11; 8-15 26-23[R](1); 6-10 22-17; 4-8 23-19; 8-11 17-13; 1-6 25-22 … Variation 1: 22-17; 6-10 17-13; 1-6 25-22; 14-17 21-14; 9-25 29-22 … 4) 10-14 22-18; 11-15 18-11; 8-15 26-22[R](1) into 11-15 23-18; 10-14 18-11; 8-15 26-23 Variation 1: 24-20; 6-10 28-24; 1-6 23-19; 9-13 25-22; 6-9 29-25 … 5) 9-14 22-18; 5-9 25-22(1); 11-16 18-15; 10-19 24-15; 7-10 27-24; 10-19 24-15; 16-19 23-16; 12-19… Variation 1: 24-20[R]; 11-16 20-11; 8-22 25-18; 4-8 27-24; 8-11 24-19; 11-16 29-25; 7-11 25-22 … 6) 9-14 24-20; 5-9 22-18[R](1) into 9-14 22-18; 5-9 24-20 Variation 1: 28-24; 11-15 23-19; 7-11 22-17; 3-7 into 11-15 24-20; 8-11 28-24; 3-8 23-19; 9-14 22-17; 5-9 7) 9-14 22-17; 11-15 25-22[R](1); 8-11 17-13; 11-16 24-19; 15-24 28-19; 4-8 22-18; 8-11 18-9; 5-14 29-25; 16-20 25-22 … Variation 1: 23-19 into 11-15 23-19; 9-14 22-17 8) 11-15 21-17; 9-14 25-21(A) into 9-14 22-17; 11-15 25-22 A: 17-13 is inferior, and rarely encountered in master practice, because of the 15-19 dyke. 9) 11-15 21-17; 8-11 17-13; 9-14 22-18(1); 15-22 25-9; 5-14 29-25; 11-15 25-22 … Variation 1: 25-21[R] into 9-14 22-17; 11-15 25-22; 8-11 17-13 10) 9-14 22-17; 11-16 25-22; 8-11[R](1) 22-18; 16-20 18-9; 5-14 29-25; 11-15 25-22; 7-11 17-13 … Variation 1: 16-19(A) 24-15; 10-19 23-16; 12-19 17-10; 6-15 21-17; 5-9 27-24 … A: This is known as the Double-Corner Dyke.

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11) 9-14 24-19; 5-9 22-18(1); 11-15 18-11; 8-24 28-19; 4-8 25-22; 8-11 22-18; 11-16 29-25; 7-11 25-22 … Variation 1: 27-24[R] into 9-14 23-19; 5-9 27-23 12) 11-16 22-18; 8-11 25-22(1); 16-20 22-17; 9-14 18-9; 5-14 into 9-14 22-17; 11-16 25-22; 8-11 2218; 16-20 18-9; 5-14 Variation 1: 24-19[R] into 11-16 24-19; 8-11 22-18 13) 11-16 22-18; 16-20 18-14[R](1); 9-18 23-14; 10-17 21-14; 8-11 25-22; 11-15 24-19; 15-24 28-19 … Variation 1: 25-22; 8-11 22-17; 9-14 18-9; 5-14 into 9-14 22-17; 11-16 25-22; 8-11 22-18; 16-20 18-9; 5-14 14) 11-16 23-18; 16-20 24-19(A); 10-14 18-15[R](1); 7-10 22-17; 9-13 27-23; 13-22 25-9; 5-14 29-25 … Variation 1: 26-23; 8-11 22-17; 7-10 30-26; 11-16 26-22 … A: This is known as the Bristol Cross. 15) 11-16 24-19; 8-11 22-18(A); 10-14 26-22[R](1); 16-20 into 11-16 23-18; 16-20 24-19; 10-14 26-23 8-11 Variation 1: 25-22; 7-10 30-25; 16-20 22-17 into 11-16 23-18; 16-20 24-19; 10-14 26-23; 8-11 22-17; 710 30-26 A: This is known as the Paisley. 16) 11-16 24-19; 16-20 23-18[R[(1) into 11-16 23-18; 16-20 24-19 Variation 1: 22-18; 8-11 26-22; 10-14 into 11-16 23-18; 16-20 24-19; 10-14 26-23; 8-11 17) 11-16 22-17; 8-11 17-14; 9-18 23-14; 10-17 21-14; 16-20[R](1) into 11-16 22-18; 16-20 18-14; 918 23-14; 10-17 21-14; 8-11 Variation 1: 4-8 26-23; 16-19 24-15; 11-18 28-24 … 18) 11-16 22-17; 16-20 17-14[R](1) into 11-16 22-18; 16-20 18-14 Variation 1: 25-22; 8-11 22-18; 9-14 18-9; 5-14 into 9-14 22-17; 11-16 25-22; 8-11 22-18; 16-20 18-9; 5-14 19) 11-16 21-17; 9-13 25-21; 5-9 23-18; 10-15[R](1) 18-11; 8-15 24-19; 15-24 27-11; 7-16 30-25 … Variation 1: 1-5 29-25; 8-11 17-14; 10-17 21-14; 6-10 24-20; 10-17 28-24 … 20) 11-16 21-17; 9-14 25-21(A) into 9-14 22-17; 11-16 25-22 A: The only worthwhile move. 21) 11-16 21-17; 16-20 17-13; 10-15(1) into 10-15 21-17; 11-16 17-13; 16-20 Variation 1: 8-11[R] 22-18; 10-15 25-22; 7-10 29-25; 9-14 18-9; 5-14 24-19; 15-24 28-19 … 22) 10-15 21-17; 11-16 17-13; 16-20 22-18[R](1); 15-22 25-18; 8-11 29-25; 9-14 18-9; 5-14 25-21 … Variation 1: 24-19; 15-24 28-19; 8-11 22-18; 11-16 26-22; 7-10 25-21 …

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23) 10-15 22-17; 11-16 23-18[R](1); 15-22 25-18; 9-14 18-9; 6-22 26-17; 8-11 29-25; 4-8 24-20 … Variation 1: 17-14; 9-18 23-14; 8-11 21-17; 4-8 25-21; 6-10 29-25; 1-6 24-20 … 24) 10-15 22-18; 15-22 25-18; 9-13[R](1) 29-25; 11-15 18-11; 8-15 25-22; 4-8 23-18; 8-11 27-23 … Variation 1: 6-10 29-25; 11-15 18-11; 8-15 25-22; 4-8 23-18; 8-11 27-23 … 25) 10-15 23-18; 12-16 26-23[R](1); 16-19 23-16; 11-20 18-11; 8-15 22-18; 15-22 25-18; 4-8 24-19 … Variation 1: 21-17(A); 9-13 24-20; 16-19 17-14; 6-9 27-24; 1-6 32-27; 8-12 25-21 … A: This is known as the Kelso Cross. 26) 10-15 23-18; 7-10 27-23[R](1); 3-7 24-20; 15-19 23-16; 12-19 18-15; 11-18 22-15 … Variation 1: 26-23; 10-14 24-19; 15-24 28-19; 11-16 27-24; 16-20 31-27 … 27) 10-15 23-19; 6-10 22-17[R](1); 1-6 25-22; 11-16 29-25; 16-23 26-19; 7-11 17-13; 11-16 22-17 … Variation 1: 22-18; 15-22 25-18; 11-15 18-11; 8-15 29-25; 4-8 25-22; 9-13 27-23 … 28) 10-15 24-19; 15-24 28-19; 6-10[R](1) 22-17; 9-14 25-22; 11-15 27-24; 8-11 23-18 … Variation 1: 9-14 22-18; 5-9 25-22; 7-10 19-15; 10-19 23-7; 14-23 27-18; 3-10 21-17 … 29) 10-15 24-20; 15-19 23-16; 12-19 27-24[R](1); 7-10 24-15; 10-19 21-17; 11-15 32-27 … Variation 1: 22-18; 9-14 18-9; 5-14 25-22; 11-15 into 11-16 24-20; 16-19 23-16; 12-19 22-18; 9-14 189; 5-14 25-22; 10-15 30) 10-14 24-19; 6-10 22-17(1); 11-15 17-13; 15-24 13-6; 2-9 28-19; 8-11 25-22; 11-15 19-16 … Variation 1: 27-24[R]; 11-15 22-18; 15-22 25-18; 8-11 19-15; 10-19 24-8; 4-11 28-24 … 31) 10-14 22-18; 11-16 26-22[R](1); 7-10 24-19; 8-11 22-17; 16-20 into 11-16 23-18; 16-20 24-19; 1014 26-23; 8-11 22-17; 7-10 Variation 1: 25-22; 16-20 24-19; 8-11 22-17; 9-13 18-9; 13-22 26-17; 6-22 30-26; 5-9 26-17; 9-13 17-14 … 32) 11-16 23-18; 10-14 26-23[R](1) into 10-14 22-18; 11-16 26-22 Variation 1: 18-15; 16-20 24-19 into 11-16 23-18; 16-20 24-19; 10-14 18-15 33) 10-14 22-17; 7-10 17-13; 3-7 25-22[R](1); 14-17 21-14; 9-25 29-22; 11-15 23-18; 5-9 18-11; 8-15 27-23 … Variation 1: 24-20; 14-18 23-14; 9-18 26-23; 10-14 28-24; 6-10 31-26 … 34) 10-14 23-19; 11-16 26-23; 6-10[R](1) 30-26; 1-6 19-15; 10-19 24-15; 16-19 23-16; 12-19 … Variation 1: 16-20 30-26; 8-11 19-16; 12-19 24-8; 4-11 23-19 … 35) 10-14 24-20; 11-15 22-18[R](1); 15-22 25-18; 7-10 26-22; 8-11 27-24; 10-15 24-19; 15-24 28-19… Variation 1: 22-17; 6-10 17-13; 1-6 28-24; 8-11 23-19; 3-8 into 11-15 24-20; 8-11 28-24; 3-8 23-19; 914 22-17; 5-9 17-13; 1-5 36) 10-14 24-20; 6-10 22-18[R](1); 11-15 18-11; 8-15 into 10-14 22-18; 11-15 18-11; 8-15 24-20; 6-10 Variation 1: 22-17; 11-15 into 10-14 24-20; 11-15 22-17; 6-10

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37) 12-16 24-20; 8-12(A) 28-24[R](1); 3-8 22-18; 16-19 24-15; 10-19 23-16; 12-19 25-22; 6-10 29-25... Variation 1: 22-18; 16-19 23-16; 12-19 27-23; 4-8 23-16; 8-12 32-27; 12-19 27-23 … A: This is known as the Dundee. It should also be noted that it is parallel to the Switcher. 38) 11-16 24-20; 7-11 28-24[R](1) 3-7 into 12-16 24-20; 8-12 28-24; 3-8 Variation 1: 21-17; 9-14 25-21; 3-7 28-24; 16-19 24-15; 11-25 29-22; 12-16 20-11; 8-15 23-18 … 39) 12-16 22-18; 16-20 25-22(1); 8-12 22-17; 9-14 18-9; 5-14 into 9-14 22-17; 11-16 25-22; 8-11 2218; 16-20 18-9; 5-14 Variation 1: 24-19[R]; 10-14 26-22; 8-12 into 11-16 23-18; 16-20 24-19; 10-14 26-23; 8-11 40) 12-16 23-18; 16-20 24-19[R](1); 10-14 26-23; 8-12 into 11-16 23-18; 16-20 24-19; 10-14 26-23; 811 Variation 1: 26-23; 8-12 22-17; 9-14 18-9; 5-14 25-22; 11-15 29-25; 7-11 17-13; 4-8 30-26 … 41) 12-16 23-18; 16-19 24-15; 10-19 18-15(1); 11-18 22-15; 7-11 26-22; 11-18 22-15; 9-14 25-22; 5-9.. Variation 1: 27-24[R] 7-10 24-15; 10-19 18-15; 11-18 22-15; 9-14 25-22; 5-9 into 9-14 22-18; 5-9 2522; 11-16 18-15; 10-19 24-15; 7-10 27-24; 10-19 24-15; 16-19 23-16; 12-19 42) 12-16 24-19; 16-20 22-18[R](1) into 12-16 22-18; 16-20 24-19 Variation 1: 23-18 into 12-16 23-18; 16-20 24-19 43) 12-16 22-17; 16-20 17-14[R](1); 9-18 23-14; 10-17 21-14; 6-9 26-23; 9-18 23-14; 1-6 30-26 … Variation 1: 24-19; 9-14 25-22; 11-15 17-13; 15-24 28-19; 8-11 22-18; 4-8 18-9; 5-14 29-25 … 44) 12-16 22-17; 16-19 24-15; 11-18 23-14; 9-18 26-23[R](1); 6-9 23-14; 9-18 30-26; 1-6 26-23 … Variation 1: 17-14; 10-17 21-14; 8-11 28-24; 11-15 26-23; 4-8 23-19 … 45) 12-16 21-17; 9-13 25-21[R](1); 16-19 23-16; 11-20 17-14; 10-17 21-14; 6-10 29-25; 10-17 25-21; 1-6 21-14 … Variation 1: 24-20; 11-15 20-11; 7-16 25-21; 5-9 23-18; 16-20 18-11; 8-15 26-23; 4-8 23-18 … 46) 12-16 21-17; 16-20 17-13; 11-15(1) 24-19; 15-24 28-19; 8-11 22-18; 9-14 18-9; 5-14 25-22; 11-15 19-16 … Variation 1: 8-12[R] into 11-16 21-17; 16-20 17-13 8-11 47) 9-13 22-18; 12-16 24-20(1); 8-12 25-22; 10-15 18-14; 16-19 23-16; 12-19 14-10; 7-14 27-23 … Variation 1: 24-19[R]; 8-12 26-22; 16-20 30-26; 4-8 22-17; 13-22 26-17; 11-16 17-14 … 48) 9-13 24-19; 11-16 22-18[R](1); 8-11 into 9-13 22-18; 12-16 24-19; 8-12 Variation 1: 28-24; 16-20 32-28; 8-11 19-16; 12-19 24-8; 4-11 23-18; 10-15 18-14 … 49) 9-13 22-18; 10-15 25-22[R](1); 6-10 23-19; 11-16 18-11; 16-23 27-18; 8-15 18-11; 7-16 22-18 … Variation 1: 18-14; 11-16 21-17; 13-22 25-11; 8-15 24-19; 15-24 27-11; 7-16 23-18; 4-8 29-25 … 50) 10-15 22-17; 9-13 17-14(A) into 9-13 22-18; 10-15 18-14 A: It is rare indeed to see anything else played here.

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51) 9-13 24-19; 11-15 28-24; 6-9 22-18[R](1); 15-22 25-18; 9-14 18-9; 5-14 29-25; 8-11 25-22 … Variation 1: 23-18; 1-6 18-11; 7-23 26-19; 8-11 32-28; 11-16 19-15; 10-19 24-15 … 52) 9-13 23-18; 5-9 26-23[R](1); 11-16 30-26; 10-14 24-19; 8-11 28-24; 16-20 18-15; 11-18 22-15 … Variation 1: 27-23; 11-16 21-17; 1-5 25-21; 16-19 24-15; 10-19 23-16; 12-19 17-14 … 53) 9-13 23-18; 12-16 18-14; 10-17 21-14; 6-10 24-20[R](1); 10-17 25-21; 1-6 21-14; 6-9 14-10 … Variation 1: 27-23; 10-17 24-19; 8-12 25-21; 1-6 21-14; 13-17 22-13; 6-9 13-6; 2-27 32-23 … 54) 9-13 22-17; 13-22 25-18; 11-15 18-11; 8-15 21-17[R](1); 4-8 23-19; 5-9 17-13; 9-14 29-25 … Variation 1: 29-25; 4-8 25-22; 5-9 23-18; 8-11 26-23; 10-14 24-19 … 3-Move Ballots 1) 11-15 22-17; 15-18 23-14; 9-18 17-14(1); 10-17 21-14; 8-11 24-20; 6-9 28-24; 3-8 26-23 … Variation 1: 26-23[R]; 6-9 23-14; 9-18 30-26; 1-6 26-23; 6-9 23-14; 9-18 31-26 … 2) 11-15 23-18; 15-19(A) 24-15; 10-19 27-24(1); 7-10 24-15; 10-19 21-17; 12-16 18-15; 8-12 22-18 … Variation 1: 22-17[R]; 8-11 27-24; 4-8 24-15; 7-10 17-13; 10-19 21-17; 11-16 25-21 … A: This is known as the Montrose Cross. 3) 11-15 23-18; 12-16(A) 18-11; 8-15 24-20; 9-14[R](1) 20-11; 7-16 22-18; 15-22 25-9; 5-14 29-25 … Variation 1: 7-11 26-23; 4-8 27-24; 15-19 24-15; 10-26 30-23; 2-7 28-24 … A: This is known as Ryan’s Cross, in memory of the legendary grandmaster Willie Ryan. 4) 11-15 24-20; 15-18 22-15; 10-19 23-16; 12-19 25-22[R](1); 8-11 27-23; 4-8 23-16; 8-12 32-27 … Variation 1: 27-24; 7-10 24-15; 10-19 32-27; 6-10 25-22; 8-12 22-18 … 5) 11-15 24-20; 12-16 20-11; 7-16 22-18[R](1); 15-22 25-18; 8-11 29-25; 4-8 25-22; 8-12 28-24 … Variation 1: 22-17; 9-14 25-22; 16-20 23-19; 15-24 28-19; 5-9 17-13; 8-11 19-16 … 6) 11-15 21-17; 15-19 24-15; 10-19 23-16; 12-19 27-24[R](1) (this is inferior against 11-15 22-17; 1519 – but here, with the man still on 22, it is good) 7-10 24-15; 10-19 32-27; 3-7 22-18 … Variation 1: 22-18; 9-14 17-10; 7-23 27-18; 3-7 25-22; 6-10 29-25 … 7) 9-14 22-18; 11-15 18-11; 8-15 25-22; 5-9 24-20(1); 7-11 22-17; 4-8 17-13; 3-7 28-24 … Variation 1: 24-19[R]; 15-24 28-19; 4-8 22-18; 8-11 27-24 … 8) 9-14 22-18; 11-16 18-9; 5-14 25-22(1); 16-19 24-15; 10-19 23-16; 12-19 22-17; 6-10 27-24 … Variation 1: 24-19[R]; 8-11 25-22; 11-15 29-25; 15-24 28-19; 4-8 22-18 … 9) 9-14 22-18; 10-15 18-9; 5-14 25-22(1); 7-10 29-25; 3-7 22-17; 11-16 25-22; 16-19 23-16; 12-19 … Variation 1: 26-22 into 10-15 23-18; 9-14 18-9; 5-14 26-23 10) 9-14 22-17; 5-9 17-13; 1-5 25-22[R](1); 14-17 21-14; 9-25 29-22; 10-15 24-19; 15-24 28-19 … Variation 1: 24-19; 11-16 25-22; 14-17 21-14; 9-25 30-21; 8-11 26-22 …

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11) 9-14 22-17; 6-9 26-22[R](1); 11-15 24-19; 15-24 28-19; 7-11 30-26; 11-15 17-13; 15-24 13-6 … Variation 1: 24-19 into 10-14 24-19; 6-10 22-17 12) 9-14 24-20; 11-15 22-18[R](1); 15-22 25-9; 5-14 29-25; 7-11 25-22; 6-9 27-24; 3-7 24-19 … Variation 1: 22-17; 5-9 17-13; 1-5 28-24; 8-11 23-19; 3-8 into 11-15 24-20; 8-11 28-24; 3-8 23-19; 9-14 22-17; 5-9 17-13; 1-5 13) 9-14 24-20; 11-16 20-11; 8-15 22-18[R](1); 15-22 25-9; 5-14 29-25; 4-8 25-22; 6-9 22-18 … Variation 1: 22-17; 6-9 28-24; 4-8 23-19; 15-18 17-13; 1-6 24-20 … 14) 9-14 24-20; 10-15 22-17(1); 7-10 25-22; 3-7 29-25; 5-9 17-13; 11-16 20-11; 7-16 23-19 … Variation 1: 22-18[R]; 15-22 25-9; 5-14 29-25; 7-10 into 9-14 24-20; 11-15 22-18; 15-22 25-9 5-14 2925; 7-11 15) 9-14 24-19; 11-16 22-18; 8-11[R](1) 18-9; 5-14 into 9-14 22-18; 11-16 18-9; 5-14 24-19; 8-11 Variation 1: 5-9 26-22; 7-11 22-17; 16-20 17-13; 11-15 18-11; 8-24 28-19 … 16) 9-14 23-19; 14-18 22-15; 11-18 26-22[R](1); 7-11 22-15; 11-18 21-17; 3-7 25-21; 7-11 24-20 … Variation 1: 19-15; 10-19 24-15; 7-10 26-22; 10-19 22-15; 8-11 15-8; 4-11 25-22 … 17) 11-16 22-18; 16-19 24-15; 10-19 23-16; 12-19 25-22(1); 9-14 18-9; 5-14 into 9-14 22-18; 11-16 189; 5-14 25-22; 16-19 24-15; 10-19 23-16; 12-19 Variation 1: 27-24[R]; 7-10 24-15; 10-19 18-15; 9-14 25-22; 5-9 into 9-14 22-18; 5-9 25-22; 11-16 1815; 10-19 24-15; 7-10 27-24; 10-19 24-15; 16-19 23-16; 12-19 18) 11-16 22-18; 7-11(A) 25-22(1); 3-7 29-25; 16-19 24-15; 10-19 23-16; 12-19 21-17; 9-13 17-14 … Variation 1: 24-19[R] into 11-16 24-19; 7-11 22-18 A: This is known as the Nutcracker. 19) 11-16 23-18; 9-14 18-9; 5-14 24-19[R](1); 16-23 27-9; 6-13 22-18; 8-11 18-14; 10-17 21-14 … Variation 1: 22-17; 16-20 25-22; 8-11 26-23 into 12-16 23-18; 16-20 26-23; 8-12 22-17; 9-14 18-9; 5-14 25-22 20) 11-16 23-18; 8-11 18-14(1); 9-18 22-8; 4-11 26-23; 16-20 25-22; 11-15 24-19; 15-24 28-19 … Variation 1: 26-23[R]; 4-8 24-19; 16-20 22-17; 9-14 18-9; 5-14 25-22; 11-15 30-26; 15-24 28-19 … 21) 11-16 23-18; 7-11 18-15(1); 11-18 22-15; 10-19 24-15; 9-14 25-22; 5-9 22-17; 14-18 17-14; 9-13 29-25 … Variation 1: 26-23[R]; 3-7 24-19; 11-15 18-11; 8-24 28-19; 4-8 22-18; 8-11 25-22 9-13 29-25 … 22) 11-16 24-19; 7-11 22-18; 3-7 25-22[R](1); 11-15 18-11; 8-24 27-11; 7-16 22-18; 9-14 18-9; 5-14 29-25 … Variation 1: 28-24; 16-20 25-22; 11-15 18-11; 8-15 32-28; 4-8 21-17; 7-11 19-16 … 23) 11-16 22-17; 7-11 17-14(1); 10-17 21-14; 9-18 23-14; 3-7 25-21; 11-15 into 10-15 22-17; 7-10 1714; 10-17 21-14; 9-18 23-14; 3-7 25-21; 11-16 Variation 1: 24-19[R]; 9-14 25-22; 11-15 17-13; 15-24 28-19; 8-11 22-18; 3-7 18-9 …

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24) 11-16 21-17; 8-11(A) 17-14(1); 10-17 22-13; 4-8 24-19; 9-14 25-22; 16-20 29-25; 11-16 25-21 … Variation 1: 17-13[R]; 16-20 into 11-16 21-17; 16-20 17-13; 8-11 A: This is known as Oliver’s Twister. 25) 10-15 21-17; 15-18 22-15; 11-18 23-14; 9-18 24-19[R](1); 8-11 17-13; 7-10 25-21; 10-14 29-25 … Variation 1: 24-20; 8-11 17-13; 7-10 25-21; 10-14 29-25 … 26) 10-15 21-17 6-10 17-14(1); 9-18 23-14; 10-17 22-13; 12-16[R] 25-21; 16-19 29-25; 7-10 25-22 … Variation 1: 17-13[R]; 1-6 22-18; 15-22 25-18; 11-15 18-11; 8-15 29-25; 9-14 23-19 … 27) 10-15 21-17; 9-13 17-14; 11-16 24-19(1); 15-24 28-19; 6-9 22-18; 8-11 25-22; 16-20 29-25 … Variation 1: 22-17[R] into 9-13 22-18; 10-15 18-14; 11-16 21-17 28) 10-15 22-17; 7-10 17-14; 10-17 21-14; 9-18 23-14; 3-7 25-21(1); 11-16 29-25; 16-19 25-22 … Variation 1: 24-19[R]; 15-24 28-19; 11-16 27-23 … 29) 10-15 23-18; 11-16 18-11; 8-15 22-18[R](1); 15-22 25-18; 16-20 24-19; 4-8 29-25; 9-14 18-9; 5-14 25-22 … Variation 1: 26-23; 16-20 24-19; 15-24 28-19; 4-8 22-18; 8-11 25-22; 6-10 29-25 … 30) 10-15 23-18; 9-14 18-9; 5-14 26-23[R](1); 15-18 22-15; 11-18 21-17; 14-21 23-14; 6-10 31-26; 1017 24-19 … Variation 1: 22-17; 7-10 25-22; 15-19 24-15; 11-25 29-22; 8-11 26-23 … 31) 10-15 23-18; 6-10 18-14; 9-18 24-19; 15-24 22-6; 1-10 28-19[R](1); 11-15 27-24; 8-11 25-22 … Variation 1: 27-20; 10-14 25-22; 7-10 22-17 … 32) 10-15 24-20; 6-10 28-24; 1-6 23-19[R](1); 15-18 22-15; 11-18 26-22; 7-11 22-15; 11-18 32-28 … Variation 1: 23-18; 12-16 32-28; 10-14 27-23; 15-19 24-15; 9-13 18-9 … 33) 10-14 24-19; 14-18 22-15; 11-18 23-14; 9-18 21-17[R](1) into 10-15 21-17; 15-18 22-15; 11-18 2314; 9-18 24-19 Variation 1: 19-15 into 9-14 23-19; 14-18 22-15; 11-18 19-15; 10-19 24-15 34) 10-14 24-19; 11-16 28-24; 7-10[R](1) into 10-14 24-19; 7-10 28-24; 11-16 Variation 1: 16-20 19-15; 7-10 24-19; 9-13 22-17; 13-22 25-9; 5-14 29-25 … 35) 10-14 24-19; 7-10 28-24(1); 11-16 32-28; 16-20 22-17; 9-13 25-22; 5-9 19-15; 10-19 24-15; 6-10 15-6; 1-10 23-19 … Variation 1: 27-24[R]; 11-15 24-20; 15-24 28-19; 9-13 32-28; 5-9 22-18; 8-11 25-22 … 36) 10-14 22-18; 6-10 25-22; 11-15[R](1) 18-11; 8-15 29-25; 1-6 23-18; 14-23 27-11; 7-16 22-18 … Variation 1: 12-16 22-17; 16-20 17-13; 1-6 29-25; 11-15 18-11; 8-15 23-19 … 37) 10-14 22-18; 7-10 25-22(1); 11-16 29-25; 8-11 18-15; 11-18 22-15; 10-19 24-15; 3-7 26-22 … Variation 1: 24-20[R]; into 10-14 24-20; 7-10 22-18

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38) 10-14 22-17; 14-18 23-14; 9-18 26-23[R](1); 6-9 23-14; 9-18 30-26; 5-9 17-14; 9-13 26-23 … Variation 1: 17-13; 5-9 21-17; 11-15 17-14; 1-5 26-23; 6-10 13-6 … 39) 10-14 23-19; 14-18 22-15; 11-18 21-17[R](1); 8-11 17-13; 9-14 26-23; 11-16 31-26; 16-20 25-21… Variation 1: 26-22; 7-11 22-15; 11-18 21-17; 8-11 24-20; 9-13 17-14; 4-8 25-21 … 40) 10-14 23-19; 6-10 19-15(1); 10-19 24-15; 11-18 22-15; 7-11 26-22; 11-18 22-15; 8-11 15-8; 4-11 25-22 … Variation 1: 27-23[R] into 10-14 24-19; 6-10 27-24 41) 10-14 23-19; 7-10 19-15(1); 11-18 22-15; 10-19 24-15; 3-7 25-22; 7-10 27-24; 10-19 24-15; 8-11 15-8; 4-11 28-24 … Variation 1: 27-23[R] into 10-14 24-19; 7-10 27-24 42) 10-14 23-19; 11-15 19-10; 6-15 22-18[R](1); 15-22 26-10; 7-14 25-22; 8-11 24-19; 1-6 27-23 … Variation 1: 26-23; 8-11 22-18; 15-22 25-18; 7-10 29-25; 11-16 31-26 … 43) 10-14 24-20; 11-16 20-11; 8-15 28-24(1); 6-10 24-20; 1-6 22-18; 15-22 25-18; 3-8 26-22 … Variation 1: 22-18[R]; 15-22 25-18; 4-8 28-24; 6-10 24-19; 8-11 into 11-15 23-19; 9-14 27-23; 8-11 2218; 15-22 25-9; 5-14 29-25; 11-15 25-22 (CR) 44) 10-14 24-20; 14-18 22-15; 11-18 23-14; 9-18 21-17(A) into 10-15 21-17; 15-18 22-15; 11-18 23-14; 9-18 24-20 A: It is rare to see anything else played here. 45) 10-14 24-20; 7-10 22-18[R](1); 11-16 20-11; 8-22 25-18; 4-8 28-24; 8-11 24-19; 9-13 18-9; 5-14 29-25 … Variation 1: 28-24; 11-15 23-19; 8-11 26-23; 3-7 22-17; 9-13 30-26; 13-22 25-9; 5-14 32-28 … 46) 10-14 23-18; 14-23 27-18; 12-16 32-27; 16-20 26-23; 6-10[R](1) 30-26; 11-15 18-11; 8-15 23-18… Variation 1: 11-15 18-11; 8-15 30-26; 4-8 22-18; 15-22 25-18 … 47) 12-16 22-18; 16-19 24-15(A); 10-19 23-16; 11-20 25-22[R](1); 6-10 22-17; 8-11 29-25; 1-6 17-13... Variation 1: 21-17; 6-10 17-13; 1-6 25-22; 8-11 26-23; 10-15 28-24 … A: Where possible, it is always best in ballots such as this to take the double-exchange, as opposed to the single, in order to free your position. 48) 12-16 21-17; 9-14 17-13[R](1); 16-19 24-15; 10-19 23-16; 11-20 26-23; 8-11 22-18; 7-10 18-9; 514 25-22 … Variation 1: 24-19(A); 14-21 19-12; 11-16 22-17; 16-19 23-16; 8-11 25-22; 11-20 17-14; 10-17 22-13… A: This horror is known as the Minotaur! 49) 12-16 21-17; 16-19 24-15; 10-19 23-16; 11-20 25-21[R](1); 8-11 22-18; 6-10 into 12-16 22-18; 1619 24-15; 10-19 23-16; 11-20 25-22; 6-10 22-17; 8-11 Variation 1: 22-18 into 12-16 22-18; 16-19 24-15; 10-19 23-16; 11-20 21-17 50) 9-13 24-19; 6-9 22-18(1); 11-15 18-11; 8-24 28-19; 9-14 25-22; 4-8 22-18; 8-11 18-9; 5-14 29-25… Variation 1: 27-24[R] into 9-13 23-19; 6-9 27-23

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51) 9-13 24-19; 5-9 28-24[R](1); 11-15 22-18; 15-22 25-18; 1-5 29-25; 8-11 24-20; 3-8 19-16 … Variation 1: 22-18; 11-15 18-11; 8-24 28-19; 9-14 25-22; 4-8 22-18; 1-5 18-9; 5-14 23-18 … 52) 9-13 24-19; 10-14 22-18; 5-9 25-22; 6-10 27-24[R](1); 1-5 29-25; 11-15 18-11; 8-15 24-20 … Variation 1: 28-24; 11-15 18-11; 8-15 22-17; 13-22 26-17; 9-13 30-25 … 53) 9-13 23-18; 10-15 27-23[R](1); 6-10 32-27; 1-6 18-14; 10-17 21-14; 15-18 22-15; 11-18 26-22 … Variation 1: 26-23; 6-10 23-19; 11-16 18-11; 16-23 27-18; 8-15 18-11; 7-16 22-18 … 54) 9-13 23-18; 11-15 18-11; 8-15 22-17[R](1); 13-22 25-11; 7-16 29-25; 4-8 25-22; 8-11 24-20 … Variation 1: 24-20; 3-8 27-23; 15-19 23-16; 12-19 22-18; 8-11 25-22 … 55) 9-13 23-18; 6-9 26-23[R](1) into 9-13 22-18; 6-9 26-22 Variation 1: 27-23; 10-14 32-27; 11-16 18-15; 16-20 23-19; 7-11 26-23; 11-18 22-15 … 56) 9-13 23-19; 11-16 27-23 [R](1); 10-14 22-17; 13-22 25-9; 5-14 29-25; 16-20 32-27; 8-11 19-16 … Variation 1: 26-23; 10-14 22-17; 13-22 25-9; 5-14 29-25; 7-11 25-22; 6-10 22-18 … 57) 9-13 23-19; 10-14 27-23[R](1); 11-16 into 9-13 23-19; 11-16 27-23; 10-14 Variation 1: 19-15; 11-18 22-15; 7-11 26-22; 11-18 22-15; 3-7 25-22; 7-11 29-25; 11-18 22-15 … 58) 9-13 23-19; 5-9 27-23[R](1); 11-15 22-18; 15-22 25-18; 8-11 19-15; 10-19 24-8; 4-11 32-27 … Variation 1: 22-18; 11-15 18-11; 8-15 26-22; 9-14 22-17; 13-22 25-9; 6-13 27-23; 2-6 29-25 … 59) 9-13 23-19; 6-9 27-23[R](1); 9-14 22-18; 11-15 18-9; 5-14 25-22; 7-11 30-25; 1-5 32-27 … Variation 1: 19-15; 10-19 24-15; 11-18 22-15; 7-11 26-22; 11-18 22-15; 3-7 28-24; 1-6 25-22 … 60) 9-13 24-20; 10-15 28-24; 5-9 23-18; 1-5 27-23[R](1); 6-10 23-19; 11-16 20-11; 7-23 18-11 … Variation 1: 21-17; 7-10 17-14; 10-17 27-23; 17-21 23-19; 6-10 32-28; 2-6 26-23 … 61) 9-13 24-20; 5-9 22-18; 10-14[R](1) into 9-13 24-20; 10-14 22-18; 5-9 Variation 1: 10-15 25-22; 7-10 27-24; 10-14 23-19; 14-23 19-10; 6-15 26-10; 2-6 10-7 … 62) 9-13 24-20; 6-9 22-18; 10-15 18-14; 9-18 23-14; 1-6[R](1) 27-23; 15-19 23-16; 12-19 25-22 … Variation 1: 15-18 28-24; 11-15 26-23; 8-11 23-19 … 63) 9-13 24-20; 10-14 22-18; 5-9 27-24[R](1); 6-10 25-22; 10-15 22-17; 13-22 26-10; 7-14 30-26; 1522 26-10; 2-7 10-6 … Variation 1: 28-24; 6-10 25-22; 10-15 22-17; 13-22 26-10; 7-14 30-26; 15-22 26-10; 2-7 10-6 … 64) 9-13 21-17; 6-9 25-21; 11-15 30-25[R](1); 9-14 24-19; 15-24 28-19; 5-9 32-28; 7-11 19-15 … Variation 1: 24-19; 15-24 28-19; 8-11 22-18; 13-22 26-17; 9-14 18-9; 5-14 29-25 … Critical 3-Move Ballots 65) 9-14 23-18; 14-23(A) 27-18; 12-16[R](1) 18-14; 10-17 21-14; 6-9 14-10; 7-14 22-18; 14-23 26-12... Variation 1: 5-9 26-23; 12-16 30-26; 8-12 32-27; 10-14 18-15; 11-18 22-15 …

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A: This is known as the Double-Cross. 66) 11-16 21-17; 7-11 17-14[R](1); 10-17 22-13; 11-15 into 10-15 21-17; 7-10 17-14; 10-17 22-13; 1116 Variation 1: 17-13; 3-7 24-19; 11-15 28-24; 9-14 22-18; 15-22 25-9; 5-14 29-25; 16-20 32-28 … 67) 10-15 21-17; 7-10(A) 17-14; 10-17 22-13; 11-16 23-19[R](1); 16-23 26-10; 6-15 13-6; 1-10 25-22; 12-16 29-25 … Variation 1: 24-19; 15-24 28-19; 8-11 25-22; 9-14 22-18; 3-7 18-9 … A: This is known as the Octopus. 68) 10-15 22-17; 6-10 17-14; 9-18 23-14; 10-17 21-14; 1-6[R](1) 25-21; 11-16 29-25; 16-19 25-22 … Variation 1: 12-16 25-21; 16-19 26-22; 1-6 22-17; 6-10 30-26 … 69) 10-15 22-17; 15-19(A) 24-15; 11-18 23-14; 9-18 26-23[R](1); 6-9 23-14; 9-18 30-26; 5-9 17-14; 913 26-23 .. Variation 1: 17-13; 5-9 21-17; 8-11 25-21; 9-14 17-10; 7-14 26-23 … A: This is known as the Skullcracker. 70) 10-14 22-18; 12-16(A) 24-20; 16-19 23-16; 14-23 26-19; 8-12 25-22(1); 6-10 31-26; 11-15 27-23; 15-24 28-19 … Variation 1: 31-26[R]; 6-10 27-23; 11-15 16-11 … A: This is known as the White Doctor. 71) 9-13 22-18; 6-9(A) 25-22(1); 1-6 24-19; 11-15 18-11; 8-24 28-19; 4-8 23-18; 8-11 26-23 … Variation 1: 26-22[R]; 1-6 30-26; 11-15 18-11; 8-15 22-17; 13-22 25-11; 7-16 24-20 … A: This is known as the Dreaded Edinburgh. (Originally the title of a much easier 2-move ballot.) 72) 9-13 22-18; 11-15(A) 18-11; 8-15 21-17[R](1); 13-22 25-11; 7-16 24-20; 3-8 20-11; 8-15 28-24 … Variation 1: 24-20; 7-11 28-24; 5-9 25-22; 9-14 23-19; 4-8 26-23 … A: This is also known as the Dreaded Edinburgh. The majority of attacks in the game are directed towards the more vulnerable double-corner. Here, it is the single-corner which is being attacked; the Trunk representing the direct approach, and Variation 1 the ‘cramping’ approach. 73) – 84): These recently-added ballots are listed on Page 126, and are still in a state of flux. In all of these critical ballots, the balance of power is so lop-sided that, ‘The defender is permitted virtually no crossboard latitude.’ (Nathan Rubin), allowing the attacker to sustain a significant advantage right through to the endgame. Should the 3-move restriction ever prove to be ‘exhausted’ for practical, crossboard purposes – say in 100 years’ time! – there could be an argument for adopting complex, yet balanced, opening developments (not confined to a specific number of moves), rather than opt for the wholly undesirable 4-move restriction. SUMMARY • The opening encapsulates complete, preliminary objectives by both sides. • Although an opening never consists of just 3 moves, it makes sense to first study GAYP ballots, then 2-move ballots and finally 3-move ballots. • In the 20 critical ballots it is possible for the attacker to sustain a significant advantage right through to the endgame.

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CHAPTER 6: SOLUTIONS •

Solutions To Problems (x 20)

•

Solutions To Pitches (x 50)

•

Solutions To Advanced Tactics (x 50)

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SOLUTIONS TO PROBLEMS Problem Number 1: … 21-17!! (the natural 27-23 is met with 16-20 24-19; 20-24 19-15; 24-27 23-19; 27-24!! and loses by First Position); 13-22 27-23; 16-20 24-19; 22-26 (against 20-24, White plays 2318) 23-18; 20-24 19-16! (separating the two men); 24-19 16-12. Drawn. Problem Number 2: … 18-23 (if 19-15, Black draws with 16-19); 16-11 12-8! (otherwise the play repeats itself); 11-4 19-15!; 4-8 (7-11 loses quickly) 23-18!; 8-12 (ditto) 18-14!; 12-8 (ditto) 14-9!; 7-11 (8-12 loses by 15-10) 9-14; 11-18 14-23. White wins. Problem Number 3: … 30-25; 22-26 25-21; 26-22 28-24; 4-8 24-19; 8-11 29-25!! (Black was threatening 22-26 & 26-23); 22-29 21-17; 29-25 17-14; 25-22 19-15; 11-18 14-23. White wins. Problem Number 4: … 25-22; 21-25 22-17; 25-22 17-13; 4-8 23-19! (vital); 8-11 29-25!! (the man on 11 is isolated and ripe for picking); 22-29 13-9; 29-25 9-6; 25-22 6-2; 22-18 2-7. White wins. Problem Number 5: … 22-17; 21-25 17-21! (17-13? allows a draw with 10-14!); 10-14 (25-30 loses quickly to 18-14) 18-9; 25-30 21-25!! (9-6? only draws); 30-21 9-6; 21-17 6-2; 17-14 2-7. White wins. Problem Number 6: … 31-26!! (the natural 22-18 lost after a long ending: W. Ryan v N. Banks CR 1937; also R. Pask v D. Harwood CR 2002 ); 24-27 22-17; 27-31 26-22 (17-13? loses); 31-27 23-18!; 14-23 17-13; 9-14 22-18. Drawn. Note: Richard Fortman says he has always considered Searight a great name for a draughts player! Problem Number 7: … 26-23; 10-15 21-17; 29-25 23-18; 15-22 17-26; 25-21 13-9!! (the move everyone overlooks); 5-14 26-22. White wins. Problem Number 8: … 15-19; 24-28 20-16! (virtually immobilizes Black, and forces matters handily); 28-32 2-7; 32-28 7-10; 28-24 19-28; 12-19 10-15; 19-23 15-19; 23-26 31-27!! (just when Black appeared to be escaping); 26-31 19-15; 31-24 28-19. White wins. Problem Number 9: … 15-11! (7-2? loses by 16-11); 6-15 (22-8? loses by 7-3) 7-3; 16-7 18-2! Drawn. Problem Number 10: … 1-5; 29-25 5-9; 25-22 9-13; 22-18 30-26!!; 21-25 13-9; 25-30 9-5; 30-23 3227; 23-32 10-6; 2-9 5-23. White wins. ‘The best problem I have ever seen.’ (Tom Wiswell) Problem Number 11: … 18-14; 28-32 19-24 (19-15 loses by 12-16); 12-16 24-20; 16-19 20-16; 19-24 16-11; 32-27 11-15; 27-23 (against 24-28, White steals the man on 6 with 14-10) 14-9!; 5-14 15-18. Drawn. This problem has transposed into SOIC/D, Diagram 49. Although, in part, the problem composer’s skill lies in inventing/discovering new ideas, it mainly consists of devising new settings for established ideas. Problem Number 12: … 6-1; 8-11 (or lose this man) 3-7; 11-15 7-10; 15-19 1-5; 9-13 12-16; 19-23 (Black has now been nudged into position for the stroke) 5-9!; 13-15 16-19; 15-24 28-17. White wins.

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Problem Number 13: … 26-22! (White, already a piece down, sacrifices another); 18-25 2-7; 12-16 711; 16-19 32-27!!; 28-32 (19-23 loses more prosaically) 11-16; 32-23 30-26; 23-30 16-23. White wins. Problem Number 14: … 11-15; 6-2 7-3; 2-7 (Black, a piece down, has to try and regain it) 10-6; 7-2 26-22!!; 17-26 3-8!; 4-18 (or 2-9 first) 1-5; 2-9 5-30. White wins. Many of Mr Charles’ problems involve forcing manoeuvres of this kind, Black appearing to regain a lost piece only for White to bring matters to a spectacular conclusion. Speaking of this style, initiated by George Slocum, one player appositely described it as ‘Slow comes the stroke!’ Problem Number 15: … 27-23; 16-20 23-16; 15-19 (14-18 loses quickly after 22-17 & 28-24) 28-24! (32-27? allows a draw after 20-24! & 10-15); 19-28 26-23; 10-15 16-11; 20-24 11-7; 24-27 7-2; 27-31 2-7! (2-6? allows a draw after 14-17 & 31-26); 15-18 22-15; 31-26 23-19; 26-23 15-11; 23-16 7-2; 16-7 2-11; 14-18 21-17!!; 13-22 11-15. White wins. This problem has transposed into SOIC/D, Exercise 4 on the Opposition. Problem Number 16: … 27-24; 2-7 21-17!; 19-23 (6-9 is met with 22-18) 26-19; 6-9 19-16; 9-14 2419; 14-21 (15-24 28-19; 14-21 loses to 22-18) 28-24!; 21-25 31-26; 25-30 26-23; 13-17 (the best hope, since White was threatening 23-18) 22-13; 30-26 13-9; 26-31 9-6; 31-27 6-2; 27-11 2-6; 15-24 6-8; 7-10 23-18 (the man on 10 is now isolated); 24-27 8-3; 27-31 3-7. White wins. This has frequently been won in exhibition play by Tom Wiswell. Instead of 1-6?, which forms the problem, Black draws with 2-6 2724; 6-9 24-20; 19-23! 26-19; 15-24 28-19; 10-14 & 1-5 Drawn: D. Lafferty v J. Morrison 1986. Problem Number 17: … 23-18; 16-23 26-19; 10-14 19-15; 14-23 27-18; 20-24 30-26; 12-16 26-22; 1619 22-17; 9-13 17-14; 19-23 14-9; 24-27 18-14; 27-31 9-6; 31-26 6-2!!! White wins. All White’s moves have been with the isolation of the man on 7 in mind. Black anticipated this, envisaging a shot with 2327, but with his only available waiting move, 13-17, had to self-destruct; providing White with a backup. Again employed by Tom Wiswell with remarkable frequency, this position also arose in the UK & Ireland v USA International Match in 1989. Unfortunately for White, he lost with … 26-22?; 7-11 2218; 9-14! 18-9; 11-15 etc… Black Wins. Problem Number 18: … 28-24!!; 20-27 26-23; 18-22 23-18; 15-19 18-15; 19-24 15-11; 10-15 11-2; 610 2-7. White wins. Willie Ryan defeated John Bradford with this in the 1937 US National Tournament. Problem Number 19: … 14-10; 6-15 17-14; 2-7 21-17 (starting to set things up); 25-29 30-25!!! (or 9-6 first); 29-22 9-6; 1-10 13-9; 22-6 5-1; 10-17 1-10. White wins. This is easily my favourite problem. Problem Number 20: … 25-21 (11-7? loses to 18-22: Black preventing the setting up of the fortress); 23-26 (3-7 is no better) 11-7; 26-30 21-17; 30-25 17-13; 25-22 6-2; 18-23 9-6; 22-18 13-9; 23-26 5-1; 26-30 1-5. Drawn. Black, two pieces up, cannot penetrate White’s ‘virgin fortress’. I sent a similar problem to Dr Jonathan Schaeffer for Chinook to solve a few years ago, but it proved to be beyond its capabilities. Talking of Chinook, and speaking philosophically, some question whether its exhaustive 10-piece databases preclude the composition of 'original' problems within this range. My personal view on this is that it is no more or less possible than it was before Chinook’s existence. As one wit put it: ‘All the good moves are there, waiting to be played, but so are the bad ones!’

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Postscript Diagram 1: A.Butcher v R.Pask 1996

QRRRRRRRRS TE 1E 2E 3E 4U T 5E 6ED7E 8EU TE 9ED!0E !1EA!2U T !3E !4E !5E !6EU TE !7EA!8EA!9EB@0U T @1EC@2E @3E @4EU TE @5E @6E @7E @8U T @9E #0EB#1E #2EU VWWWWWWWWX White to move and win

Solution: … 10-15! (not the feeble 7-11? which drew); 19-24 (19-23 also loses) 15-19; 24-28 20-16! (I missed this idea: see Problem Number 8); 28-32 31-27!; 32-23 19-17; 12-19 7-11 (or 7-10). White wins. This is but one example of a problem-like idea arising in play. Unfortunately, in a game you rarely know the correct terms! The best you can hope for is to set problems your opponent can’t solve.

SOLUTIONS TO PITCHES 1) 9-14 24-19; 11-15 22-18; 15-24 18-9; 5-14 28-19; 8-11 25-22; 11-15 32-28; 15-24 28-19; 7-11 22-18; 6-9 26-22; 3-8 27-24; 11-15? 18-11; 8-15 Forms Diagram: 21-17!; 14-21 23-18 … White wins. Analysis by J. Denvir. 2) 11-16 23-18; 7-11 26-23; 3-7 24-19; 11-15 18-11; 8-24 28-19; 4-8 22-18; 9-14 18-9; 5-14 25-22; 811 29-25; 1-5 22-18; 16-20 18-9; 5-14 25-22; 11-15 32-28; 15-24 28-19; 7-11 27-24; 20-27 31-24; 1115 Forms Diagram: 21-17!; 14-21 23-18; 12-16 19-12; 15-19 24-15; 10-19 12-8 … Drawn. W. Hellman v B. Case 1963. 3) 9-13 24-19; 5-9 22-18; 11-15 18-11; 8-24 28-19; 9-14 25-22; 4-8 22-18; 1-5 18-9; 5-14 23-18; 14-23 27-18; 8-11 26-23; 6-9 29-25; 10-15 19-10; 7-14 32-27; 3-7 27-24; 7-10 25-22; 12-16 24-19; 16-20 3127; 2-7 30-25 Forms Diagram: 11-16! 19-12; 7-11 12-8; 11-16 8-3; 16-19 23-16; 14-32 3-7. Drawn. W. Hellman v M. Tinsley 1956. 4) 10-15 24-19; 15-24 28-19; 6-10 22-17; 9-14 25-22; 11-15 27-24; 8-11 Forms Diagram: 23-18! (This breaks up the centre – White was being threatened with strangulation); 14-23 17-14; 10-17 21-14; 7-10 14-7; 3-10 31-27; 2-6 27-18; 6-9 32-28 … Drawn. E. Lowder v M. Tinsley 1979. 5) 9-13 21-17; 6-9 25-21; 11-15 30-25; 9-14 24-19; 15-24 28-19; 5-9 32-28; 2-6 22-18; 13-22 26-17; 811 25-22; 12-16! 19-12; 11-16 Forms Diagram: 12-8!; 4-11 27-24; 16-20 24-19 … Drawn. P. McCarthy v E. Bruch 1983. 6) 11-15 23-19; 8-11 22-17; 11-16 24-20; 16-23 27-11; 7-16 20-11; 3-7 28-24; 7-16 24-20; 16-19 25-22; 9-14 29-25; 4-8 Forms Diagram: 22-18! (Known as ‘Martin’s Rest’, in ‘honour’ of Robert Martins of yesteryear, this breaks up the centre, and simplifies White’s defensive task.); 14-23 17-14; 10-17 21-14; 2-7 31-27 … Drawn. D. Lafferty v D. Oldbury 1982. 7) 9-14 22-18; 10-15 18-9; 5-14 25-22; 7-10 30-25; 15-18 22-15; 11-18 24-19; 3-7 26-22; 7-11 22-15; 11-18 31-26; 8-11 19-15; 10-19 23-7; 2-11 28-24; 11-15 26-23; 4-8 25-22; 18-25 29-22; 8-11 24-20; 610 32-28; 1-6 22-17; 15-18 23-19; 6-9 Forms Diagram: 19-16!; 12-19 27-24; 19-23? … White wins. L. Taylor v M. Tinsley 1970.

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8) 11-15 23-19; 8-11 22-17; 11-16 24-20; 16-23 27-11; 7-16 20-11; 3-7 28-24; 7-16 24-20; 16-19 25-22; 4-8 29-25; 19-24 Forms Diagram: 17-14! (As you might expect, this was not the move originally played in this position, but through a process of analysis it was found to be the one which made White’s task easiest.); 9-18 22-15; 10-19 32-28; 6-10 25-22; 5-9 22-18 … Drawn. M. Tinsley v N. Banks 1952. 9) 9-13 24-20; 10-15 28-24; 5-9 23-18; 6-10 21-17; 1-5 25-21; 2-6 Forms Diagram: 24-19!; 15-24 3228. White wins. A. Jordan v R. Atwell 1903. 10) 10-14 23-19; 11-16 22-17; 16-23 17-10; 7-14 26-19; 8-11 25-22; 4-8 29-25; 9-13 31-26; 11-16 1915; 16-20 26-23; 13-17 22-13; 6-9 13-6; 1-26 30-23; 8-11 25-22; 2-7 22-17; 5-9 17-10; 7-14 23-19? Forms Diagram: 12-16! 19-12; 11-15 27-23; 20-27 28-24; 9-13. Black wins. M. Tinsley v E. Lowder 1979. 11) 11-15 22-18; 15-22 25-18; 8-11 29-25; 4-8 24-20; 10-15 25-22; 15-19 23-16; 12-19 27-23; 8-12 2316; 12-19 31-27; 9-14 18-9; 5-14 27-23; 11-16 20-11; 7-16 22-17; 6-10 32-27; 2-7? 27-24; 10-15 17-10; 7-14 Forms Diagram: 21-17!; 14-21 24-20; 1-6 20-11. White wins. Frequently won by Tom Wiswell in exhibition play. 12) 10-14 24-19; 14-18 22-15; 11-18 23-14; 9-18 21-17; 8-11 17-13; 7-10 25-21; 10-14 29-25; 4-8 2623; 11-16 28-24; 16-20 30-26; 3-7 32-28; 7-11? 19-16; 12-19 23-7; 2-11 24-19; 11-15 19-10; 6-15 13-9; 8-11 28-24; 11-16 Forms Diagram: 9-6!; 1-10 26-23; 5-9 31-26; 9-13 26-22. White wins. Another win scored regularly by Mr Wiswell. 13) 11-16 24-19; 7-11 21-17; 9-14 17-13; 11-15 22-18; 15-22 25-9; 5-14 28-24; 3-7 24-20; 1-5 20-11; 8-24 27-20; 4-8 29-25; 8-11 25-22; 14-17 31-27; 10-15 23-18; 7-10 18-14; 2-7 27-24?; 12-16 32-28; 1721 22-17 Forms Diagram: 21-25! 30-21; 15-18. Black wins. P. Thompson v M. Tinsley 1960 practice. Note: The same position arises from 11-16 24-20; 16-19 23-16; 12-19 22-18; 9-14 18-9; 5-14 25-22; 1015 22-17; 6-10 29-25; 8-11 17-13; 4-8 25-22; 2-6 22-17; 8-12 27-23; 3-8 23-16; 12-19 26-23; 19-26 3023; 8-12 32-27?; 12-16 27-24; 14-18! 23-14; 1-5 31-26; 15-18. Black wins. 14) 9-13 24-20; 10-14 22-18; 5-9 27-24; 6-10 24-19; 1-5 25-22; 11-15 18-11; 8-14 28-19; 14-17 21-14; 9-27 32-23; 4-8 29-25; 8-11 23-18 Forms Diagram: 13-17! (or 10-15 first) 22-13; 10-15 19-10; 7-23 26-19; 3-7 … Drawn. Analysis by R. Pask 1983. 15) 9-13 24-20; 5-9 22-18; 10-14 25-22; 6-10 28-24; 10-15 22-17; 13-22 26-10; 7-14 30-26; 15-22 2610; 2-7 10-6; 1-10 29-25; 10-14 25-22; 7-10 32-28; 11-15 24-19; 15-24 28-19; 8-11 Forms Diagram: 20-16!; 11-20 22-18; 4-8 18-15; 12-16 15-6; 8-12 … Drawn. L. Levitt v M. Tinsley 1950. 16) 9-14 24-20; 5-9 22-18; 11-16 20-11; 8-22 25-18; 4-8 27-24; 8-11 24-19; 11-16 29-25; 7-11 25-22; 1-5? Forms Diagram: 19-15!; 10-19 22-17; 6-10 18-15; 11-27 31-6 … White wins. Yet another one of Tom Wiswell’s ‘bread and butter' moves. 17) 9-13 24-20; 10-14 22-18; 5-9 27-24; 6-10 25-22; 1-5? 31-27; 14-17 21-14; 10-17 29-25; 17-21 1814; 9-18 23-14; 11-15 27-23; 8-11 Forms Diagram: 14-10!; 7-14 23-19; 3-8 19-10; 11-16 20-11; 8-15 32-27 … White wins. W. Hellman v B. Case 1963. 18) 11-15 23-18; 10-14 18-11; 8-15 26-23; 7-11 22-18; 15-22 25-18; 6-10 29-25; 9-13 18-9; 5-14 25-22; 3-7 31-26; 1-5 24-20; 14-17 21-14; 10-17 27-24; 17-21 24-19; 7-10 23-18; 5-9 32-27; 4-8 27-23; 2-7 2824; 10-14 19-15; 14-17 Forms Diagram: 15-10!; 7-14 24-19. White wins. D. Glennie v R. Pask 1984. 19) 11-16 24-20; 7-11 21-17; 9-14 25-21; 3-7 30-25; 5-9? 27-24; 11-15 20-11; 7-16 24-19; 15-24 28-19; 8-11 22-18; 9-13 18-9; 13-22 25-18; 6-13 29-25; 2-6 25-22; 6-9 32-28; 4-8 21-17; 1-5 Forms Diagram: 19-15!; 10-19 31-27. White wins. D. Lafferty v Chinook 1991. 20) 10-14 24-19; 7-10 27-24; 9-13? 22-18; 11-15 18-11; 8-15 24-20; 15-24 28-19; 4-8 25-22; 2-7 22-18; 14-17 21-14; 10-17 18-15; 5-9 29-25; 6-10 15-6; 1-10 25-22; 8-11 32-28; 17-21 22-18; 3-8 26-22; 10-14 19-15; 14-17 Forms Diagram: 15-10!; 7-14 31-26; 12-16 28-24 8-12 24-19. White wins. D. Shields v R. Pask 1985.

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21) 10-15 23-18; 6-10 18-14; 9-18 24-19; 15-24 22-6; 1-10 28-19; 11-15 27-24; 8-11 25-22; 11-16 2623; 16-20 31-27; 5-9 22-17; 4-8 17-13; 8-11 13-6; 2-9 29-25; 9-14? Forms Diagram: 21-17!; 14-21 2522; 12-16 19-12; 10-14 22-17; 15-18 17-10; 7-14 24-19 … White wins. N. Banks v W. Ryan 1937. 22) 10-14 22-17; 14-18 23-14; 9-18 26-23; 6-9 23-14; 9-18 30-26; 5-9 17-14; 9-13 26-23; 1-5? 24-19; 11-16 28-24; 16-20 25-22; 18-25 29-22; 8-11 22-18; 7-10 14-7; 3-10 18-15; 11-18 23-7; 2-11 27-23; 2027 31-24; 5-9 23-18; 11-16 19-15; 16-19 Forms Diagram: 15-10!; 19-28 10-6; 12-16 6-1; 16-19 1-5; 13-17 5-14; 17-22 18-15 … White wins. Chinook v J. Morrison 1990. 23) 10-15 23-18; 6-10 18-14; 9-18 24-19; 15-24 22-6; 1-10 28-19; 11-15 27-24; 8-11 25-22; 11-16 2117; 16-23 26-19; 5-9 17-13; 2-6 29-25; 9-14 30-26; 4-8 26-23; 7-11? Forms Diagram: 13-9!; 6-13 2521; 3-7 31-26 (Oldbury missed the win with 32-28); 13-17 22-13; 15-18 13-9 … White wins. M. Tinsley v D. Oldbury 1974. 24) 11-15 21-17; 9-13 25-21; 8-11 30-25; 4-8 24-19; 15-24 28-19; 11-16 22-18; 13-22 26-17; 8-11 1714; 10-17 21-14; 16-20 25-22; 6-10 31-26; 10-17 22-13; 2-6 19-16; 12-19 23-16; 6-10 29-25; 10-15 2522; 15-19 32-28; 1-6 22-17; 6-10 18-14; 11-15? Forms Diagram: 16-11!; 7-16 14-7; 3-10 26-22. White wins. A pretty win which many have noted. 25) 9-13 24-19; 10-14 22-18; 5-9 25-22; 6-10 27-24; 11-15? 18-11; 8-15 24-20; 15-24 28-19; 4-8 22-18; 8-11 29-25; 1-5 25-22; 11-16 20-11; 7-16 Forms Diagram: 21-17!; 14-21 18-15; 2-6 15-11; 16-20 3227; 9-14 19-15 … White wins. M. Banks v J. Caldwell Postal 1975. Note: This position may also arise from the Ayrshire Lassie with colours reversed. 26) 9-13 23-19; 6-9 19-15; 10-19 24-15; 11-18 22-15; 7-11 26-22; 11-18 22-15; 3-7 28-24; 1-6 25-22; 8-11 15-8; 4-11 22-18; 6-10 29-25; 9-14 18-9; 5-14 27-23; 11-15 32-27; 2-6 24-20; 14-17 21-14; 10-17 31-26; 7-11 25-22; 17-21 27-24 Forms Diagram: 21-25! 30-21; 12-16 21-17; 6-9 23-18; 16-19 17-14; 19-28 14-5; 13-17 22-13; 15-31. Drawn. Analysis by W. Ryan. 27) 11-15 23-19; 9-13 22-18; 15-22 25-18; 7-11 19-15; 10-19 24-15; 5-9 29-25; 1-5 26-23; 12-16 31-26; 3-7 28-24; 8-12 15-8 4-11 26-22?; 6-10 24-20; 10-15 21-17; 15-19 18-14; 19-26 30-23; 9-18 23-14; 1619 25-21 Forms Diagram: 19-23! 27-18; 12-16 32-27; 16-19. Black wins. H. Lieberman v M. Chamblee 1950. 28) 11-15 22-18; 15-22 25-18; 12-16 29-25; 9-13 18-14; 10-17 21-14; 16-20 23-18; 6-10 25-21; 10-17 21-14; 2-6 26-23; 13-17 31-26; 7-11 23-19; 3-7 26-22?; 17-26 30-23; 8-12 19-15 Forms Diagram: 5-9! 15-8; 4-11 14-5; 7-10 … Black wins. J. Moir v R. Stewart circa 1903. 29) 10-14 24-19; 7-10 22-18; 11-16 18-15; 3-7 28-24; 14-18? 23-14; 16-23 26-19; 10-17 21-14; 9-18 31-26; 5-9 26-23; 1-5 23-14; 9-18 30-26; 7-10 Forms Diagram: 15-11!; 8-15 26-23. White wins. Analysis by M. Tinsley, sent to me by R. Fortman, correcting Game 32 of the 7th International Match Book. 30) 11-15 23-18; 12-16 18-11; 8-15 24-20; 9-14 20-11; 7-16 22-17; 4-8 26-23; 15-19 31-26; 6-9? 17-13; 10-15 13-6; 2-9 25-22; 14-18 23-14; 9-25 29-22; 8-12 27-24; 16-20 21-17; 20-27 32-16; 12-19 26-23; 19-26 30-23; 3-7 28-24; 1-6 17-13; 5-9 23-18; 7-11 24-20; 15-19 Forms Diagram: 20-16!; 11-20 2217; 19-23 17-14; 23-26 14-5. White wins. Analysis by M. Tinsley. 31) 9-14 24-19; 5-9 22-18; 11-15 18-11; 8-24 28-19; 4-8 25-22; 8-11 22-18; 11-16 29-25; 7-11 25-22; 3-8 27-24; 16-20 32-28; 20-27 31-24; 11-16 19-15; 10-19 24-15; 6-10 15-6; 1-10 Forms Diagram: 1815!; 10-19 22-17; 8-11 17-10; 11-15 10-6 (10-7; 2-11 30-25 forms Diagram 22 on Page 47); 9-14 6-1; 15-18 21-17; 14-21 23-14; 21-25 30-21; 19-24 28-19; 16-30. Drawn. T. Watson v J. Webster 1989. 32) 9-14 23-19; 5-9 27-23; 11-15 22-18; 15-22 25-18; 7-11 26-22; 11-15 18-11; 8-15 24-20; 15-24 2819; 10-15? 19-10; 6-15 22-17; 2-7 17-10; 7-14 29-25; 1-5 Forms Diagram: 23-19!; 15-24 25-22; 4-8 22-17; 14-18 17-13; 9-14 13-9; 18-23 9-6 … White wins. R. King v M. Tinsley 1994. 33) 11-15 24-19; 15-24 28-19; 8-11 22-18; 9-14 18-9; 5-14 25-22; 11-15 32-28; 15-24 28-19; 4-8 22-18; 1-5 18-9; 5-15 26-22; 8-11 22-18; 11-15 18-9; 6-13 27-24; 2-6? Forms Diagram: 21-17!; 13-22 23-18; 7-11 18-14; 10-17 19-1. White wins. Analysis by D. Oldbury.

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34) 11-16 21-17; 8-11 17-14; 10-17 22-13; 4-8 24-19; 9-14 25-22; 14-17? 29-25; 17-21 22-18; 16-20 25-22; 11-16 22-17; 7-11 26-22; 3-7 Forms Diagram: 13-9! (Willie Ryan missed this, playing against Herman Rudolph in the 1946 Newark National US Nat Ty, going 17-14? instead to a long draw.); 6-13 18-14; 5-9 14-5; 7-10 28-24 … White wins. Analysis by H. Rudolph. 35) 10-14 24-19; 6-10 22-17; 9-13 28-24; 13-22 25-9; 5-14 29-25; 11-15 25-22; 8-11 32-28; 3-8? Forms Diagram: 21-17!; 14-21 22-17; 15-18 23-14; 11-16 27-23; 16-20 31-27 … White wins. P. McCarthy v E. Lowder 1983. This may arise from numerous ballots, including 9-13 23-19; 6-9 27-23; 9-14 22-17; 13-22 25-9; 5-14 29-25; 11-15 25-22; 7-11 32-27; 3-7? (11-16 best) same. 36) 12-16 21-17; 16-20 17-13; 11-15 24-19; 15-24 28-19; 8-11 22-18; 4-8 25-22; 8-12 29-25; 9-14 18-9; 5-14 22-18; 14-17 19-16; 12-19 23-16; 1-5 16-12; 17-21 25-22; 10-15 Forms Diagram: 13-9!; 6-13 1814; 13-17 22-13; 15-18 14-9!; 5-14 13-9 … Drawn. M. Tinsley v L. Sanders 1946. 37) 11-16 22-17; 16-20 17-14; 9-18 23-14; 10-17 21-14; 8-11 24-19; 11-16 26-23; 6-9 31-26?; 9-18 2314; 16-23 26-19; 4-8 30-26; 8-11 26-23; 1-6 25-21 Forms Diagram: 20-24! 27-20; 6-9 14-10; 7-14 2925; 9-13 32-27; 2-7 25-22; 3-8 27-24 … Black wins. R. Pask v G. Cann 1995. 38) 11-15 23-19; 9-13 22-18; 15-22 25-18; 10-14 18-9; 5-14 27-23; 8-11 26-22; 6-10 22-18; 1-5 18-9; 5-14 29-25; 11-15 25-22; 4-8 30-26; 8-11 32-27; 2-6 22-17; 13-22 26-17; 3-8 17-13; 15-18 31-26 Forms Diagram: 18-22! 26-17; 11-15 23-18; 14-32 17-14; 10-17 19-3 32-27; 21-14 27-20. Drawn. A. Long v M. Tinsley 1954. Here is an unusual way of transposing into this position (with colours reversed): 12-16 23-18; 16-20 24-19; 11-15 18-11; 8-24 28-19; 9-14 26-23; 4-8 22-18; 5-9 25-22; 8-11 30-26; 3-8 27-24; 20-27 31-24; 8-12 24-20; 1-5 32-27; 11-16 20-11; 7-16 29-25; 16-20 18-15; 2-7 same. 39) 10-15 23-18; 6-10 18-14; 9-18 24-19; 15-24 22-6; 1-10 28-19; 11-15 27-24; 8-11 25-22; 11-16 2623; 16-20 31-27; 5-9 22-17; 9-14? 17-13; 4-8 13-9; 8-11 9-5; 11-16 29-25; 7-11 25-22; 3-7 Forms Diagram: 21-17!; 14-21 5-1; 2-6 1-5; 6-9 5-14; 10-26 19.3 White wins. D. Harwood v R. Pask 2002. 40) 10-15 21-17; 7-10 17-14; 10-17 22-13; 11-16 23-19; 16-23 26-10; 6-15 13-6; 1-10 25-22; 12-16 2925; 16-19 25-21; 2-6? 21-17?; 5-9 17-13; 9-14 24-20; 8-11 27-24; 4-8? Forms Diagram: 13-9!; 6-13 22-18!; 14-23 31-27. White wins. M. Krantz v T. Wiswell circa 1950. 41) 9-13 22-18; 12-16 24-20; 8-12 27-24; 3-8 25-22; 16-19 24-15; 10-19 23-16; 12-19 18-14; 6-10 2925; 10-17 21-14; 1-6 25-21; 6-10 32-27; 10-17 21-14; 8-12 Forms Diagram: 20-16!; 11-20 22-18; 2-6 27-24; 20-27 31-15; 7-11 15-8; 4-11 28-24; 13-17 24-20; 6-9 14-10; 17-22 26-17; 9-14 18-9; 5-21 10-7; 11-15. Drawn. Analysis by K. Grover. 42) 11-15 21-17; 9-13 25-21; 8-11 30-25; 4-8 24-19; 15-24 28-19; 11-15 17-14; 15-24 27-20; 10-17 2114; 6-9 32-27; 9-18 22-15; 5-9 23-18; 7-11 26-23; 13-17 25-21; 17-22 21-17 Forms Diagram: 22-25! 29-22; 9-14! 17-10; 2-7 22-17; 7-21 15-10 … Drawn. W. Hellman v B. Case 1963. 43) 10-14 22-18; 11-16 26-22; 7-10 22-17; 16-19 24-15; 10-26 30-23; 8-11 17-10; 6-22 25-18; 3-7 2925; 1-6 28-24; 9-14 18-9; 5-14 25-22; 7-10 24-20; 6-9 27-24; 4-8 31-27; 2-7? 23-19; 11-15 Forms Diagram: 22-18!; 15-22 32-28; 7-11 19-16; 12-19 24-6; 11-15 6-2; 22-26 … Drawn. Analysis by R. Podoff. 44) 11-15 21-17; 9-13 25-21; 8-11 30-25; 4-8 24-19; 15-24 28-19; 11-15 17-14; 15-24 27-20; 10-17 2114; 8-11 32-28; 12-16 22-17; 13-22 25-18; 6-10 29-25; 10-17 25-21; 1-6 21-14; 16-19 23-16; 6-10 2824; 10-17 26-22; 17-26 31-22; 5-9 24-19; 2-6 22-17; 9-13 17-14; 6-10 16-12; 10-17 Forms Diagram: 12-8!; 3-12 19-15. Drawn. E. Lowder v M. Tinsley 1979. 45) 10-14 24-19; 6-10 27-24; 11-15 22-18; 15-22 25-18; 8-11 19-15; 10-19 24-8; 4-11 28-24; 7-10 2925; 9-13 18-9; 5-14 25-22; 3-7 31-27; 1-6 23-18; 14-23 27-18; 6-9 26-23; 10-15 21-17; 12-16 32-27; 1619 23-16; 11-20 18-11; 7-16 30-26; 2-7 26-23; 7-10 23-18 Forms Diagram: 9-14! 18-9; 10-15 17-14; 13-17! 22-13; 16-19. Drawn. H. Richards v W. Ryan 1933. 46) 12-16 23-18; 16-19 24-15; 10-19 21-17; 11-16 (This more commonly arises from 11-15 23-18; 1519 24-15; 10-19 21-17; 12-16 same.) 27-24; 8-12 24-15; 7-10 25-21; 10-19 17-13; 4-8 22-17; 2-7 29-25;

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19-23 26-19; 16-23 28-24; 12-16 31-27 Forms Diagram: 16-19! 24-15; 23-26! 30-23; 7-10 23-19; 1014 17-10; 8-11 15-8; 6-31 13-6; 3-12 6-2; 1-6 2-9; 5-23. Drawn. Analysis by D. Oldbury. 47) 10-15 24-19; 15-24 28-19; 9-14 22-18; 5-9 25-22; 7-10 19-15; 10-19 23-7; 3-10 26-23; 12-16 22-17; 8-11 17-13; 16-20 32-28; 11-16 28-24; 16-19 24-15; 10-26 30-23; 4-8 27-24; 20-27 31-24; 8-11 24-19; 11-15? 18-11; 1-5 Forms Diagram: 11-7!; 2-11 21-17!; 14-21 23-18; 6-10 13-6; 5-9 6-1; 10-14 1-5; 1423 5-14. White wins. W. Ryan v M. Lieber 1926. 48) 10-15 21-17; 6-10 17-14; 9-18 23-14; 10-17 22-13; 11-16 25-22; 1-6 29-25; 7-10 25-21; 16-19 2217; 5-9 26-23; 19-26 31-22; 12-16 27-23; 15-19 24-15; 10-26 30-23; 6-10 13-6; 2-9 17-13; 9-14 22-17; 8-11 13-9; 11-15 28-24; 16-20 32-27; 4-8 9-6 Forms Diagram: 15-19! 23-16; 10-15! 17-10; 8-12 1611; 12-16. Drawn. Analysis by W. Hellman. 49) 9-13 23-18; 5-9 26-23; 11-16 30-26; 10-14 24-19; 8-11 22-17; 13-22 26-10; 6-22 25-18; 9-13 29-25; 4-8 28-24; 16-20 18-14 (more commonly arises from 11-15 23-19; 8-11 22-17; 11-16 24-20; 16-23 2711; 7-16 20-11; 3-7 28-24; 7-16 24-20; 16-19 25-22; 9-14 29-25; 5-9 17-13; 4-8 same CR); 11-16 25-22; 7-10 14-7; 3-10 22-18; 2-7? 18-15; 1-6 Forms Diagram: 15-11! (or 21-17 first); 8-15 21-17!; 13-22 2318; 16-23 18-2; 23-26 2-9; 26-30 24-19; 30-25 27-24; 20-27 31-24; 22-26 32-28. White wins. J. Gilliland v M. Tinsley 1957. 50) 9-13 22-17; 13-22 25-18; 11-15 18-11; 8-15 29-25; 4-8 25-22; 5-9 23-18; 8-11 26-23; 10-14 24-19; 15-24 28-19; 7-10 27-24; 10-15 19-10; 6-15 23-19; 14-23 19-10; 11-16 21-17 Forms Diagram: 16-19! 24-15; 23-26! 30-23; 2-7 10-6; 1-26 22-18. Drawn. Analysis by M. Tinsley. Postscript Diagram 2: M. Tinsley v W. Hellman 1955

QRRRRRRRRS TE 1E 2E 3E 4U T 5E 6E 7E 8EU TE 9ED!0E !1EA!2U T !3E !4E !5E !6EU TE !7E !8E !9EB@0U TA@1EA@2EA@3E @4EU TE @5E @6E @7EB@8U TC@9EB#0EB#1E #2EU VWWWWWWWWX White to move and win

Solution: … 10-14 (In the actual game the following was played: … 10-15?; 29-25 15-18; 23-26 30-23; 25-29 18-25; 29-22 31-27; 21-25 27-24 … Drawn.); 29-25 20-16!; 12-19 14-18; 23-26 30-16; 25-29 1825; 29-22 16-11; 22-18 11-7; 18-15 7-3; 15-11 31-26; 21-25 26-22. White wins. Analysis by E. Frazier. This example not only illustrates the illusiveness of the pitch to good effect, but also demonstrates that the game has been, is, and always will be beyond complete mastery by any human being. Thank goodness for that! – it means the game will survive for as long as there is a human race to enjoy it. Note: One person who benefited from this game was Tom Wiswell, who was keeping time. (Any chess players reading this: don’t bother to ask!) In Game 17 of his 1959 GAYP world championship match with W. Fraser he produced a sparkling pitch to win in another 5 v 5 setting.

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SOLUTIONS TO ADVANCED TACTICS 1) 9-13 22-18; 12-16 25-22; 16-20 29-25; 8-12 18-14; 10-17 21-14; 4-8? (the start of Black’s problems 6-10 being standard -, allowing White to gain complete control of the centre) 23-18!; 11-16 26-23!; 6-9 18-15!; 9-18 23-14; 7-11 31-26!; 11-18 22-15; 2-7 25-22; 16-19 22-18; 1-6 26-22; 7-11 Forms Diagram: 15-10!; 6-15 14-9!; 5-23 27-18; 20-27 32-7; 3-10 18-4. White wins. D. Oldbury v M. Tinsley 1958. 2) 11-15 23-19; 9-13 22-17; 13-22 25-11; 8-15 29-25; 5-9 25-22; 9-14 27-23; 7-11 24-20; 15-24 28-19; 11-15 32-28; 15-24 28-19; 6-9 22-18; 4-8 18-15? (appears powerful, but is actually a loser); 1-6! 26-22; 9-13 22-18 (my opponent thought he was winning when he played this) Forms Diagram: 3-7! 18-9; 1317! 21-14; 6-13! 15-6; 2-27 31-24; 8-11. Black wins. R. Pask v D. Retallick 1989. This particular stroke is known as the ‘Brooklyn’, supposedly in honour of Robert Yates: a great player of yesteryear who was born in Brooklyn and often used this device to advantage. See also Diagram 6. 3) 10-15 21-17; 15-18 22-15; 11-18 23-14; 9-18 24-19; 8-11 17-13; 7-10 25-21; 10-14 29-25; 4-8 26-23; 11-16 28-24; 16-20 30-26; 2-7 32-28; 5-9 26-22 Forms Diagram: 7-10! 22-15; 12-16! 19-12; 10-26 3122; 6-10! 13-6; 14-18 22-15; 10-19 24-15; 1-19. Drawn. (Black will line up to take a 2 for 1 shortly.) A. Long v Chinook 1992. 4) 10-14 24-19; 7-10 27-24; 11-16 24-20; 3-7 20-11; 8-24 28-19; 4-8 32-27; 8-11 27-24; 11-15 22-18; 15-22 25-18; 9-13? 18-9; 5-14 29-25; 7-11 25-22; 6-9 22-18; 13-17 24-20; 1-5 Forms Diagram: 2016!; 11-20 19-16!; 12-19 23-16; 14-23 21-17!; 2-11 26-19 (the man on 11 is left hanging). White wins. J. Leopold v N. Wexler 1979. 5) 11-15 23-18; 9-14 18-11; 8-15 22-18; 15-22 25-9; 5-14 29-25; 4-8 25-22; 8-11 27-23; 11-15 24-20; 6-9 31-27; 7-11 28-24; 9-13 (a very common midgame landing) 23-18; 14-23 27-18; 2-7 21-17; 1-5? 1814; 12-16 26-23; 3-8 Forms Diagram: 24-19!; 15-24 22-18!; 13-22 32-28; 10-17 28-3. White wins. Analysis by J. Ferrie. A beautiful way of gaining a tempo. Tom Watson also defeated Bill Edwards with this coup in the 1980 British Open Championship. 6) 11-15 22-18; 15-22 25-18; 12-16 29-25; 9-13 18-14; 10-17 21-14; 16-20 23-18; 6-10 25-21; 10-17 21-14; 1-6 26-23; 13-17 31-26; 8-11 24-19; 4-8 28-24; 8-12 19-15; 3-8 23-19; 11-16 26-22; 17-26 3023; 7-10? (appears to win!) 14-7; 2-11 Forms Diagram: 18-14!; 11-18 14-10!; 6-15 23-14!; 16-23 27-4; 20-27 32-23. White wins. Analysis by J. Drummond. 7) 11-15 23-18; 8-11 27-23; 4-8 23-19; 9-14 18-9; 5-14 22-17; 15-18 26-22; 18-23 19-15; 11-18 22-15; 10-19 24-15; 14-18 31-27; 7-11 28-24; 2-7 24-19; 11-16 17-14; 7-11? 14-10; 16-20 21-17; 11-16 (Black seems to be on the verge of victory!) Forms Diagram: 10-7! (or 27-24 first); 3-10 27-24; 20-27 30-26!; 23-30 32-7; 30-14 7-2; 16-23 2-27. White wins. Analysis by P. Bradt. 8) 11-15 21-17; 9-13 25-21; 5-9 29-25; 9-14 23-18; 14-23 27-11; 8-15 17-14; 10-17 21-14; 12-16 24-20; 16-19 25-21; 4-8 32-27; 8-12 27-24; 12-16 20-11; 7-16 24-20; 3-7 20-11; 7-16 31-27; 1-5 14-10; 6-9 106; 9-14 21-17!; 14-21 6-1; 5-9? 1-5; 9-14 Forms Diagram: 22-17!; 13-31 5-9; 31-24 9-27 … White wins. N. Banks v S. Cohen 1939. 9) 11-16 21-17; 16-20 17-13; 8-11 22-18; 9-14 18-9; 5-14 25-22; 11-15 24-19; 15-24 28-19; 4-8 22-18; 14-17 29-25; 8-11 19-16; 12-19 23-16; 1-5 16-12; 17-21 25-22; 11-16? 22-17; 16-19 18-14; 19-24 3228; 6-9 28-19; 9-18 Forms Diagram: 13-9! (the order of moves can be varied); 5-14 12-8!; 3-12 19-16; 12-19 26-23; 19-26 31-6; 2-9 17-3. White wins. Analysis by D. Oldbury. 10) 11-16 23-18; 16-20 24-19; 10-14 18-15; 7-10 22-17; 9-13 27-23; 13-22 25-9; 5-14 29-25; 1-5? (natural, but loses) 32-27!; 3-7 25-22; 5-9 22-18; 7-11 (Black believes he has a winning grip!) Forms Diagram: 21-17!; 14-21 19-16; 12-19 23-7; 2-11 27-23; 10-19 23-7. White wins. J.O’Dea v R. Pask 1987. (Among others!) If Black continues with 6-10, White must avoid 7-3? because of 21-25!

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11) 11-15 23-18; 8-11 27-23; 4-8 23-19; 9-14 18-9; 5-14 22-17; 15-18 26-22; 11-15 17-13; 7-11 22-17; 2-7 32-27; 1-5 24-20; 15-24 28-19; 11-15 27-23; 18-27 31-24; 7-11 30-26; 15-18 26-22; 11-15? (appears to tie White up completely!) 20-16; 3-7 Forms Diagram: 13-9!; 6-13 24-20; 15-24 22-6; 13-22 25-9; 12-19 (or 5-14) 6-2; 5-14 2-4. White wins. Analysis by R. Martins. 12) 11-15 22-18; 15-22 25-18; 12-16 29-25; 9-13 18-14; 10-17 21-14; 16-20 23-18; 8-11 24-19; 4-8 2723; 8-12 31-27; 11-16 25-22; 6-9 19-15; 7-10 14-7; 3-19 18-15; 9-14 15-11; 5-9 11-8; 1-5 8-4?; 2-7 4-8 Forms Diagram: 19-24! 28-19; 7-11! 8-15; 14-18 23-14; 9-25 30-21; 16-30. Black wins. Analysis by J. Cox. 13) 10-14 24-20; 7-10 23-19; 11-16 20-11; 8-24 28-19; 4-8 27-23; 8-11 22-18; 3-7 25-22; 11-16 29-25; 7-11 19-15; 10-19 21-17; 14-21 18-14; 9-27 31-8; 16-19 8-4; 5-9 4-8; 6-10 22-18; 19-24 8-11? (looks totally innocent); 10-15! 25-22 Forms Diagram: 21-25! (or 9-14) 30-21; 9-14 18-9; 1-5 11-18; 5-30. Black wins. Analysis by H. Freyer. A beautiful way of gaining a tempo. 14) 9-14 22-17; 11-15 25-22; 8-11 17-13; 11-16 24-19; 15-24 28-19; 4-8 22-17; 8-11 29-25; 11-15 2522; 15-24 27-11; 7-16 23-19; 16-23 26-19; 2-7! (far better than 3-8) 31-27? Forms Diagram: 14-18! 22-15; 7-11 15-8; 10-14 17-10; 6-31. Black wins. Analysis by A. Reisman. One of the game’s finest writers. 15) 11-15 22-17; 8-11 23-19; 9-14 25-22; 6-9 17-13; 2-6 29-25; 4-8 22-17?; 14-18 26-22; 11-16 17-14; 16-23 31-26; 10-17 21-14 (White is quite happy with his position!) Forms Diagram: 12-16! (in chess parlance the man on 23 may be described as a desperado) 26-12 (26-10 no better); 6-10 13-6; 10-26 3014; 1-17 … Black wins. Analysis by J. Sturges. 16) 10-14 22-18; 11-15 18-11; 8-15 24-20; 4-8 28-24; 8-11 23-19; 6-10 25-22; 14-18 29-25; 9-14 26-23; 2-6 30-26; 5-9? Forms Diagram: 20-16! (or 19-16); 11-20 19-16!; 12-28 21-17!; 14-30 23-5; 30-23 272; 6-9 2-6; 9-14 6-15; 14-18 22-17; 18-22 17-14 … White wins. Analysis by J. Hynd. 17) 10-14 23-19; 14-18 22-15; 11-18 19-15; 12-16 21-17; 9-13 17-14; 16-19 26-22; 7-11 30-26; 3-7 2420; 11-16? 20-11; 7-16 14-10; 5-9 (18-23 may draw) Forms Diagram: 28-24!; 19-28 26-23!; 9-14 2319; 16-23 10-7; 2-11 25-21; 18-25 27-2; 11-18 29-15. White wins. Analysis by M. Tinsley. 18) 12-16 23-18; 16-19 24-15; 10-19 18-15; 11-18 22-15; 7-11 26-22; 11-18 22-15; 9-14 25-22; 5-9 2217; 14-18 17-13; 9-14 29-25; 8-12 30-26; 12-16 26-22; 4-8 27-24; 16-20 31-26? (looks like a winner!); 20-27 32-16 Forms Diagram: 6-9!!; 13-6; 1-10 15-6; 2-9 26-22; 9-13 … Black wins. Analysis by N. Banks. 19) 9-14 22-17; 11-15 25-22; 8-11 17-13; 11-16 24-19; 15-24 28-19; 4-8 22-18; 8-11 18-9; 5-14 29-25; 16-20 25-22; 11-15 19-16; 12-19 23-16; 15-19 22-17; 10-15 17-10; 7-14 16-11; 19-24 26-22; 1-5 30-25; 24-28 31-26; 14-18 11-7!; 2-11 21-17 Forms Diagram: 20-24! 27-20; 11-16! 20-11; 3-7! 11-2; 15-19! 22-15; 19-24! 2-9; 5-30. Drawn. H. Cravens v D. Oldbury 1982 Practice. 20) 10-15 24-20; 15-19 23-16; 12-19 21-17; 11-15 27-24; 7-10 17-13; 9-14 20-16; 2-7 22-18!; 14-23 2522 Forms Diagram: 23-27! 32-23; 7-11! 16-7; 8-11 23-16; 11-27 31-24; 15-18 22-15; 10-19 24-15; 319. Drawn. D. Oldbury v ‘Borchek’ 1981 Practice. An unusual example of a compound rebound shot. 21) 10-14 22-18; 11-16 26-22; 7-10 24-19; 8-11 22-17; 16-20 17-13; 3-7 31-26 Forms Diagram: 1216! 19-12; 4-8 12-3; 14-17 21-14; 10-17 3-10; 6-31 13-6; 31-24 28-19; 1-10 … Drawn. R. Pask v P. McCarthy 1984. 22) 9-13 24-20; 10-14 22-18; 5-9 25-22; 6-10 27-24; 10-15 22-17; 13-22 26-10; 7-14 30-26; 15-22 2610; 2-7 24-19; 7-14 31-26; 3-7 32-27; 1-5 29-25 Forms Diagram: 14-17! 21-14; 9-18 23-14; 7-10! 147; 11-16 20-11; 8-31 26-22. Drawn. H. Devlin v W. Edwards 1988. 23) 9-13 22-18; 12-16 25-22; 8-12 29-25; 16-20 24-19; 11-16 18-14; 10-17 21-14; 6-10 25-21; 10-17 21-14; 1-6 22-18; 13-17 18-15; 4-8 23-18; 16-23 26-19; 7-10 14-7; 2-11 31-26; 5-9 Forms Diagram: 18-14!; 9-18 19-16; 12-19 15-10; 6-15 27-24; 20-27 32-7; 3-10 26-22; 18-25 30-7. Drawn. L. Head v M. Klinka 1905.

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24) 10-14 22-18; 6-10 25-22; 12-16 22-17; 16-20 17-13; 1-6 29-25; 11-15 18-11; 8-15 24-19; 15-24 2819; 4-8 19-15; 10-19 23-16; 8-12 27-23; 12-19 23-16; 14-17 21-14; 9-18 31-27; 6-10 16-12; 2-6 26-23; 10-14 32-28; 6-10 13-9 Forms Diagram: 3-8! 12-3; 14-17! 23-14; 17-22 25-18; 10-17 3-10; 5-32. Drawn. Analysis by A. Mantell. 25) 12-16 22-18; 16-19 24-15; 10-19 23-16; 11-20 25-22; 6-10 29-25; 1-6 27-23; 8-11 32-27; 10-15 1814; 9-18 23-14; 6-9 26-23; 9-18 23-14; 7-10 14-7; 3-10 22-17; 5-9 30-26? (loses); 9-14 17-13; 2-6 25-22; 4-8 26-23; 11-16? (15-18! wins) Forms Diagram: 22-18!; 15-22 31-26!; 22-31 21-17!!! (an absolute beauty); 14-21 23-18; 31-24 28-3; 10-15 18-11; 6-10. Drawn. A. Long v C. Walker 1984. 26) 10-14 22-18; 6-10 25-22; 12-16 24-20; 16-19 23-16; 14-23 26-19; 8-12 31-26; 11-15 27-23; 15-24 28-19; 4-8 29-25; 8-11 22-18; 2-6 25-22; 9-13 18-14; 10-17 21-14; 6-10 Forms Diagram: 22-18!; 1017 19-15 (or 26-22); 12-19 15-8; 3-12 23-16; 12-19 26-22; 17-26 30-16. Drawn. F. Dunne v W. Strickland 1874. Another nice example of a rebound shot. 27) 9-14 24-19; 5-9 22-18; 11-15 18-11; 8-24 28-19; 4-8 25-22; 8-11 22-18; 11-16 29-25; 7-11 18-15; 11-18 21-17; 14-21 23-5; 16-23 26-19; 3-8 25-22; 8-11 27-23; 6-9 32-28; 11-16 22-18; 9-13 18-15? Forms Diagram: 21-25! 30-21 (or 15-6); 13-17 15-6 (or 21-7); 2-9 21-14; 9-27 31-24; 16-23. Black wins. Many! 28) 10-14 22-18; 6-10 25-22; 12-16 24-20; 16-19 23-16; 14-23 26-19; 8-12 31-26; 11-15 27-23; 15-24 28-19; 4-8 22-17; 9-13 17-14; 10-17 21-14; 1-6 29-25; 6-10 25-21; 10-17 21-14; 13-17 23-18; 8-11 3227; 2-6 27-23; 6-10 14-9; 5-14 18-9 Forms Diagram: 17-22! 26-17; 10-15 19-10; 12-26 30-23; 7-21. Drawn. H. Cravens v G. Davies 1973. 29) 11-15 23-18; 15-19 24-15; 10-19 22-17; 8-11 27-24; 4-8 24-15; 7-10 17-13; 10-19 21-17; 3-7 25-21; 11-16 29-25; 7-10 17-14; 10-17 21-14; 8-11 25-21; 2-7 21-17; 19-23 26-19; 16-23 31-27; 11-16 28-24; 16-20 24-19; 7-11 19-15; 11-16 Forms Diagram: 15-10!; 6-22 13-6; 1-10 27-18; 16-19 14-7; 12-16. Drawn. T. Landry v R. Pask 1985. 30) 10-14 22-17; 7-10 17-13; 3-7 24-20; 14-18 23-14; 9-18 26-23; 10-14 28-24; 6-10 30-26; 1-6 32-28; 14-17 23-14; 10-15 26-23; 17-22 25-18; 15-22 23-18; 11-15 18-11; 8-15 13-9; 6-13 24-19; 15-24 28-19; 4-8 27-23; 8-11 21-17; 2-6 23-18; 6-10 20-16; 11-20 18-15; 12-16 15-6; 16-23 6-2; 7-11 2-7; 11-16 Forms Diagram: 29-25!; 22-29 7-10; 13-22 14-9; 5-14 10-12. Drawn. E. Bruch v T. Watson 1983. 31) 11-15 23-19; 8-11 22-17; 9-14 25-22; 6-9 17-13; 2-6 29-25; 4-8 24-20; 15-24 28-19; 11-15 27-24; 14-17 21-14; 9-18 26-23; 18-27 32-23; 10-14 19-10; 6-15 13-9; 14-18 23-14; 7-11 31-26; 12-16? Forms Diagram: 24-19!; 15-24 14-10; 5-14 10-7; 3-10 22-18; 14-23 26-3. White wins. Analysis by J. Drummond. 32) 11-15 21-17; 9-13 25-21; 8-11 17-14; 10-17 21-14; 6-10 22-17; 13-22 26-17; 15-18 24-20; 2-6 2824; 4-8 29-25; 11-15 30-26; 6-9? Forms Diagram: 24-19!; 15-24 20-16; 12-19 27-20; 18-27 31-6; 1-10 26-22; 9-18 22-6. White wins. Won on a hundred and one occasions by James Wyllie. 33) 9-13 23-18; 5-9 26-23; 11-16 30-26; 10-14 24-19; 7-10 28-24; 16-20 32-28; 2-7 19-15; 10-19 24-15; 13-17 22-13; 7-10 15-11; 8-22 26-17; 12-16 28-24; 10-15 17-10; 4-8 Forms Diagram: 24-19!; 15-24 21-17; 6-15 13-6; 1-10 31-26; 24-31 17-13; 31-22 25-4. Drawn. D. Oldbury v M. Tinsley 1983. 34) 11-15 22-17; 9-13 17-14; 10-17 21-14; 8-11 23-19; 15-18 26-23; 13-17 19-15; 4-8 24-19; 6-9 28-24; 9-13 24-20; 2-6 32-28; 17-21 28-24 Forms Diagram: 6-10! 15-6; 1-17 23-14; 11-15 19-10; 17-22 2518; 5-9 14-5; 7-32 31-27; 32-23 24-19; 23-16 20-4 … Drawn. W. Hellman v E. Lowder 1958. 35) 9-13 22-18; 11-15 18-11; 8-15 21-17; 13-22 25-11; 7-16 24-20; 3-8 20-11; 8-15 28-24; 4-8 24-20; 8-11 29-25; 5-9 25-22; 1-5 23-18; 15-19? 27-23; 12-16 30-25; 10-15 25-21; 6-10 32-28; 2-7 Forms Diagram: 22-17!; 15-22 17-14; 10-17 21-14; 9-27 31-8; 22-31 20-2. White wins. Analysis by W. Ryan. 36) 9-13 24-20; 5-9 22-18; 10-14 27-24; 6-10 24-19; 1-5 25-22; 11-15 18-11; 8-24 28-19; 14-17 21-14; 9-27 32-23; 4-8 29-25; 8-11 22-18; 5-9? 25-21; 10-15 19-10; 7-14 31-27; 3-7 27-24; 7-10 24-19; 13-17

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Forms Diagram: 20-16!; 11-20 19-16; 12-19 23-16; 14-23 21-7; 2-11 26-19. White wins. Analysis by T. Wiswell. 37) 10-15 23-18; 12-16 26-23; 8-12 30-26; 16-20 21-17; 9-13 17-14; 6-9 24-19; 15-24 28-19; 11-16 2521; 1-6 19-15; 7-10 14-7; 3-19 32-28; 2-7 21-17; 7-10 29-25 Forms Diagram: 10-15!!! 18-11; 20-24 27-20; 4-8 11-4; 6-10 20-11; 9-14 23-16; 14-30 11-7; 12-19 7-2; 30-23 … Drawn. Analysis by H. Henderson. 38) 10-14 22-18; 7-10 25-22; 11-16 24-20; 16-19 23-16; 12-19 18-15 (This originally arose from 11-16 24-20; 16-19 23-16; 12-19 22-18; 10-14 18-15; 7-10 25-22 same); 14-18 29-25; 9-14 20-16; 5-9 27-24; 8-12 16-11; 3-8 31-27; 18-23 27-18; 14-23 22-17; 9-14 17-13; 1-5 26-22; 12-16 22-17 Forms Diagram: 23-27! 32-23; 19-26 30-23; 10-26 17-1; 8-15 1-6; 2-9 13-6. Drawn. Analysis by J. Wyllie. 39) 11-16 23-18; 16-20 24-19; 10-14 18-15; 7-10 22-17; 9-13 27-23; 13-22 25-9; 5-14 29-25; 3-7 31-27; 7-11? Forms Diagram: 21-17!; 11-18 (or 14-21) 26-22; 14-21 23-7; 2-11 19-16; 12-19 27-24; 20-27 32-7. White wins. Analysis by H. Shearer. 40) 9-13 24-19; 10-14 22-18; 5-9 25-22; 6-10 27-24; 1-5 32-27; 11-15 18-11; 8-15 30-25; 7-11 22-18; 15-22 25-18; 3-7 18-15; 11-18 19-16; 12-19 24-6 Forms Diagram: 14-17! 21-14; 18-22 26-17; 9-18 23-14; 2-18 17-14; 18-22. Drawn. Analysis by W. Hellman. 41) 11-15 22-18; 15-22 25-18; 12-16 29-25; 9-13 18-14; 10-17 21-14; 16-20 23-18; 6-10 25-21; 10-17 21-14; 1-6 26-23; 13-17 31-26; 8-11 24-19; 4-8 28-24; 8-12 19-15; 3-8 23-19; 11-16 26-22; 16-23 2213; 7-10 14-7; 2-11 24-19; 5-9 30-25; 11-16 25-22; 23-26 27-23; 26-31 Forms Diagram: 32-27!; 31-24 15-10; 6-15 18-4; 24-15 13-6. Drawn. D. Oldbury v L. Levitt 1976. 42) 9-13 23-19; 11-16 27-23; 10-14 22-17; 13-22 25-9; 5-14 29-25; 16-20 32-27; 8-11 19-16; 12-19 248; 4-11 23-19; 6-10 25-22; 11-15 19-16; 1-6 22-17; 6-9 17-13; 15-18 13-6; 2-9 30-25; 9-13 26-22; 10-15 28-24 Forms Diagram: 14-17! (or 13-17) 21-14; 13-17 22-13; 7-11 16-7; 3-17 25-21; 17-22 13-9; 2226 31-22; 18-25. Drawn. A. Long v M. Tinsley 1985. 43) 9-14 23-19; 11-16 26-23; 5-9 22-17; 7-11 17-13; 11-15 25-22; 3-7 29-25; 7-11 24-20; 15-24 28-19; 11-15 20-11; 15-24 27-20; 8-15 31-27; 15-19 23-16; 12-19 20-16; 4-8 16-12 Forms Diagram: 2-7! 123; 14-18 22-15; 19-23 27-18; 10-19 3-10; 6-29 13-6; 1-10 21-17. Drawn. Analysis by A. Heffner. 44) 11-16 24-19; 8-11 22-18; 10-14 26-22; 16-20 22-17; 7-10 30-26; 11-16 26-22; 9-13 18-9; 5-14 2218; 13-22 18-9; 6-13 25-18; 4-8 29-25; 8-11 18-14; 10-17 21-14; 13-17 25-22; 17-26 31-22; 1-6 22-18; 6-10 14-7; 3-10 28-24; 2-7 32-28; 10-14 18-9; 7-10 9-6; 10-14 19-15; 11-18 6-2 18-22; 2-6 22-26; 6-9 14-17 Forms Diagram: 23-19!; 16-32 9-13; 20-27 13-24; 12-16. Drawn. M. Lieber v S. Gonotsky 1928. 45) 11-16 23-18; 7-11 18-15; 11-18 22-15; 10-19 24-15; 9-14 25-22; 5-9 22-17; 14-18 17-14; 9-13 2925; 3-7 28-24; 16-19 24-20 Forms Diagram: 18-23! 27-18; 6-10 15-6; 1-17 21-14; 12-16 20-11; 8-29 14-9 … Drawn. Analysis by C. Cantor. 46) 11-15 23-18; 8-11 27-23; 4-8 23-19; 9-14 18-9; 5-14 22-17; 15-18 26-22; 11-15 17-13; 7-11 22-17; 2-7 32-27; 1-5 24-20; 15-24 28-19; 11-15 27-23; 18-27 31-24; 8-11 30-26; 15-18 26-22; 11-15 20-16; 59 Forms Diagram: 16-11!; 7-23 24-19; 15-24 22-15; 10-19 17-1; 9-14 25-22; 23-26 1-6; 26-30 6-9. Drawn. Analysis by D. Oldbury. 47) 11-15 23-19; 8-11 22-17; 4-8 17-13; 15-18 24-20; 11-15 28-24; 8-11 26-23; 9-14 31-26; 6-9 13-6; 2-9 26-22; 9-13? Forms Diagram: 22-17! (or 20-16); 13-22 20-16; 11-20 21-17; 14-21 23-14; 10-17 25-2 … White wins. Analysis by J. Sturges. Known as ‘the big shot in the Old 14th’, this is undoubtedly the most famous stroke in the game; destroying analysis previously published (in 1756!) by William Payne. 48) 9-14 24-20; 5-9 22-18; 11-16 20-11; 8-22 25-18; 4-8 27-24; 8-11 24-19; 11-16 29-25; 7-11 25-22; 3-7? 32-27; 16-20 Forms Diagram: 21-17!; 14-21 19-15; 10-19 23-16; 12-19 27-24 20-27 31-8 … White wins. Employed frequently by Tom Wiswell in exhibition play. See also Page 143, Example 16.

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49) 11-15 22-18; 15-22 25-18; 12-16 29-25; 9-13 18-14; 10-17 21-14; 16-20 23-18; 6-10 25-21; 10-17 21-14; 2-6 26-23; 13-17 31-26; 8-11 24-19; 4-8 19-15; 6-9 23-19; 17-22 26-17; 9-13 15-10?; 13-22 1915; 22-26 30-23; 11-16 28-24 Forms Diagram: 16-19! 23-16; 5-9 14-5; 7-23 27-18; 20-27 32-23; 8-11 16-7; 3-26. Black wins. M. Hopper v S. Gonotsky circa 1920. 50) 12-16 23-18; 16-20 26-23; 11-15 18-11; 8-15 24-19; 15-24 28-19; 9-13 22-18; 5-9 25-22; 4-8 29-25; 10-14 18-15; 7-10 31-26; 2-7 22-18; 8-12 15-11; 7-16 18-15; 3-8 25-22; 1-5 22-18; 13-17 30-25 Forms Diagram: 20-24!!! 27-4; 12-16 19-12; 10-19 23-16; 14-30 21-14; 30-21. Drawn. T. Wiswell v M. Hopper 1950.

Postscript Diagram 3: R. Pask v G. Miller 1995

QRRRRRRRRS TEA1EA2E 3E 4U TA5EA6E 7E 8EU TEA9EA!0E !1EA!2U TB!3E !4E !5EA!6EU TEB!7EB!8E !9EA@0U TB@1EB@2EB@3E @4EU TE @5EB@6EB@7EB@8U T @9E #0E #1E #2EU VWWWWWWWWX Black to move and win

Solution: 9-14! (Of course this was the first move I looked at – it’s so natural and restrictive -, but I didn’t see the shot and so played 2-7?; the game continuing with … 17-14; 10-17 21-14; 6-10 13-6; 1017 22-13; 1-10 13-9; 5-14 18-9; 10-15 9-6; 15-19 6-2; 7-10 2-7; 10-15 7-11; 15-18 23-14; 19-24 28-19; 16-32. Drawn. Another example of the double-corner breakthrough.) 18-9; 5-14 22-18 (28-24 loses to 10-15); 16-19! 18-9; 19-24! 28-19; 10-14 17-10; 6-31 26-22 … Black wins.

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CHAPTER 7: APPENDICES •

Appendix 1: Index To 3-Move Ballots

•

Appendix 2: World 3-Move Championship Matches

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Appendix 3: My All-Time Top 20

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Appendix 4: Building A Library (50 Key Works)

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APPENDIX 1: INDEX TO 3-MOVE BALLOTS Ballot

Page(s)

9-13 21-17; 5-9 9-13 21-17; 6-9 9-13 22-17; 13-22 9-13 22-18; 6-9 9-13 22-18; 10-14 9-13 22-18; 10-15 9-13 22-18; 11-15 9-13 22-18; 11-16 9-13 22-18; 12-16 9-13 23-18; 5-9 9-13 23-18; 6-9 9-13 23-18; 10-15 9-13 23-18; 11-15 9-13 23-18; 11-16 9-13 23-18; 12-16 9-13 23-19; 5-9 9-13 23-19; 6-9 9-13 23-19; 10-14 9-13 23-19; 10-15 9-13 23-19; 11-16 9-13 24-19; 5-9 9-13 24-19; 6-9 9-13 24-19; 10-14 9-13 24-19; 11-15 9-13 24-19; 11-16 9-13 24-20; 5-9 9-13 24-20; 6-9 9-13 24-20; 10-14 9-13 24-20; 10-15 9-13 24-20; 11-15 9-13 24-20; 11-16

Not covered 22, 85, 142 146 66 NEW 55, 85 149 NEW 55, 60, 84, 85, 145, 147, 148 59, 89, 146, 149 89 87 91 NEW 89 89, 109 20, 69, 89, 109, 144, 145 63, 89, 109, 110 NEW 62, 89, 150 93(2), 142 85, 109 89, 109, 110, 144, 150 21 65 143, 149 67, 72 83, 143(2), 148 91, 143 Not covered NEW

9-14 22-17; 5-9 9-14 22-17; 6-9 9-14 22-17; 11-15 9-14 22-17; 11-16 9-14 22-18; 5-9 9-14 22-18; 10-15 9-14 22-18; 11-15 9-14 22-18; 11-16 9-14 23-18; 14-23 9-14 23-19; 5-9 9-14 23-19; 11-16

62, 88 Not covered 58, 107, 148(2) 55, 58, 67, 106 58, 63, 64, 83, 90, 93 85, 142 59, 90, 108 65, 80(2), 107 64 89, 144 62, 89, 150

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9-14 23-19; 14-18 9-14 24-19; 5-9 9-14 24-19; 11-15 9-14 24-19; 11-16 9-14 24-20; 5-9 9-14 24-20; 10-15 9-14 24-20; 11-15 9-14 24-20; 11-16

63, 90 144, 149 71, 108, 142 22, 71, 107 68, 87, 143, 150 43, 93 79, 80 Not covered

10-14 22-17; 7-10 10-14 22-17; 9-13 10-14 22-17; 11-15 10-14 22-17; 11-16 10-14 22-17; 14-18 10-14 22-18; 6-10 10-14 22-18; 7-10 10-14 22-18; 11-15 10-14 22-18; 11-16 10-14 22-18; 12-16 10-14 23-18; 14-23 10-14 23-19; 6-10 10-14 23-19; 7-10 10-14 23-19; 11-15 10-14 23-19; 11-16 10-14 23-19; 14-18 10-14 24-19; 6-10 10-14 24-19; 7-10 10-14 24-19; 11-16 10-14 24-19; 14-18 10-14 24-20; 6-10 10-14 24-20; 7-10 10-14 24-20; 11-15 10-14 24-20; 11-16 10-14 24-20; 14-18

60, 62, 73, 110, 149 NEW NEW NEW 63, 79, 89, 144 109, 149(3) 70, 95(2), 150 62(2), 68, 85, 109, 148 61(2), 85, 145, 148 8, 67, 94 Not covered 66, 90, 109 82, 89, 110 84 69, 90, 91, 143 60, 69, 74, 90, 148 70, 110, 145(2) 62, 85, 86, 110, 143, 144, 147 Not covered 90, 143 110 66, 148 Not covered 91, 110 90

10-15 21-17; 6-10 10-15 21-17; 7-10 10-15 21-17; 9-13 10-15 21-17; 11-16 10-15 21-17; 15-18 10-15 22-17; 6-10 10-15 22-17; 7-10 10-15 22-17; 9-13 10-15 22-17; 11-16 10-15 22-17; 15-19 10-15 22-18; 15-22 10-15 23-18; 6-10 10-15 23-18; 7-10

146 48, 145 70 57, 83, 106 60, 69, 90, 147 57 56, 57 Not covered 56, 66 49, 57, 89 56, 62, 77 20, 144(2), 145 87

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10-15 23-18; 9-14 10-15 23-18; 11-16 10-15 23-18; 12-16 10-15 23-19; 6-10 10-15 23-19; 7-10 10-15 23-19; 11-16 10-15 24-19; 15-24 10-15 24-20; 6-10 10-15 24-20; 7-10 10-15 24-20; 15-19

91 Not covered 106, 150 Not covered 62, 68, 110 NEW 71, 84, 142, 146 60 Not covered 148

11-15 21-17; 8-11 11-15 21-17; 9-13 11-15 21-17; 9-14 11-15 21-17; 15-19 11-15 22-17; 8-11 11-15 22-17; 9-13 11-15 22-17; 15-18 11-15 22-17; 15-19 11-15 22-18; 15-22 11-15 23-18; 8-11 11-15 23-18; 9-14 11-15 23-18; 10-14 11-15 23-18; 12-16 11-15 23-18; 15-19 11-15 23-19; 8-11 11-15 23-19; 9-13 11-15 23-19; 9-14 11-15 24-19; 15-24 11-15 24-20; 8-11 11-15 24-20; 12-16 11-15 24-20; 15-18

68, 92, 107 87, 144, 145(2), 147, 149 75, 88, 107 Not covered 56, 59, 60(2), 94, 95, 148 56, 58, 149 89 57, 66, 86 56(2), 59, 78, 94, 143, 144, 147, 148, 150, 151 61, 69, 70, 85, 147, 148, 150 55, 74, 147 143 144 57(2), 149 55, 59, 61(2), 63, 69, 94, 142, 143, 146, 149, 150 62, 85, 110, 144, 145, 147 62(2), 64, 70, 77, 85, 88, 94, 109 56(2), 58(2), 59, 81, 86, 91, 108, 144 55, 59(3), 61, 78 Not covered 81, 85, 92

11-16 21-17; 7-11 11-16 21-17; 8-11 11-16 21-17; 9-13 11-16 21-17; 9-14 11-16 21-17; 16-20 11-16 22-17; 7-11 11-16 22-17; 8-11 11-16 22-17; 9-13 11-16 22-17; 16-20 11-16 22-18; 7-11 11-16 22-18; 8-11 11-16 22-18; 16-19 11-16 22-18; 16-20 11-16 23-18; 7-11 11-16 23-18; 8-11

Not covered 106, 145 95 106 58, 90, 106, 147 94 108 NEW 106, 145 80 55, 106 19, 55 55, 86, 106 90, 142, 150 106

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11-16 23-18; 9-14 11-16 23-18; 10-14 11-16 23-18; 16-20 11-16 23-19; 16-23 11-16 24-19; 7-11 11-16 24-19; 8-11 11-16 24-19; 16-20 11-16 24-20; 7-11 11-16 24-20; 16-19

107 90 107, 147, 150 NEW 92, 143 56, 58, 62, 68, 108, 150 108 55, 143 55, 63(2), 87, 93, 143

12-16 21-17; 9-13 12-16 21-17; 9-14 12-16 21-17; 16-19 12-16 21-17; 16-20 12-16 22-17; 16-19 12-16 22-17; 16-20 12-16 22-18; 16-19 12-16 22-18; 16-20 12-16 23-18; 16-19 12-16 23-18; 16-20 12-16 24-19; 16-20 12-16 24-20; 8-12 12-16 24-20; 10-15

Not covered 83 77, 86 68, 86, 88, 107, 145 65, 89 88 149 106 63, 145, 148 107, 145, 151 108 72, 74, 95 NEW

APPENDIX 2: WORLD 3-MOVE CHAMPIONSHIP MATCHES 1) 1934 2) 1936 3) 1948 4) 1949 5) 1951 6) 1953 7) 1955 8) 1958 9) 1962 10) 1963 11) 1965 12) 1967 13) 1979 14) 1981 15) 1985 16) 1987 17) 1989 18) 1991 19) 1994 20) 1996 21) 1997 22) 2003

PAGE 156

Newell Banks Asa Long Asa Long Walter Hellman Walter Hellman Walter Hellman Walter Hellman Marion Tinsley Walter Hellman Walter Hellman Walter Hellman Walter Hellman Marion Tinsley Marion Tinsley Marion Tinsley Marion Tinsley Marion Tinsley Derek Oldbury Ron King Ron King Ron King Ron King

v v v v v v v v v v v v v v v v v v v v v v

Asa Long Edwin Hunt Walter Hellman William Ryan Maurice Chamblee Basil Case Marion Tinsley Derek Oldbury Asa Long Basil Case Derek Oldbury Eugene Frazier Elbert Lowder Asa Long Asa Long Don Lafferty Paul Davis Richard Hallett William Edwards Don Lafferty Pat McCarthy Alex Moiseyev

3-7-27 3-1-35 1-2-47 4-4-42 6-1-29 4-1-33 0-3-35 9-1-24 2-2-36 2-1-37 7-1-27 5-0-31 15-0-10 3-0-34 6-1-28 2-0-36 10-0-20 7-4-27 14-1-13 5-5-30 7-5-26 2-8-25

Facts & Figures • Total number of games played = 817 • Total number of draws = 652 (80%) • Total number of wins = 165 (20%) [46 Black wins & 119 White wins] • Total number of cuts made from the 3-move deck = 412 (Includes 10-15 22-17; 9-14: now barred) • Total number of ballots not yet randomly chosen (from the 144) = 12. These are 9-13 23-18; 6-9 & 913 23-19; 10-14 & 9-14 22-18; 5-9 & 9-14 23-19; 11-16 & 10-14 23-19; 11-15 & 11-15 23-19; 9-14 & 11-15 24-20; 8-11 & 11-16 23-18; 16-20 & 11-16 24-19; 8-11 & 11-16 24-20; 7-11 & 12-16 2217; 16-20 & 12-16 23-18; 16-20

APPENDIX 3: MY ALL-TIME TOP 20 1st: 2nd: 3rd: 4th: 5th: 6th: 7th: 8th: 9th: 10th: 11th: 12th: 13th: 14th: 15th: 16th: 17th: 18th: 19th: 20th:

Dr Marion Tinsley Richard Jordan Samuel Gonotsky Walter Hellman Asa Long Dr Robert Yates James Ferrie James Wyllie William Ryan Edwin Hunt Samuel Levy Robert Stewart Don Lafferty Basil Case Nathan Rubin Maurice Chamblee Newell Banks Derek Oldbury Alex Moiseyev Ron King

USA Scotland USA USA USA USA Scotland Scotland USA USA England Scotland USA USA USA USA USA England USA Barbados

APPENDIX 4: BUILDING A LIBRARY (50 KEY WORKS) For The Beginner: (5) • Starting Out In Checkers/Draughts (R. Pask); • Play Better Checkers & Draughts (R. Pask); • Checkers Made Easy (A. Reisman); • The Clapham Common Draughts Book (G. Trott); • The Compleat Draughts Player (I. Chernev). The Endgame & Problems (9) • Standard Positions [2 Vols] (J. Duffy); • Familiar Themes (B. Boland); • Famous Positions (B. Boland); • Masterpieces (B. Boland); PAGE 157

• • • • •

Gould’s Problem Book (J. Gould); Horsfall’s Problem Book (W. Horsfall); Lyman’s Problem Book (H. Lyman); Checker Magic (T. Wiswell); The Wonderful World Of Checkers & Draughts (T. Wiswell & J. Leopold).

The Midgame (6) • Checkers & The Experts (M. Chamblee); • Move Over (D. Oldbury); • Principles Of Strategy In The Game Of Checkers (L. Ginsberg); • Tricks, Traps & Shots (W. Ryan); • How To Win At Checkers – Pioneer System (A. Reisman). • Tournament Checkers - Defiance System (G. Hester); Match Books (6) • World Championship Checkers (W. Ryan & T. Wiswell); • America’s Best Checkers (T. Wiswell & R. Shuffett); • International Draughts & Checkers (D. Oldbury, M. Tinsley, T. Wiswell & W. Fraser); • World Title Checkers (R. Fortman & M. Tinsley); • World Class Checkers (R. Fortman & R. Shuffett); • Historic & Memorable Matches (J. Gould). Collected Games (2) • Checkers The Tinsley Way (R. Shuffett); • R. D. Yates, Checker Player (W. Call). Team Matches & Tournaments (13) 1st International Match 1905 (A. Heffner); 2nd International Match 1927 (A. Heffner); 3rd International Match 1973 (R. Fortman); 4th International Match 1983 (R. Fortman); 5th International Match 1989 (R. Pask); Checkers Annual 1995 (C. Walker) [Includes 6th International Match Annotated By R. Fortman]; 7th International Match 2001 (R. Pask); Scottish National Tys [1-7 In One Vol]; 6th ACA US Nat Ty; 7th ACA US Nat Ty; 8th ACA US Nat Ty; 9th ACA US Nat Ty; 1st/2nd NCA Nat Tys [In One Vol]. Guides (8) • Master Play Of The Draught Board [6 Vols] (F. Tescheleit); • Kear’s Encyclopaedia [7 Vols] (J. Alexander); • Basic Checkers [7 Vols] (R. Fortman); • Solid Checkers [7 Vols] (R. Pask); • Key Openings (R. Pask); • The Modern Encyclopedia Of Checkers , 2nd Edition. (W. Ryan); • The British Draughts Player (J. Gould); • Lees’ Guide (J. Lees). General (1) • The Complete Encyclopaedia/Encyclopedia of Draughts/Checkers [6 Vols] (D. Oldbury).

PAGE 158

BOOKS BY THE AUTHOR BOOKS BY THE AUTHOR Key Endings 1992 Key Key Themes Endings1991 1992 Key 1990 Key Landings Themes 1991 Key Openings Key Landings 1999 1990 Solid Checkers Part 1 9-13s 1995 Key Openings 1999 Solid Checkers Solid Checkers Part Part 21 9-14s 9-13s 1992 1995 Solid Checkers Part 3 10-14s 1997 Solid Checkers Part 2 9-14s 1992 Solid Checkers Part 4 10-15s Solid Checkers Part 3 10-14s 1996 1997 Solid Checkers Part 5 11-15s 1991 Solid Checkers Part 4 10-15s 1996 Solid Solid Checkers Checkers Part Part 65 11-16s 11-15s 1994 1991 Solid Checkers Part 7 12-16s 1995 Solid Checkers Part 6 11-16s 1994 Total A Guide & Companion Volume 1 1998 Solid Checkers Checkers –Part 7 12-16s 1995 Draughts From Square One 1992 Total Checkers – A Guide & Companion Volume 1 1998 Starting InSquare Checkers/Draughts (Everyman) 2001 DraughtsOut From One 1992

ISBN 1 872796 04 4 ISBN ISBN 11 872796 872796 01 04 X 4 ISBN ISBN 11 872796 872796 00 01 1X ISBN ISBN 11 872796 872796 15 X ISBN ISBN 11 872796 872796 10 15 9X ISBN 1 872796 08 ISBN 1 872796 10 79 ISBN ISBN 11 872796 872796 13 08 37 ISBN 1 872796 12 ISBN 1 872796 13 53 ISBN ISBN 11 872796 872796 07 12 95 ISBN ISBN 11 872796 872796 09 07 59 ISBN 1 872796 11 ISBN 1 872796 09 75 ISBN ISBN 11 872796 872796 14 11 17 ISBN 1 872796 05 ISBN 1 872796 14 21 ISBN ISBN 11 85744 872796263 05 62 ISBN 1 85744 277 Starting Out In Checkers/Draughts (Everyman) 2001 ISBN 1 85744 263 66 Play Better Checkers & Draughts 2004 ISBN 19 26 ISBN11872796 85744 277 (Total Checkers – A Guide & Companion Volume 2) Play Better Checkers & Draughts 2004 ISBN 1 872796 19 2 th 5(Total International Match Book 1990 ISBN 1 872796 02 8 Checkers – A Guide & Companion Volume 2) th 75th International ISBN International Match Match Book Book 2002 1990 ISBN 11 872796 872796 17 02 68 th EDA Handbook (First Edition) 1991 The ISBN 1 872796 03 7 International Match Book 2002 ISBN 1 872796 17 66 The Edition) 1999 ISBN The EDA EDA Handbook Handbook (Second (First Edition) 1991 ISBN 11 872796 872796 16 03 86 World Championship Draughts 1992 ISBN 1 872796 06 The EDA Handbook (Second Edition) 1999 ISBN 1 872796 16 08 GAYP ISBN World 2003 Championship Draughts 1992 ISBN 11 872796 872796 18 06 40 GAYP 2003 OTHER ITEMS

00 1

ISBN 1 872796 18 4

OTHER ITEMS Irish Open Championship 1984 English Open Championship 1985 Irish Open Championship 1984 Scottish Open Championship English Open Championship 1985 1985 British ScottishOpen OpenChampionship Championship1986 1985 Irish Open Championship 1986 British Open Championship 1986 English & Scottish Open Championships 1987 Irish Open Championship 1986 Home International Championship 1988 English & Scottish Open Championships 1987 EDJ Editor Issues 100 – 115 (4 years) Home International Championship 1988 EDA Newsletter Editor – 144 (3 years) EDJ Editor Issues 100 –Issues 115 (4133 years) Contributor To The Dorset Echo October 1990 – December 1991 EDA Newsletter Editor Issues 133 – 144 (3 years) Contributor & Puzzles April 1994 – July 1994 (4 Issues) Contributor To To Games The Dorset Echo October 1990 – December 1991 EDA Tournament Scorebook Contributor To Games & Puzzles April 1994 – July 1994 (4 Issues) Checkers in a Nutshell EDA Tournament Scorebook The Games Samuel Gonotsky Checkers inOf a Nutshell The Games Of Samuel Gonotsky FUTURE ITEMS FUTURE ITEMS 1) Index To The 1st & 2nd International Matches; 2) Index To The I-D Tys; 3) Index To Individual th st nd Century; Matches Developments (Beyond theI-D 3-move Ballots 1) Index Of To The The 20 1st && 221 International4)Matches; 2) Index To The Tys; restriction); 3) Index To 5) Individual st Move Over; 145-156; Supplement 7) Short Story: ‘The man who feared losing.’; 5) 8) Ballots MFT, Matches Of6)The 20th & 21To Century; 4) Developments (Beyond the 3-move restriction); Computers, Perfection and SKDs; 9) A Question Of Style; 10) Miscellaneous Thoughts. 145-156; 6) Supplement To Move Over; 7) Short Story: ‘The man who feared losing.’; 8) MFT, Computers, Perfection and SKDs; 9) A Question Of Style; 10) Miscellaneous Thoughts.

ISBN 1 872796 19 2